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Naushad Ali (25 December 1919 – 5 May 2006) was an Indian composer for Hindi films.[1][2][3] He is widely considered to be one of the greatest and foremost music directors of the Hindi film industry. He is respectfully remembered as "Moseeqar-e-azam" ( The great musician) in the Hindi film industry.[4] He is particularly known for popularising the use of classical music in films.[5][6]

His first film as an independent music director was Prem Nagar in 1940.[7] His first musically successful film was Rattan (1944), followed by 35 silver jubilee hits, 12 golden jubilee and 3 diamond jubilee mega successes. Naushad was conferred the Dadasaheb Phalke Award and the Padma Bhushan in 1981 and 1992 respectively for his contribution to the Hindi film industry.[8]

Early life and education

[edit]

Naushad Ali was born and raised in Lucknow,[1] a city with a long tradition as a centre of Indian Muslim culture. His father, Wahid Ali, was a munshi (court clerk). As a child, Naushad would visit the annual fair at the Deva Sharif in Barabanki, 25 km from Lucknow, where all the great qawwals and musicians of those days would perform before the devotees. He studied Hindustani music there under Ustad Ghurbat Ali, Ustad Yusuf Ali, Ustad Babban Saheb and others. He also repaired harmoniums.[2]

As a lad, he joined a junior theatrical club and was appointed the club's music maestro for their theatrical presentations. He used to watch silent films at the Royal theatre in Lucknow. Theatre owners would hire a team of musicians to play the tabla, harmonium, sitar and violin. The musicians would watch the film first, make notes, finalize the scales required. When the show began in the evening, they would sit in front of the screen and play music for the scenes. This was a great way to be entertained and learn music at the same time. It made him grasp the nuances required in composing a film's background music score.

In time Naushad formed his own Windsor Music Entertainers or just Windsor Entertainers, so named because he had seen the word "Windsor" around Lucknow and liked its ring. It led to the Indian Star Theatrical Company in a theatre at Golaganj colony in Lucknow. He was trained under Laddan Khan until he became capable of working independently as a composer. There he also developed the sense to pick rare musical jewels from the folk tradition of Punjab, Rajasthan, Gujarat and Saurashtra during the company's sojourns in those regions. The travelling players got as far as Viramgam in Gujarat, where they discovered penury, even after selling off theatrical props and musical instruments. The company limped back to Lucknow through the kindness of one of Naushad's friends.

Naushad had already become a cinema fan in the silent era and then, in 1931, Indian cinema got voice and music that further fascinated the 13-year-old boy. He learnt classical and folk music against the wishes of his father. He moved to Mumbai in late 1937 for a career as a musician.[9]

Career

[edit]

In Mumbai, he initially stayed with an acquaintance from Lucknow (U.P.) at Colaba and after a while, shifted to Dadar opposite the Broadway theatre where he would sleep on the footpath. He assisted music director Ustad Jhande Khan who was at the peak of his success those days, at a monthly salary of Rs 40.

Then he worked on a film with a Russian producer with the studio located at Chembur. This film could not be completed. Naushad was a piano player so he worked as a pianist in composer Ustad Mushtaq Hussain's orchestra.[2] He then polished off an unfinished film score and got a credit as assistant to Mushtaq Hussain. Then the film company collapsed. Composer Khemchand Prakash took him on as his assistant for the film Kanchan at Ranjit Studios at a salary of Rs 60 per month, for which Naushad remained extremely grateful and in interviews, he had called Khemchand his guru.[2]

His friend, lyricist D. N. Madhok, trusted Naushad's unusual talent for composing music and introduced him to various film producers. Chandulal Shah, the owner of Ranjit Studios, offered to sign Naushad for one of his forthcoming films. Naushad composed a thumri for this film, "Bata de koi kaun gali gaye Shyam", but the film never went into production. He was assistant music director for the Punjabi film Mirza Sahib (1939).

He composed for his first independent film Prem Nagar in 1940 that had a story set in Kutch for which he did a lot of research into the folk music of the area.[9] With A.R. Kardar's film Nayi Duniya (1942), he got first credit as "music director" and he began to work regularly for Kardar Productions. He, however, had a flexibility that he could work outside Kardar Productions and this arrangement continued throughout his career. He first got noticed with A.R. Kardar's film Sharda (1942) wherein 13-year-old Suraiya debuted with the song "Panchhi Ja" for the playback for heroine Mehtab. It was Rattan (1944) that took Naushad right to the top and enabled him to charge Rs 25,000 a film during those days.[2][9]

Film expert and author Rajesh Subramanian opines that Kardar productions spent Rupees seventy five thousand in 1944 to make Rattan. The music by Naushad saheb was such a phenomenal hit that the company earned Rs 3 lacs as royalty from gramophone sales in the first year.

But his Lucknow-based family remained against music and Naushad had to hide from his family the fact that he composed music. When Naushad got married, the band was playing the tunes of the super hit songs of Naushad's film 'Rattan'. While Naushad's father and father-in-law were condemning the musician who had composed these songs, Naushad dared not tell them that it was he who had composed the music. Naushad understood Hindu and Muslim culture and the languages of those cultures.[9]

From 1942 until the late 1960s, he was one of the top music directors in Hindi films. While he did 65 films during his lifetime, 26 of those films celebrated Silver jubilees (25 weeks run) – 8 celebrated golden jubilees (50 weeks run) and 4 celebrated diamond jubilees (60 weeks run) – (inclusive count – a diamond jubilee film also celebrates Silver and Golden jubilees).

Naushad worked with several lyricists, including Shakeel Badayuni, Majrooh Sultanpuri, D. N. Madhok, Zia Sarhadi, Yusufali Kechery and Khumar Barabankvi.[9]

Mother India (1957),[9] for which he had composed music, was the first Indian film that got nominated for an Oscar award.

In 1981, Naushad was awarded the Dadasaheb Phalke Award for his lifetime contribution to Indian cinema.[6]

He composed the tunes of Taj Mahal: An Eternal Love Story (2005) at the age of 86.[2]

Amongst his assistants, Mohammed Shafi, Jerry Amaldev and Ghulam Mohammed stand out prominently.

The songs Naushad composed for the 1988 Malayalam film Dhwani which were sung by P. Susheela & K. J. Yesudas are evergreen superhits that Malayalis do repeatedly listen to even after 3 decades.

Five films have been made on his life and work. Biographical books published are Dastaan-E-Naushad (Marathi) by Shashikant Kinikar; Aaj Gaawat Man Mero (Gujarati); Hindi and Urdu biographical sketches in Shama & Sushma Magazines respectively, titled "Naushad Ki Kahani, Naushad Ki Zubani"; the last one was translated into Marathi by Shashikant Kinikar. Kinikar also came up with a book titled "Notes of Naushad" which puts together some interesting anecdotes of Naushad's life.

Naushad also composed background music for the TV serial "Akbar The Great" telecast in 1988 which was directed by Akbar Khan, brother of Hindi film stars Sanjay Khan and Feroze Khan as was also The Sword of Tipu Sultan produced and directed by Sanjay Khan and Akbar Khan which was telecast in 1990 and became very popular.

Death and legacy

[edit]

Naushad died on 5 May 2006 in Mumbai due to cardiac arrest at age 86.[1][2] He was buried at the Juhu Muslim cemetery.[10][9]

He is survived by six daughters Zubeda, Fehmida, Farida, Sayeeda, Rashida, and Waheeda and three sons Rehman Naushad, Raju Naushad & Iqbal Naushad. Rehman Naushad being the eldest of all assisted him in some of his films. Also, Naushad composed music for two movies directed by Rahman Naushad, My Friend (1974) and Teri Payal Mere Geet (1989).[9]

Naushad was ranked as one of the most respected and successful music directors of Indian Film Industry.[11]

Naushad had requested the Maharashtra State Government to sanction a plot for an institution for promoting Hindustani music. This was sanctioned during his lifetime and the 'Naushad Academy of Hindustani Sangeet' was formed.

Writer

[edit]

Naushad was also a respected and published poet and formally launched his book of Urdu poetry entitled Aathwaan Sur ("The Eighth Note") and the Navras label's album titled "Aathwan Sur – The Other Side of Naushad" having 8 ghazals as part of Hounslow's book fair and festival "Bookmela" in November 1998. The album has lyrics and composition by Naushad, arranged by Uttam Singh.[9]

Track list:

  1. Aabadiyon Mein Dasht Ka Munzar Bhi Aayega – A. Hariharan – 7:08
  2. Aaj Ki Baat Kal Pay Kyun Taalo – A. Hariharan & Preeti Uttam Singh – 6:17
  3. Ghata Chhaayi Thi Saawan Khul Ke Barsa – Preeti Uttam Singh – 7:19
  4. Kabhi Meri Yaad Unko Aati To Hogi – A. Hariharan & Preeti Uttam Singh – 6:18
  5. Mujh Ko Muaff Kijiye – A. Hariharan – 5:35
  6. Peenay Waalay Bekhudi Say Kaam Lay – A. Hariharan & Preeti Uttam Singh – 8:13
  7. Saawan Kay Jab Baadal Chhaaye – A. Hariharan – 6:50
  8. Tanhaa Khud Say Baat Karoon – Preeti Uttam Singh – 7:49

Music style

[edit]

Naushad gave a new trend to popular film music by basing his tunes on classical music ragas and folk music. Bhairavi (Hindustani) is his favourite Raga[12] Naushad was known for his skillful adaptation of the classical musical tradition for movie songs. Among all contemporary singer, Naushad Ali gave numbers of the songs to Mohammad Rafi. Most of Naushad Ali popular songs are sung by Mohammad Rafi. For some movies like Baiju Bawra, he composed all scores in classical raga modes and arranged for the well-known vocalist Amir Khan to be a music consultant for this film. Naushad could easily work with Western instruments, including the clarinet, the mandolin and the accordion. He could incorporate Western musical idioms in his compositions and compose for Western-style orchestras.[1][2][11]

During the early 1940s, recordings were done in quiet parks and gardens after midnight because the studios did not have sound-proof recording rooms. In the gardens, there would be no echo and disturbances, unlike the studios where the sound reverberated because of the tin roofs.

For films like 'Uran Khatola' and 'Amar', he recorded the voice of a particular artiste on a scale of 90, then recorded it on 70, then on 50 and so on. After the complete recording, it was played for the scene and the impact it created was terrific.

He was one of the first to introduce sound mixing and the separate recording of voice and music tracks in playback singing. He was the first to combine the flute and the clarinet, the sitar and mandolin. He also introduced the accordion to Hindi film music and was among the first to focus on background music to extend characters' moods and dialogue through music. But perhaps his greatest contribution was to bring Indian classical music into the film medium. Many of his compositions were inspired by ragas and he even used distinguished classical artistes like Amir Khan and D.V. Paluskar in Baiju Bawra (1952) and Bade Ghulam Ali Khan in Mughal-e-Azam (1960). Baiju Bawra (1952) demonstrated Naushad's grasp of classical music and his ability to bring it to the masses, for which he won the first Filmfare Best Music Director Award in 1954.[2][1]

Naushad commented on a pre-release meeting about "Baiju Bawra": "When people heard that the film would be full of classical music and ragas, they protested, 'People will get a headache and they will run away.' I was adamant. I wanted to change public taste. Why should people be fed what they like all the time? We presented them with music from our culture and it worked".

For Aan (1952), he was the first to use a 100-piece orchestra. He was the first composer to have developed the system of western notation in India. The notation for the music of the film 'Aan' was published in book form in London.

In Uran Khatola (1955), he recorded an entire song without the use of orchestra, having replaced the sound of musical instruments with choral sound of humming.

For Mughal-e-Azam (1960) song Ae Mohabbat Zindabad, he used a chorus of 100 persons.

For Ganga Jamuna (1961), he used lyrics in chaste Bhojpuri dialect.[11]

He used just six instruments in the title song of Mere Mehboob (1963).

In 2004, a colorized version of the classic Mughal-e-Azam (1960) was released, for which Naushad had the orchestral music specially re-created (in Dolby Digital) by today's industry musicians, while maintaining all the solo vocals from the original soundtrack. To elaborate, the playback vocals (though not the chorus) recorded four decades ago are mixed with orchestra tracks created in the present millennium.

As Indian film music gradually assumed a Western bend starting in the late 1960s, Naushad came to be considered old-fashioned. Composers who could compose rock-and-roll and disco-inflected music started getting increasingly popular. Naushad was still esteemed as a maestro, but his talents were sought mostly for historical movies where traditional scores were appropriate. It can be said of Naushad that in the early days of popular cinema music in the thirties and forties he set the standards for classical and folk music that resonated with the idea of India. In short he brought out the beauty of Indian music in a short film song of a few minutes which was not an easy feat. The composers who followed him were inspired by this aspect of his compositions.

Filmography

[edit]

Music director

[edit]
Film Year Director Cast Remarks/Verdict
Prem Nagar[2] 1940 Mohan Dayaram Bhavnani Ramanand, Bimla Kumari, Husn Banu, Rai Mohan, Nagendra, Salu, Gulzar Naushad was assistant for Baaghbaan (1938) and Kanchan (1941). According to him, he had composed one song in each film.
Darshan 1941 Chimanlal Muljibhoy Luhar Prem Adib, Jyoti, Kaushalya, Bhudo Advani, Miradevi, M. Nazir, Shakir, Amirbai Karnataki, Madhusudan
Mala 1941 Balwant Bhatt Jayant, Rose, Jairaj, Nazir, Daya Devi, Heera
Nai Duniya[6] 1942 Abdul Rashid Kardar Jairaj, Shobhna Samarth, Wasti, Azurie, Mazhar Khan. Hari Shivdasani, Jeevan Debut of Singer Surayya in the song "Boot Karoon main Polish"
Silver Jubilee
Sharda[2] 1942 Abdul Rashid Kardar Ulhas, Mehtab. Wasti, Nirmala, Badri Prasad Silver Jubilee
Station Master 1941 Chimanlal Muljibhoy Luhar Prem Adib, Pratima Devi, Gulab
Kanoon 1943 Abdul Rashid Kardar Mehtaab, Shahu Modak Silver Jubilee
Namaste 1943 Mohammed Sadiq Sani Wasti, Protima Das, Jagdish Sethi, Misra Silver Jubilee
Sanjog 1943 Abdul Rashid Kardar Charlie, Anwar Hussain, Mehtab Silver Jubilee
Geet 1944 S. U. Sunny Shahu Modak, Nirmala, Amir Ali
Jeevan 1944 Mohammed Sadiq Wasti, Mehtab, Badri Prasad, Anwar, Shyam Kumar
Pehle Aap 1944 Abdul Rashid Kardar Shamim, Wasti, Anwar Hussain, Jeevan, Dixit Rafi's first song for Naushad "Hindustan Ke Hum Hain" in a chorus
Silver Jubilee
Rattan[2] 1944 S Sadiq Amir Banu, Karan Dewan, Swarnalata Diamond Jubilee
Sanyasi 1945 Abdul Rashid Kardar Shamim, Amar, Misra, Shyam Kumar, Naseem Jr., Gulam Mohamad Silver Jubilee
Anmol Ghadi[6] 1946 Mehboob Khan Noorjehan, Surinder, Suraiya Diamond Jubilee
Keemat 1946 Nazir Ajmeri Amar, Sulochana Chatterjee, A Shah, Sharda, Badri Prasad, Sofia, Anwari, Nawab
Shahjehan[6][2] 1946 Abdul Rashid Kardar Kundan Lal Saigal, Ragini Silver Jubilee
Dard[2] 1947 Abdul Rashid Kardar Uma Devi, Suraiya Debut of Singer Uma Devi (Comedy Actress Tuntun) in the song "Afsana Likh Rahi Hoon"
Silver Jubilee
Elaan 1947 Mehboob Khan Himalaywala, Leela Mishra, Shah Nawaz
Naatak 1947 S. U. Sunny Suraiya, Amar, Sofiya, Kanwar, Sham Kumar, Pratima Devi Silver Jubilee
Anokhi Ada 1948 Mehboob Khan Surendra, Naseem Bano, Murad, Cuckoo Golden Jubilee
Mela[6] 1948 S. U. Sunny Dilip Kumar, Nargis, Jeevan Golden Jubilee
Andaz[6][2][11] 1949 Mehboob Khan Dilip Kumar, Raj Kapoor, Nargis Golden Jubilee
Chandni Raat 1949 Mohammed Ehsan Shyam, Naseem Bano
Dillagi[6][2] 1949 Abdul Rashid Kardar Shyam, Suraiyya, Sharda, Amir Banu, Amar Silver Jubilee
Dulari[2] 1949 Abdul Rashid Kardar Suresh, Madhubala, Geeta Bali Silver Jubilee
Babul[11] 1950 S. U. Sunny Dilip Kumar, Nargis Also as Producer
Silver Jubilee
Dastan[6] 1950 Abdul Rashid Kardar Raj Kapoor, Suraiya, Veena, Suresh Also as Co-producer
Silver Jubilee
Deedar 1951 Nitin Bose Dilip Kumar, Nimmi, Nargis, Ashok Kumar Golden Jubilee
Jadoo[2] 1951 Abdul Rashid Kardar Suresh, Nalini Jaywant Also as Co-producer
Silver Jubilee
Aan[2] 1952 Mehboob Khan Dilip Kumar, Nimmi, Nadira Golden Jubilee
Baiju Bawra[6][11] 1952 Vijay Bhatt Bharat Bhushan, Meena Kumari Also as Co-producer Film debut of singers Amir Khan and D. V. Paluskar in the song "Aaj gaavat man mero jhoomke"
Diamond Jubilee
Deewana 1952 Abdul Rashid Kardar Suraiya, Suresh, Sumitra Devi, Shyam Kumar Silver Jubilee
Amar[6][11] 1954 Mehboob Khan Dilip Kumar, Nimmi, Madhubala
Shabaab[6][11] 1954 Mohammed Sadiq Bharat Bhushan, Nutan Silver Jubilee
Uran Khatola[6] 1955 S. U. Sunny Dilip Kumar, Nimmi. Also as Producer
Silver Jubilee
Mother India[2] 1957 Mehboob Khan Nargis, Raj Kumar, Rajendra Kumar, Sunil Dutt, Kanhaiyalal Diamond Jubilee
Sohni Mahiwal 1958 Raja Nawathe Bharat Bhushan, Nimmi Debut of singer Mahendra Kapoor in the song "Chaand Chhupa Aur Taarey Doobey"
Kohinoor[11] 1960 S. U. Sunny Dilip Kumar, Meena Kumari, Kumkum, Jeevan Golden Jubilee
Mughal-e-Azam[6][2][11] 1960 Karim Asif Dilip Kumar, Madhubala, Prithviraj Kapoor, Durga Khote, Ajit Film debut of singer Bade Ghulam Ali Khan in the songs "Shubh din aayo" and "Prem jogan ban ke"
Diamond Jubilee
Gunga Jumna[2] 1961 Nitin Bose Dilip Kumar, Vyjayantimala Bali Lyrics of several songs were in Bhojpuri dialect
Golden Jubilee
Son of India 1962 Mehboob Khan Kamaljit, Kumkum, Sajid, Simi Garewal, Jayant
Mere Mehboob[2][11] 1963 Harnam Singh Rawail Rajendra Kumar, Sadhana, Ameeta, Ashok Kumar, Nimmi Silver Jubilee
Leader[2] 1964 Ram Mukherjee Dilip Kumar, Vyjayantimala Bali
Dil Diya Dard Liya[6][2] 1966 Abdul Rashid Kardar Dilip Kumar, Waheeda Rehman, Pran
Saaz Aur Awaaz 1966 Subodh Mukherji Saira Banu, Kanhaiyalal, Joy Mukherjee
Palki[2][11] 1967 S. U. Sunny Rajendra Kumar, Waheeda Rehman, Rehman, Johnny Walker Also as Writer
Ram Aur Shyam[2] 1967 Tapi Chanakya Dilip Kumar, Waheeda Rehman, Mumtaz, Pran, Nirupa Roy, Leela Mishra Golden Jubilee
Aadmi 1968 A. Bhimsingh Dilip Kumar, Waheeda Rehman, Manoj Kumar
Saathi 1968 C. V. Sridhar Rajendra Kumar, Vyjayantimala Bali, Simi Garewal
Sunghursh 1968 Harnam Singh Rawail Dilip Kumar, Vyjayanthimala, Balraj Sahni
Ganwaar 1970 Naresh Kumar Rajendra Kumar, Vyjayantimala Bali, Nishi
Pakeezah[9] 1972 Kamal Amrohi Raj Kumar, Meena Kumari, Ashok Kumar Background Score and a few songs
Golden Jubilee
Tangewala 1972 Naresh Kumar Rajendra Kumar, Mumtaz, Sujit Kumar
My Friend 1974 M Rehman Rajeev, Prema Narayan, Utpal Dutt, Jagdeep, Asit Sen, Tuntun
Sunehra Sansar 1975 Adurti Subba Rao Rajendra Kumar, Hema, Mala Sinha
Aaina 1977 Kailasham Balachander Mumtaz, Rajesh Khanna
Chambal Ki Rani 1979 Radhakant Mahendra Sandhu, Dara Singh, Chand Usmani
Dharam Kanta 1982 Sultan Ahmed Raj Kumar, Waheeda Rehman, Jeetendra, Reena Roy, Rajesh Khanna, Sulakhshana Pandit
Paan Khaae Sainyyan Humaar 1985 Sujit Kumar Sujit Kumar, Bandini, S. N. Tripathi Bhojpuri film
Love and God 1986 K. Asif Sanjeev Kumar, Nimmi, Pran
Dhwani 1988 A. T. Abu Prem Nazir, Jayaram, Shobana Malayalam film
Teri Payal Mere Geet 1989 Rehman Naushad Govinda, Meenakshi Seshadri
Awaaz De Kahan Hai 1990 Sibte Hassan Rizvi Bindu, Annu Kapoor, Satyendra Kapoor
Guddu 1995 Prem Lalwani Shah Rukh Khan, Manisha Koirala, Mukesh Khanna
Taj Mahal: An Eternal Love Story[2][9] 2005 Akbar Khan Kabir Bedi, Sonia, Monisha Koirala Last released work of Naushad, famous for songs like "Apni Julfein" sung by Hariharan, and other songs
Hubba Khatoon Unreleased B. R. Chopra Sanjay Khan, Zeenat Aman "Jis Raat Ke Khwaab Aaye", sung by Rafi is released

Non-film album

[edit]

Producer

[edit]
  • Maalik (1958) Music Director for this film was Ghulam Mohammed (composer)
  • Uran Khatola (1955)
  • Babul (1950)
  • Jeevan Jyoti (1953, co-producer; music director for this film was SD Burman)
  • Gawaiya (1954, co-producer; music director for this film was Ram Ganguly)
  • Yasmin (1955, co-producer; music director for this film was C Ramchandra)
  • Dastan (1950)
  • Jadoo (1951)

Storywriter

[edit]

Awards and recognition

[edit]
Naushad on a 2013 stamp of India

Positions held

[edit]
  • President of Cine Music Directors Association
  • Chairman of Indian Performing Rights Society
  • President of Maharashtra State Angling Association
  • President of Alam-E-Urdu Conference (Delhi)
  • The title of Special Executive Magistrate, Mumbai

Bibliography

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Naushad

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from Grokipedia
Naushad Ali (25 December 1919 – 5 May 2006) was an influential Indian renowned for his work in , where he blended Hindustani classical ragas, folk traditions, and Western orchestral elements to create enduring film scores. Born in , , he ran away to in the late against his father's wishes, initially surviving by repairing harmoniums and sleeping on footpaths before assisting composers like . His debut came with the 1940 film Prem Nagar, but he achieved breakthrough success with Rattan (1944), which became a massive hit and established him as a leading during Bollywood's golden age from the 1940s to the 1970s. Over his career spanning more than six decades, Naushad composed music for over 65 films, including iconic works like Baiju Bawra (1952), Mother India (1957)—India's first Oscar-nominated film—Mughal-e-Azam (1960), and Pakeezah (1972), for which he completed the score after the original composer's death. He popularized classical music in mainstream cinema, introducing full orchestras, violins, and brass instruments while innovating recording techniques such as separate tracks for vocals and orchestra. Naushad also mentored and launched the careers of legendary singers like Mohammed Rafi and Lata Mangeshkar, and collaborated closely with lyricists such as Shakeel Badayuni. His films achieved remarkable commercial success, with 35 silver jubilee hits, 12 golden jubilees, and three diamond jubilees. Naushad received the prestigious Dadasaheb Phalke Award in 1981 for his contributions to Indian cinema, along with the Padma Bhushan in 1992, recognizing his role as a pioneer who elevated film music to an art form. Drawing inspiration from regional folk styles of Punjab, Rajasthan, Gujarat, and Saurashtra, he created a distinctive semi-classical style that remains influential. His final composition was for Taj Mahal: An Eternal Love Story in 2005 at the age of 86, underscoring his lifelong dedication until his death in Mumbai.

Early life

Family background

Naushad Ali was born on 25 December 1919 in , , into a conservative Muslim family of modest means. His father, Wahid Ali, worked as a , or court clerk, in the local administration, providing a stable but unremarkable livelihood for the household. His mother was a homemaker who managed the daily affairs of the family, though specific details about her role in Naushad's upbringing remain limited in historical accounts. Lucknow, known for its rich tradition as a center of Indian Muslim culture and artistic heritage, profoundly shaped Naushad's early environment. The buzzed with musical influences, including qawwalis performed by renowned artists at the annual fair in Deva Sharif, a Sufi about 25 kilometers away in , where Naushad frequently visited as a child. He was also captivated by the live orchestras accompanying silent films at venues like the Royal Theatre on Latouche Road, near his family's home, where musicians played instruments such as the , harmonium, and to enhance the screenings. These exposures ignited his passion for music from a young age, despite the family's orthodox outlook that viewed artistic pursuits with skepticism. The household dynamics reflected the era's conservative values, with Naushad growing up in a setting that prioritized practicality over creative endeavors. His father's profession influenced expectations for Naushad to pursue a similar clerical path, leading to parental disapproval of his growing interest in music. Limited records exist on his siblings, but the modest family circumstances fostered an atmosphere of , encouraging Naushad's initial self-taught explorations into and amid everyday constraints. This early tension between familial duties and personal inclination laid the foundation for his independent musical journey.

Musical training in Lucknow

Naushad Ali's musical journey began in , where he received his foundational training in under the guidance of local maestros. He apprenticed with Ghurbat Ali at the harmonium Bhondu and Company, alongside Yusuf Ali and Babban Saheb, learning the intricacies of classical forms during his teenage years. These mentors introduced him to various key ragas of , emphasizing the structural and melodic principles of the tradition, which he practiced rigorously despite his father's initial opposition to pursuing music as a profession. Complementing his formal apprenticeship, Naushad developed self-taught skills through immersive exposure to local performances and media. He repaired harmoniums to support himself, honing his proficiency on the instrument while absorbing techniques from daily interactions with musicians. Influenced by broadcasts and gramophone records, he independently studied classical pieces, replicating melodies by ear and building a deep understanding of rhythmic and tonal nuances. His frequent visits to the Royal Theatre in , where he observed live orchestras accompanying silent films, further shaped his ear for ensemble playing and improvisation. The cultural milieu of the region profoundly enriched Naushad's training, immersing him in its folk traditions alongside classical elements. Lucknow's syncretic heritage, blending Hindu and Muslim influences, exposed him to , , and other semi-classical forms rooted in Awadh's poetic and performative legacy. Through participation in local theatrical clubs, including his role as for a junior group and later founding the Windsor Music Entertainers, he experimented with integrating these folk idioms into original scores for amateur plays. These early compositions, often performed in community settings like Golagunj, solidified his foundational knowledge and prepared him for broader applications.

Career

Move to Mumbai and early struggles

In late 1937, at the age of 18, Naushad Ali left for , driven by his passion for music despite his father's disapproval, carrying only the skills in Hindustani classical and folk traditions he had acquired through informal training. Upon arrival, he initially stayed with an acquaintance from in , but soon faced the harsh realities of the city, including periods of homelessness where he slept on footpaths in areas like . This relocation marked the beginning of his determined effort to enter the burgeoning , though it was fraught with uncertainty and isolation from his family. Naushad's early days in were defined by financial desperation and menial labor to survive. He took up odd jobs, including repairing harmoniums—a skill he had honed in —and working as a cleaner in a shop that sold and fixed musical instruments, where he observed and learned from customers and repairs. These roles provided meager sustenance but exposed him to the local music scene, including amateur theatrical groups for which he occasionally composed. Despite these efforts, persisted; he often went and endured rejections from studios wary of an unproven talent from outside the established networks. Gradually, Naushad began forming tentative associations with filmmakers during the transition from silent films to talkies. He worked uncredited on minor productions, contributing to the shift toward synchronized soundtracks, and secured his first formal role as an assistant pianist in composer Mushtaq Hussain's orchestra. By around 1940, he joined Ranjit Studios as an assistant to —whom he regarded as a mentor—for a salary of Rs 60 per month, arranging scores and gaining practical experience in film composition amid ongoing hardships. These early positions, though low-paying and precarious, laid the groundwork for his persistence in the industry, as he navigated constant financial instability and the competitive environment of pre-independence cinema.

Breakthrough films

Naushad's debut as an director came with the film Prem Nagar, directed by Mohan Bhavnani, where he composed the score for a story set in Kutch, incorporating local folk elements after extensive . However, the film had limited commercial and musical impact, failing to establish his name prominently in the industry at the time. His true breakthrough arrived with in 1944, directed by M. Sadiq, which featured a blending folk and classical influences and became a major musical success, achieving status with a 25-week theatrical run. The film's hits, including the poignant "Aaoge Jab Tum Saajna" sung by , showcased Naushad's ability to create enduring melodies that propelled both the singer and composer to stardom, marking his shift from assistant roles to a leading figure in . Naushad consolidated his reputation with (1946), directed by , a romantic drama starring Surendra, , and that became the highest-grossing Indian film of the year and celebrated a run. The soundtrack's timeless songs, such as "Awaaz De Kahaan Hai," highlighted Naushad's melodic prowess and contributed to the film's breakthrough status for him as a composer capable of driving box-office success. By 1949, Andaz, another Mehboob Khan production starring , , and , further elevated Naushad's standing with its blockbuster performance, briefly holding the record as the highest-grossing Indian film until surpassed later that year. The album featured key collaborations, including Mukesh's playback for in hits like "Tum Mere Aandhiyon," and marked Lata Mangeshkar's first major work with Naushad—introduced by Mukesh—through songs such as "Uthaye Ja Unke Sitam," blending emotional depth with commercial appeal and solidifying Naushad's transition to a top composer with multiple silver jubilee successes in the decade.

Established career and major works

Following his breakthrough in the late , Naushad Ali entered a prolific phase in the and , solidifying his reputation as one of cinema's premier composers through landmark films that blended classical elements with popular appeal. Over his career, he scored music for 65 films, achieving remarkable commercial success with 35 hits (running 25 weeks or more), 12 successes (50 weeks or more), and 3 mega-hits (75 weeks or more). This era showcased his ability to elevate epic narratives with enduring soundtracks, often drawing on Hindustani classical ragas while ensuring accessibility for mass audiences. One of Naushad's defining works was (1952), a musical drama centered on a legendary singer's rivalry, for which he composed a soundtrack deeply rooted in , earning him the first Award for Best Music Director in 1954. The film's songs, including renditions in rare ragas like and Yaman, highlighted his innovative fusion of tradition and cinema, contributing to its status as a cultural milestone. Similarly, (1957), directed by , featured Naushad's evocative score that underscored themes of resilience and sacrifice; the film became the first Indian entry nominated for the Academy Award for Best Foreign Language Film in 1958. Naushad's collaboration with director reached its zenith in (1960), a lavish historical epic that took over a decade to complete and became one of cinema's highest-grossing films. The soundtrack, comprising 20 songs, blended orchestral grandeur with romantic melodies, such as the iconic "," and ran for over 50 weeks in theaters, exemplifying Naushad's skill in scoring for period dramas. Throughout this period, Naushad frequently partnered with lyricist , whose poetic verses complemented his melodies in films like and , creating timeless hits that explored devotion, love, and pathos. He also forged strong ties with singers Mohammad Rafi and ; Rafi's versatile voice brought emotional depth to tracks like "O Duniya Ke Rakhwale" from , while Mangeshkar's renditions, such as "Mohe Panghat Pe" from , showcased ethereal classical phrasing. These alliances amplified the emotional resonance of his compositions, often tailored to actors like in Asif's projects. Naushad's established career was supported by a dedicated where assistants played crucial roles in and . Notably, Mohammed Shafi, a skilled sitarist, served as his primary assistant for nearly 14 years, contributing to the intricate layering of instruments in major works like Mughal-e-Azam and helping maintain Naushad's rigorous standards for classical authenticity. This collaborative environment not only enhanced production efficiency but also influenced the next generation of composers.

Later years

In the 1970s and beyond, Naushad adopted a highly selective approach to his film compositions, limiting his output to just 65 films across a career spanning over 60 years, prioritizing quality and artistic integrity over volume. This selectivity was evident in his uncredited contributions to Pakeezah (1972), where he completed the soundtrack following the death of primary composer Ghulam Mohammed, adding key elements like the thumri "Najariya Ki Maari" to enhance its classical depth. As Bollywood evolved in the toward more commercial, fast-paced music driven by profit motives, Naushad's traditional fusion of classical ragas and folk elements found less alignment with industry trends, contributing to his reduced productivity alongside the challenges of advancing age. His major works from earlier decades, such as , remained a foundation for occasional enduring demand, leading him to focus on legacy preservation through sparse but meaningful engagements rather than new prolific output. Naushad's final major project came at age 85 with the score for (2005), praised for its evocative melodies despite the film's mixed reception, marking the culmination of his active period from 1940 to 2005. In these years, he shifted emphasis toward guiding and influencing younger talents in the field, drawing on his vast experience to mentor emerging musicians.

Personal life

Marriage and family

Naushad Ali married Alia Begum in the early , a union facilitated by his parents who introduced him to the bride's family as a to circumvent the associated with his emerging career in the film industry. The couple settled in , where Naushad established his professional life amid the bustling film scene. While details about his wife remain private, reflecting the family's low public profile. Together, they had nine children—six daughters and three sons—who pursued varied paths, with much of the family maintaining a low public profile. One son, Rehman Naushad, entered the music and as a and director, assisting his father on several projects and later helming his own films such as (2007). Naushad balanced the demands of his prolific career, which often required long hours in studios and on sets, with family responsibilities in their Mumbai home, though specific accounts of personal struggles or intimate family dynamics are limited in available records.

Interests and positions held

Naushad Ali was an avid angler, a hobby he pursued with great passion throughout his life, often finding solace in the activity amid his demanding professional schedule. He served as the president of the Maharashtra State Angling Association, a role in which he actively promoted sustainable fishing practices and organized events to foster community interest in the sport. In addition to his recreational pursuits, Naushad held prominent leadership positions within the Indian music industry. He was the president of the Cine Music Directors Association, advocating for the and welfare of film composers during a transformative era for Bollywood. He also chaired the Indian Performing , where he played a key role in protecting and ensuring fair royalties for musicians, as evidenced by his participation in high-level discussions with government officials on IPR reforms. Beyond these organizational roles, Naushad nurtured a deep interest in poetry and literature, particularly , which reflected his cultural roots. He authored and published a collection of Urdu poetry titled Aathwaan Sur ("The "), showcasing his lyrical sensibility outside of film compositions. This work highlighted his engagement with literary traditions, often drawing from themes of emotion and harmony that resonated within India's Urdu-speaking cultural milieu. Naushad's commitment extended to broader cultural preservation, including his presidency of the Alam-e-Urdu Conference in , where he supported initiatives to promote language and literature among diverse communities. His involvement in such forums underscored his dedication to fostering cultural dialogue in urban centers like , where he resided and contributed to intellectual and artistic circles.

Musical style

Influences from classical and

Naushad's compositions were deeply rooted in Hindustani classical music, particularly through the integration of traditional ragas that lent emotional depth and structural integrity to his film songs. He frequently employed ragas such as Bhairavi, Yaman, and Malkauns, drawing from their melodic frameworks to evoke pathos, devotion, and romance. For instance, in the 1952 film Baiju Bawra, the song "Tu Ganga Ki Mauj" is set in raga Bhairavi, capturing a serene yet poignant devotion, while "Man Tarpat Hari Darshan Ko Aaj" utilizes Malkauns to convey spiritual yearning. Similarly, Yaman (also known as Aiman) appears in tracks like "Humein Kash Tum Se Mohabbat Na Hoti" from Mughal-e-Azam (1960), where its tranquil ascent underscores themes of unrequited love. Folk traditions from the region, where Naushad was born and trained in , profoundly shaped his melodic palette, blending semi-classical forms like with regional dialects and rhythms. He incorporated Awadhi elements, evident in songs such as "Ae Dil-e-Beqarar Jhoom" from Shahjehan (), which merges raga with 's expressive improvisation. influences surfaced in devotional and Sufi-inspired numbers, like "Mein Idhar Jaoon Ya Udhar Jaoon" from Palki (1967), set in raga and featuring call-and-response patterns typical of qawwali assemblies. Punjabi folk traditions, including motifs from Pahadi raga, were conjoined with Awadhi styles in compositions like "Jo Main Jaanti Bisrat Hain Sayyan" from Shabab (1954), using Maand raga and Bhojpuri to infuse rustic vitality. These folk integrations preserved cultural authenticity while adapting to cinematic narratives. In his orchestral arrangements, Naushad elevated traditional Indian instruments to create lush, symphonic textures that bridged classical purity with film demands. The provided intricate melodic lines, as in "Madhuban Mein Radhika Naache Re" from (1960), where it anchors the raga's playful rhythm. and sarangi offered rhythmic propulsion and emotive bowing, respectively, underpinning songs like "O Duniya Ke Rakhwale" from , enhancing the raga's dramatic intensity. The harmonium, a staple in his early theatre exposure, sustained harmonic support in choral sections, ensuring tonal fidelity to the ragas employed. This instrumentation not only amplified folk and classical nuances but also pioneered their orchestral scale in .

Innovations and techniques

Naushad pioneered the integration of large-scale into Indian film music, notably introducing a 100-piece for the 1952 film Aan, which allowed for richer, more dynamic soundscapes unprecedented in the industry at the time. This innovation extended to advanced recording techniques, including the separate tracking of vocals and music, marking one of the earliest applications of such methods in playback to achieve greater clarity and separation. Building on his foundation in , Naushad masterfully fused Western instruments like , , , and with traditional Indian ones such as the , , , and , creating harmonious blends that preserved the essence of classical ragas without dilution. For instance, he innovatively paired the with the and the with the , introducing novel timbres that enriched film scores while maintaining cultural authenticity. Naushad emphasized situational composition, crafting songs that seamlessly aligned with the film's narrative and emotional context to enhance storytelling. In historical epics, this approach ensured musical elements reflected period-specific traditions, such as incorporating Mughal court music styles blended with classical ragas for authenticity. In playback singing, Naushad advanced vocal precision by mentoring singers to deliver classical nuances, particularly guiding Mohammed Rafi to refine his technique for intricate raag-based renditions that demanded exact intonation and expression. This collaboration elevated playback to a level where singers could embody the composer's vision with technical accuracy rooted in classical training.

Other professional roles

As writer

Naushad Ali, renowned primarily for his contributions to Indian film music, also pursued literary endeavors, culminating in the publication of his Urdu poetry collection Aathwaan Sur in 2006 by the Naushad Academy of Hindustani Sangeet. This book, meaning "The Eighth Note," compiles his ghazals, showcasing a poetic voice that intertwined his musical sensibilities with introspective verse. The ghazals in Aathwaan Sur explore profound themes, including , , and the emotional depths evoked by . Love appears in poignant expressions of longing and attachment, as in the line "Mera Daaman Se Lipatana Aap Shayad Bhool Gaye" (You may have forgotten my passionate tying up with the hem of your apparel). Spirituality manifests through philosophical reflections on transience, such as "Duniya Kahin Jo Banti Hai, Mit-Ti Zaroor Hai" (Wherever a emerges, it also gets obliterated). The poetry's inherent musicality underscores music's role in conveying emotional nuance, with cadences transforming into verses that reflect Naushad's lifelong immersion in melody. Examples like "Zindagi Mukhtasar Mili Thi Humein/ Hasratein Beshumaar Le Ke Chale" (I got a limited span of life/ Leaving with countless unfulfilled wishes) highlight resilience amid life's impermanence. Naushad's motivation for this literary work stemmed from a desire to express personal philosophies unbound by the constraints of narratives, allowing his to stand independently and delve deeper into existential and emotional realms often overshadowed by his compositional fame. Complementing the book, a non- titled Aathwan Sur: The Other Side of Naushad was released in by Navras Records, featuring eight ghazals from the collection. Arranged by with lyrics and compositions by Naushad, the includes performances by artists such as Hariharan and Preeti Uttam, bringing his verses to life through melody while preserving their poetic essence.

As producer and administrator

Beyond his renowned role as a composer, Naushad Ali took on producing responsibilities for select films, beginning with Babul (1950), where he served as while also directing and managing key aspects of production to align the soundtrack with the story's emotional depth. This debut production featured stars like and , showcasing Naushad's ability to oversee creative and logistical elements in a post-independence era of Indian cinema. He extended this role to Uran Khatola (1955), producing the fantasy adventure starring and , again composing the score and ensuring musical elements enhanced the film's whimsical narrative and aerial themes. These ventures highlighted Naushad's holistic approach to filmmaking, bridging composition with production oversight to maintain artistic integrity amid budgetary and scheduling constraints typical of the film industry. In administrative capacities, Naushad mentored key figures in the music scene, including composer Ghulam Mohammed, who assisted him for over twelve years, absorbing techniques in , raga-based composition, and film scoring that later defined Mohammed's own acclaimed works like . This guidance extended to other assistants, fostering a generation of musicians attuned to blending classical traditions with cinematic demands. Naushad also contributed to music education by establishing the Naushad Academy of Hindustani Sangeet, a dedicated to training young artists in classical vocal and forms, fulfilling his vision for preserving and promoting Hindustani music amid the dominance of commercial film scores. The academy, formed during his lifetime, continues to host performances and workshops, reflecting his commitment to nurturing talent beyond the film world.

Death and legacy

Final days and funeral

In his later years, Naushad experienced declining health, culminating in his admission to in on April 20, 2006, after complaining of uneasiness. He remained under treatment there for several weeks amid ongoing cardiac issues. Naushad died on May 5, 2006, from at the age of 86 while still hospitalized in . His Iqbal Naushad announced the death to the media, noting that the family had been by his side during his final days. The funeral procession began from his residence the following day, with Naushad buried at Muslim cemetery in . The ceremony was attended by prominent figures from the film industry. His family oversaw the arrangements, and he was survived by three sons and six daughters.

Cultural impact and tributes

Naushad's integration of into Hindi film soundtracks revolutionized the genre, making ragas and traditional forms accessible to mass audiences and elevating film music's artistic depth. His compositions in films like (1952) popularized classical elements such as raga-based melodies, influencing subsequent generations of composers by demonstrating how traditional music could blend with cinematic . This approach inspired modern artists, including , who credited early encounters with Naushad's work for guiding his entry into film composition. Rahman adopted the stage name Allah Rakha Rahman on Naushad's suggestion. Critics and historians consistently rank Naushad among India's foremost music directors, praising his role in shaping Bollywood's golden era through over 35 hits that defined popular taste. His enduring influence is evident in the timeless appeal of his scores, which bridged folk, classical, and orchestral styles to create a uniquely Indian film music adopted by later creators. Posthumously, Naushad's legacy is preserved through institutions like the Naushad Academy of Hindustani Sangeet, established in fulfillment of his lifelong wish to train young artists in classical traditions, with family involvement in its founding and operations. The academy continues to host events, such as concerts in 2025, promoting Hindustani . Tributes include detailed biographies such as Naushadnama: The Life and of Naushad by Raju Bharatan, which draws on decades of personal insights to chronicle his contributions. Documentaries like Mausiqar-e-Azam (1986) and Sartaj-e-Mousiqui (2013) highlight his techniques and impact through archival interviews and performances. Annual commemorations occur in , his birthplace, via events like the Naushad Samman awards, and in through music societies and cultural programs honoring his birth and death anniversaries.

Awards and recognition

National and film awards

Naushad Ali's contributions to Indian film music were recognized through several prestigious national and industry awards during his lifetime, highlighting his innovative fusion of classical and folk elements in cinematic scores. In 1981, he received the , India's highest honor in cinema, for his lifetime achievement in composing music that elevated the artistic standards of films. This award acknowledged his pioneering work across decades, including landmark scores that integrated ragas into popular melodies. The conferred the upon Naushad in 1992, the third-highest civilian honor, specifically for his excellence in the field of arts through music direction. The accolade reflected his enduring impact on Bollywood's musical landscape, where he composed for over 65 films. Naushad won the inaugural Award for Best Music Director in 1954 for his score in (1952), a celebrated for its classical renditions that brought Hindustani music to mainstream audiences. This victory marked a milestone, as the soundtrack's songs, such as those based on rare ragas, earned widespread acclaim for their authenticity and emotional depth. In 1961, he received the Bengal Film Journalists' Association Award for Best Music Director for Gunga Jumna. In 1984, Naushad was awarded the by the for his contributions to music. His overall body of work was honored with a Special Award at the in 2005, recognizing his foundational role in shaping Indian film music over five decades. Additionally, the film (1963), for which Naushad composed the music, received a Certificate of Merit at the 11th National Film Awards as the Second Best in , underscoring the score's contribution to the film's artistic success.

Posthumous honors

In 2013, India issued a commemorative honoring Naushad Ali as part of the "100 Years of Indian Cinema" series, recognizing his enduring contributions to . The Smule Mirchi Music Awards presented a special posthumous honor to Naushad in 2021, titled the "Golden Era" award, celebrating his iconic compositions such as those featuring in films like . In the 2020s, the World Book of Records posthumously included Naushad as one of the immortal music directors of the Indian , acknowledging his pioneering fusion of classical and folk elements in Bollywood soundtracks. Following his death, published an obituary on June 8, 2006, describing Naushad as a master of Bollywood magic whose work blended Indian classical traditions with cinematic . Ongoing tributes include annual and festivals dedicated to his legacy, such as the "Aathwan Sur" tribute concerts that highlight his compositions.

Filmography

As music director

Naushad Ali debuted as an independent with the film Prem Nagar in 1940, marking the beginning of a prolific career spanning over six decades in which he composed for over 65 films. His work emphasized classical Indian music influences blended with popular melodies, collaborating frequently with leading directors like and , and stars such as and . While many of his compositions achieved commercial success, he maintained a selective approach, prioritizing quality over quantity.

1940s

Naushad's early films in this decade established his foundation in the industry, often under the banner of Kardar Productions, with modest budgets and emerging talents.
  • Prem Nagar (1940, dir. D.N. Madhok) – His debut feature.
  • Kanchan (1941, dir. P.C. Barua).
  • Darshan (1941, dir. D.N. Madhok).
  • Mala (1941, dir. P.C. Barua).
  • Nai Duniya (1942, dir. N.M. Zuberi).
  • Sharda (1942, dir. K. Darbak, cast: Mehtab, Chandra Mohan).
  • Leela (1943, dir. M. Sadiq).
  • Rattan (1944, dir. M. Sadiq, cast: Swarnalata, Karan Dewan) – A musical breakthrough with hit songs like "Aayiye Aayiye".
  • Anmol Ghadi (1946, dir. Mehboob Khan, cast: Noor Jehan, Surendra) – Blockbuster hit, known for timeless tracks like "Awaaz De Kahan Hai".
  • Mela (1948, dir. S.U. Sunny, cast: Dilip Kumar, Nargis) – Super hit, featuring the popular song "Dheere Se Aaja Ri Ankhiyan Mein".
  • Chandni Raat (1949, dir. P.L. Santoshi, cast: Dev Anand, Suraiya).
  • Dulari (1949, dir. A.R. Kardar, cast: Shyam, Madhubala).

1950s

This decade saw Naushad's rise to prominence with epic scores and box-office triumphs, collaborating on socially resonant narratives.
  • Babul (1950, dir. S.U. Sunny, cast: , ) – Also produced by Naushad; hit with songs like "Deewana Hua Baad."
  • Deedar (1951, dir. , cast: , ) – Major success, featuring "Bachpan Ke Din."
  • Jadoo (1951, dir. A.R. Kardar).
  • (1952, dir. , cast: , Nadira) – India's first film; grand score including "Dil-e-Nadaan."
  • Baiju Bawra (1952, dir. , cast: , ) – All-time blockbuster, celebrated for classical renditions like "O Duniya Ke Rakhwale"; won National Film Award for Best Music.
  • Amar (1954, dir. Mohan Segal, cast: , ).
  • Shabaab (1954, dir. M. Sadiq, cast: , ).
  • Uran Khatola (1955, dir. S.U. Sunny, cast: , ) – Produced by Naushad; aerial adventure hit.
  • Shatranj (1956, dir. ).
  • (1957, dir. , cast: , ) – Monumental box-office success, achieving diamond jubilee run (over 50 weeks); first Indian film Oscar-nominated for Best Foreign Language Film; iconic tracks like "Duniya Men Hum Aaye."
  • Sohni Mahiwal (1958, dir. Raja Saheb, cast: , Nadira).
  • Maalik (1958, dir. J. Rogers).

1960s

Naushad's compositions in this era blended historical grandeur with romantic themes, yielding several enduring classics.

1970s

Naushad's output slowed, focusing on selective projects with deep emotional resonance.
  • Pakeezah (1972, dir. , cast: ) – Posthumous release for the star; critically acclaimed score with gems like "Inhi Logon Ne."
  • My Friend (1974, dir. Rahman Naushad).
  • Sunehra Sansar (1975, dir. ).
  • Aaina (1977, dir. ).
  • Chambal Ki Rani (1979, dir. Radhakant).

1980s–2000s

In his later years, Naushad contributed to fewer but meaningful films, including family dramas and historical retellings.
  • Dharam Kanta (1982, dir. Sultan Ahmed).
  • Love and God (1986, dir. T. Rama Rao, cast: Naseeruddin Shah).
  • Teri Payal Mere Geet (1989, dir. Rahman Naushad).
  • Guddu (1995, dir. Prem Lalwani, cast: Govinda, Mahima Chaudhry).
  • Le Chal Apne Sang (2000, dir. Aspi).
  • Taj Mahal (2005, dir. T.K. Rajeevnath, cast: Mahima Chaudhry, Ronit Roy) – His final composition, a historical romance.
This selective grouping highlights major credits; for a complete list, refer to comprehensive sources. Total career: over 65 films.

As producer

Naushad entered film production through his company, Sunny Art Productions, where he served as for three films, allowing him greater control over creative elements like music integration alongside logistical aspects such as budgeting and casting. His debut as producer was Babul (1950), a drama directed by S.U. Sunny and starring and , which explored themes of familial bonds and sacrifice. In this role, Naushad managed production finances and selected key cast members, ensuring seamless incorporation of his original musical score to enhance the narrative's emotional depth. The film achieved significant commercial success, ranking as the second-highest grossing Indian film of 1950 with an estimated nett collection of ₹1.25 . Naushad followed this with Uran Khatola (1955), another collaboration with director S.U. Sunny, featuring and in a romantic tale involving fantasy elements like a flying bedstead. As , he oversaw the budget allocation and casting decisions, while closely integrating his compositions to drive the film's appeal. This production marked a box-office hit, attaining status (25 weeks of theatrical run) largely due to its memorable music and strong performances. His final production effort was (1958), directed by S.M. Yusuf and starring , where Naushad handled production oversight including composer selection—entrusting the music to Mohammed—while managing overall budgets and creative alignment. Though less prominent than his earlier ventures, it rounded out his brief foray into producing, reinforcing his reputation for artistically driven projects that bolstered his career in .

As storywriter

Naushad's forays into storywriting for films were limited, and confirmed credits are sparse or unverified in major sources. He occasionally contributed to narratives drawing from cultural motifs, but such roles were not a primary focus of his career, prioritizing his work in music. Details on specific contributions remain anecdotal in some accounts.

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  42. https://thewire.in/the-arts/naushad-the-musical-journey-of-a-musical-man
  43. https://www.outlookindia.com/art-entertainment/saira-banu-on-63-yrs-of-mughal-e-azam-dilip-sahib-s-portrayal-of-salim-was-a-sight-to-behold-news-308359
  44. https://rotarynewsonline.org/naushad-the-kohinoor-of-bollywood-music/
  45. https://www.thehansindia.com/featured/sunday-hans/naushad-the-maestro-who-revolutionised-indian-film-music-933336
  46. https://www.irasspublisher.com/assets/articles/1735989004.pdf
  47. https://www.rekhta.org/poets/naushad-ali/ghazals
  48. https://www.newageislam.com/spiritual-meditations/sumit-paul-new-age-islam/cadences-became-verses-when-naushad-wrote-poetry/d/131383
  49. https://www.india-instruments.com/classical-vocal-cd-details/aathwan-sur-the-other-side-of-naushad.html
  50. https://myswar.co/album/babul-1950
  51. https://indiancine.ma/FTF
  52. https://in.bookmyshow.com/person/naushad-ali/IEIN010861
  53. https://indianexpress.com/article/entertainment/bollywood/bollywoods-unluckiest-music-director-earned-rs-100-a-month-won-national-award-yet-struggled-for-work-died-before-his-musical-masterpiece-pakeezah-10343560/
  54. https://www.millenniumpost.in/sundaypost/inland/ghulam-mohammed-the-percussionist-composer-328826
  55. https://theprint.in/ani-press-releases/an-enchanting-evening-of-classic-songs-and-ghazals-by-padma-shri-anup-jalota-at-naushad-academy-of-hindustani-sangeet-concert/2043723/
  56. https://www.sangritoday.com/spotlight/a-harmonious-melody-naushad-academy-of-hindustani-sangeet-mesmerizes-mumbai
  57. http://beta.dawn.com/news/191026/magical-musician-naushad-dies
  58. https://m.economictimes.com/legendary-composer-naushad-is-dead/articleshow/1518430.cms
  59. https://www.upi.com/Entertainment_News/2006/05/05/Bollywood-composer-Naushad-dead-at-86/88591146854717/
  60. https://www.indiaforums.com/forum/sa-re-ga-ma-pa-singing-superstar/274578/veteran-music-composer-naushad-passes-awa
  61. https://theprint.in/theprint-profile/100-years-of-naushad-8-classics-that-show-how-he-changed-the-landscape-of-hindi-film-music/340282/
  62. https://www.theguardian.com/music/2010/apr/01/ar-rahman-slumdog-millionaire
  63. https://rahmaniac.com/biography/ar-rahman-musical-journey/impressed-by-naushad/
  64. https://gopalhome.tripod.com/arrbio.html
  65. https://www.imdb.com/name/nm0006210/trivia/
  66. https://www.mid-day.com/buzzfeed/article/a-celestial-celebration-of-sound-naushad-academy-of-hindustani-sangeet-presented-an-instrumental-odyssey-7795
  67. https://books.google.com/books/about/Naushadnama.html?id=mg09BAAAQBAJ
  68. https://www.youtube.com/watch?v=eb8g7w9nTQc
  69. https://www.youtube.com/watch?v=dCXlhhJ7GCY
  70. https://timesofindia.indiatimes.com/entertainment/hindi/music/news/sonu-nigam-to-be-conferred-naushad-samman-in-lucknow/articleshow/73697496.cms
  71. https://indianexpress.com/article/cities/lucknow/in-memory-of-mughalemusic/
  72. https://dashboard-padmaawards.gov.in/?Year=1992-1992
  73. https://myswar.co/artist/naushad
  74. https://timesofindia.indiatimes.com/entertainment/movie-awards/filmfare-awards-winners/bollywood/2005/101
  75. https://www.nfdcindia.com/site/nfaawards.aspx?awardno=11
  76. https://www.mintageworld.com/stamp/detail/2804-naushad/
  77. https://worldbookofrecords.uk/records/record_detail/music-maestro-of-bollywood-naushad-ali-from-mumbai--maharashtra--india-gets-posthumously-included-by-world-book-of-record1128
  78. https://www.youtube.com/watch?v=RxnYova3c6M
  79. https://www.imdb.com/name/nm0006210/
  80. https://www.imdb.com/title/tt0044392/
  81. https://www.imdb.com/title/tt0050188/
  82. https://www.imdb.com/title/tt0054098/
  83. https://myswar.co/album/maalik-1958
  84. https://www.bollyviewsyt.com/2020/06/babul-1950-movie-lifetime-worldwide-collection.html
  85. https://www.boloji.com/articles/54473/my-journey-through-films-and-film-songs-24
  86. https://m.rediff.com/movies/2006/dec/06slide4.htm
  87. https://www.rediff.com/movies/report/naushad1/20060505.htm
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