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After that there was no looking back,with films like Mela (1948),Patanga (1949),Aankhen (1950),CID (1956),Mother India (1957),Mughal-E-Azam (1960) and others hitting the theatre.
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Mehboob sahab made sure I was comfortable and provided me with a place to live and a car, she says. The moment she set foot in Mumbai,she just fell in love with it. They paid me Rs 25 for one record that contains about 12 songs, she recalls. I used to lie to my parents and go with my uncle for recording with the Jenaphone Company,which was a sister concern of the Gramophone Company. I had no training in classical music,except for singing some Muslim naats in school and I had an unsupportive family which did not make it any easy. The next moment,she had a record contract and over the next two years her Punjabi songs topped the charts at Lahore and Peshawar radio stations. In an audition with him I sang a Zafar ghazal Mera yaar mujhse mile agar,to main jaan uspe fida karu and he asked me to stop immediately, she says. In her hometown Lahore,she courted fame and fortune even as a 13-year-old,with the composer Ghulam Haider taking her under his wing. You had to deal with a lot of things, she says.
SHAMSHAD BEGUM YOUNG PICTURE FULL
∻ut Mumbai was a huge ocean full of sharks. When her daughter Usha Ratra recalls how the filmmaker Mehboob Khan brought her from Lahore to Mumbai in 1942,the Begum adds wryly that she came away because she didnt want to be a frog in the well. But now that she has decided to open up,her memory is not failing her and her enthusiasm is unflagging. ∺nd I was really touched when a young girl like Aishwarya Rai came and met me. One of the earliest playback singers of Hindi cinema,she was content to remain behind the microphone,shying away from her own premieres and reticent to give interviews. I have no angst, says the Begum from her home in Mumbai.