Naushad's style was renowned for his ability to incorporate classical rhythms into his symphonies. He based his music upon the "ragas" that formed a basis in Indian classical music, and thus his music took on complex formations and . His taste for classical music was legendary - in the Mughal musical Baiju Bawra (1952), he used actual classical singers to sing his ghazals. In spite of his classical tendencies, he could also keep up with the times and adapt Western techniques and instruments into his music, as heard in the films Jadoo (1951) and Mere Mehboob (1963). Naushad was also among the first to use the techniques of sound mixing, of separate recording of vocal and music tracks in playback singing, and using background scores to enhance characters' moods and dialogues through music.
Naushad's career continued at a steady peak throughout the 1950s and 1960s, with some of his melodies being featured in now-perennial classics like the Mughal period films Baiju Bawra (1952) and Mughal-E-Azam (1960) and the epic Mother India (1957). Unfortunately and to his distaste the times were changing and demanded more fast-paced, peppier tunes, and Naushad had to struggle to keep his music pure and classical. In fact for Saathi (1968), he was persuaded, against his will, to re-record two of his songs to pep up their pace and their appeal. It was due to this uncompromising attitude towards his music that he would only compose less than a hundred films in his lifetime.
In the 1960s, he composed for Dilip Kumar 's dacoit drama Gunga Jumna (1961), which became a smash hit in India. However, both Kumar's and Naushad's days were numbered, and as their films came unstuck at the box-office, their fortunes dwindled. Naushad was still held in high regard, but he was now given mostly period films, most notably the courtesan romance Pakeezah (1972). However, he still gave his all in his efforts and he continued composing for films right through to the 1990s. He received the Dhundiraj Govind Phalke Award in 1981 for his lifetime contribution to Bollywood cinema and in 2004, when Mughal-E-Azam (1960) was re-released in colour, he was on hand along with Dilip Kumar - to attend the premiere and revive their days of glory.
7 сен 2024
