talat Mehmood

talat Mehmood (24 February, 1924-9 May, 1998) ek bhaarateeya gaayak tatha abhineta the. apni tharatharaati aavaaj se mashahoor unako gajal ki duniya ka raaja bhi kaha jaata hai.

anukram

bachapan

unka janam 24 fravari 1924 ko Lucknow mein hua tha. ve apni maata tatha gaayak pita ki chhathi santaan the. unke pita apni aavaaj ko Allah ka diya gala kehkar Allah ko hi samarpit karne bhar ki ichha rakhate the aur keval naatein kahalaae jaane vaale islaamik dhaarmik geet gaate the. bachapan mein talat ne apne pita ki nakal karne ki koshish ki jiska ghar mein jyaada samarthan naheen mila. unki ek buaa unako sunati theen aur protsaahan deti theen. unhone hi apni jid par kishoravaya talat ko sangeet ki shiksha ke liye maurish kaalej mein daakhil bhi karva diya. solah saal ki umr mein talat ko kamal daasagupta ka geet sab din ek samaan naheen gaane ka mauka mila. yeh geet prasaarit hone ke baad Lucknow mein bahut lokapriya hua. lagbhag ek saal ke bheetar, prasiddh sangeet rekaurding company H M vi ki team Calcutta se Lucknow I aur pehle unke do gaane record kiye gaye. unke chalne ke baad talat ke chaar aur gaane record kiye gaye jismein gjl tasveer teri dil mera bahala na sakegi bhi shaamil thi. yeh gjl bahut pasand ki gayi aur baad mein ek film mein shaamil bhi ki gayi.

khyaatilbdhi

doosare vishvayuddh ke samay un dinon mein paarshv gaayan ka shuruaati daur tha. adhiktar abhineta apne gaane khud gaate the. kundan laal sahagal ki lokapriyta se prerit hokar talat bhi gaayak–abhineta banane ke liye san 1944 mein Calcutta ja pahunche, jo us samay in gatividhiyon ka pradhaan kendra tha. lagbhag usi samay jab kundan laal sahagal Calcutta chhodkar Mumbai gaye the. Calcutta mein sangharsh ke beech talat ki shuruaat baangla geet gaane se hui. rikaarding company ne gaayak ke roop mein unako tapan Kumar naam se gavaaya. tapan Kumar ke gaae sau se oopar geet rekaurdon mein aae. new thiyetars ne 1945 mein bani raajalakshmi mein talat ko naayak–gaayak banaaya. sangeetakaar Robin chatarji ke nirdeshan mein is film mein unke gaae jaago musaafir jaago ne bharpoor saraahana batori. utsaahit hokar ve Mumbai jaakar anil vishvaas se mile. anil da ne yeh kehkar lauta diya ki abhineta banane ke liye ve bahut dubale hain. badan par charabi chadhaakar aane ki naseehat ke saath talat vaapas Calcutta chale gae¸ jahaan unhein 1949 tak kul do filmein hi aur milee¸ tum aur vo aur samaapti. Calcutta mein kaam dheela dekhkar ve pun: Mumbai pahunch gaye.

abaki baar anil vishvaas ne unhein filmistaan studio ki film aarajoo mein parade ke peechhe se gaane ka mauka diya. dileep Kumar ke upar filmaaya gaya geet ai dil mujhe aisi jagah le chal hit ho gaya aur talat ki kanpakapaati aavaaj sangeetakaaron ki nigaah mein jam gayi. lagbhag isi samay sangeetakaar naushaad apne liye ek chahete gaayak ki talaash mein the. shankar-jayakishn ki film barasaat (1949) ke hit hone ki vajah se naushaad shankar-jayakishn ko sangeet ke kshetr mein apna pratidvandi maanate the aur gaayak mukesh ko shankar-jayakishn ke kheme ka aadmi. rafi ya manna de par tab tak unki nigaah gayi naheen thi at: talat ko unhone apne liye gavaane ki sochi. 1950 mein baabul ke liye talat ko ek baar fir dileep Kumar ke liye unhein gaane ka mauka mila - is baar naushaad ke haathon. isi film ka geet milte hi aankhein dil hua deevaana kisi ka hit hua aur talat Mehmood tatha shamashaad begam ki aavaaj pasand ki gayi. usi varsh talat ne vibhinn sangeetakaaron ki dhunon par kul solah gaane gaae. unki lokapriyta badhti hi ja rahi thi.

isi samay mukesh ko raaj Kapoor ke gaanon se khyaati mil rahi thi to rafi shaheed, dulaari, mela tatha baijoo baavara ke gaanon se lokapriya ho rahe the. set par dhoomrapaan karne ki aadat ki vajah se naushaad ne talat ko najaraandaaj karna shuru kiya par doosare sangeetakaar talat se kuchh na kuchh gavaate rahe aur pachaas ke dashak ke poorvaardh mein talat ki aavaaj goonjati rahi.

abhinay ki jid

gaane ki yeh raftaar talat lambe samay tak isliye kaayam naheen rakh paae kyonki¸ gaayak ke roop mein khyaati se unhein tasalli naheen thi aur ve swayam ko ek safal aur sthaapit abhineta ke roop mein dekhna chaahate the¸ baavajood is hakeekat ke ki ve jitne achhe gaayak the¸ utane achhe abhineta naheen. par unki aavaaj ki laalasa mein unhein abhinay ka mauka bhi diya jaane laga. aaraam mein ve ek gjl 'shukriya aya pyaar tera' gaate parade par nazar aae. fir soharaab Modi ne minrva ki vaaris mein unhein suraiya jaisi choti ki naayika ke saath naayak banaaya to A aar kaaradaar ne dile naadaan mein nayi taarika chaand usmaani ke saath. daak babu¸ ek gaanv ki kahaani vagairah ko milaakar talat terah filmon mein naayak to ban gae¸ par gaayan par samuchit dhyaan na dene se pichhadne lage aur haashiye par chale gae¸ jabki rafi kendra mein aane lage.

abhinay se haasil kuchh khaas na hone aur badle mein gaayan mein bahut kuchh ganvaane ka ehsaas talat ko san 1958 mein bani sone ki chidiya se hua. urdoo ki prasiddh lekhika ismat chugataai ki kahaani par abhinetri naragis ke jeevan ki chhaap thi. ismat chugataai ke shauhar shaheed lateef nirmaata–nirdeshak the¸ naayika nootan aur uske saamane do naayakon mein ek Balraj saahani aur doosare talat Mehmood. sangeetakaar O pi naiyar ne jid pakad li thi ki talat par filmaae jaanevaale gaane 'pyaar par bas to naheen' ko rafi se gavaaenge. ant mein vah gaana talat swayam tabhi ga paae¸ jab unhonne film ka kaam beech mein hi chhod dene ki dhamaki di.

usi samay biml rai ki madhumati ban rahi thee¸ jismein sangeetakaar salil chaudhari dileep Kumar ke liye talat ki aavaaj lena chaahate the. par us samay mukesh gardish ke daur mein the. talat ne salil chaudhari se kaha ki ve unki bajaay mukesh ko kaam dein aur madhumati mein mukesh ne dileep Kumar ke liye aakhiri baar gaaya. film sangeet ke jaankaar maanate hain ki unamein sangeet rachana ki adbhut pratibha thi. 'gme aashiki se kah do' ki dhun unhonne palak jhapakte taiyaar kar di thi. abhinay ke chakkar mein padne ki bajaay ve sangeetakaar banane ki or kadam badhaate¸ to bahut aage jaate.

gaayaki mein avsaan

saath ka dashak shuroo hote tak filmon mein unke gaane bahut kam hone lage. 'sujaata' ka jalate hain jiske liye is vakt ka unka yaadagaar geet hai. filmon ke liye aakhiri baar unhonne san 1966 mein jahaanaara mein gaayaa¸ jiske sangeetakaar madan mohan the. iske baad film sangeet ka svaroop kuchh is tarah badalne laga tha ki usamein talat jaisi aavaaj ke liye koi gunjaaish naheen bachi thi. lekin talat ke gair–filmi gaayan ka silsila baraabar chalta raha aur unke alabam nikalte rahe. gjl gaayaki ke to ve paryaaya hi ban gaye the. unki aavaaj jaise kudarat ne gjl ke liye hi rachi thi.

talat Mehmood ko san 1956 mein manch par kaaryakram ke liye dakshin Africa bulaaya gaya. is prakaar ke kaaryakram ke liye Bhaarat se kisi filmi kalaakaar ke jaane ka yeh pehla avsar tha. talat Mehmood ka kaaryakram itna safal raha ki dakshin Africa ke anek nagaron mein unke kul milaakar baais kaaryakram hue¸ fir videshon mein bhaarateeya filmi kalaakaaron ke manch kaaryakramon ka silsila chal pada. talat Mehmood in kaaryakramon mein lagaataar vyast rahe. filmi duniya se avakaash milne ke baad to desh–videsh mein aae din 'talat Mehmood night' hone lagi. unki aamdani ke kaaran talat Mehmood ko aarthik pareshaaniyon ka saamana naheen karna pada tathaapi filmon mein gaane se door ho jaane ka malaal unhein baraabar saalata rahaa¸ us samay tak ki jab tak pakshaaghaat ke kaaran ve gaane mein asamarth naheen ho gaye. tathaapi¸ unke filmi aur gair–filmi gaanon ke sunanevaalon ki taadaad ya utsaah mein kami naheen hui. do sau filmon mein unke lagbhag paanch sau aur koi dhaai sau gair–filmi gaane hain. 1962 mein unhonne Pakistani film chiraag jalata raha, sangeetakaar nihaal mohammad, ke liye do gaane gaae.

nidhan

9 May 1998 ko talat Mehmood apni nashvar kaaya chhodkar chale gaye.

baahari kadiyaaain