he most remarkable decision Noor Jehan made was to migrate to Pakistan from Bombay (now Mumbai) when the country was created in 1947. This was extraordinary as she was at the peak of her popularity and the leading singing star in the industry at the time. Even after the introduction of playback technology – when the person on screen became different from the vocalist – she retained her dual role as both singer and actor, a tradition from the pre-playback era. Her last film made in Bombay was Jugnu, a super hit that launched the careers of two stars who did not move to Pakistan: Dilip Kumar and Mohammed Rafi.

Both were Muslims. Dilip Kumar hailed from Peshawar, while Mohammed Rafi was born in a village near the newly drawn border between India and Pakistan. Since Lahore was the nearest major city, he spent his formative years there, establishing himself as a promising film vocalist. Later, he moved to Bombay, where he struggled initially before being catapulted to stardom with the release of Jugnu and his duet with Noor Jehan, composed by another Lahori, Firoz Nizami.

Both chose to stay in India, recognising the opportunities in the subcontinent’s largest film industry. Their calculated gamble paid off. Both went on to achieve immense success in the years that followed. Noor Jehan, however, took the bold step of moving to Pakistan, leaving the field open for others to step in and fill the void she left behind.

Many other names could be mentioned of Muslims who hailed from the area that became Pakistan but chose not to return to help establish an industry struggling due to the migration of many.

It is understandable that a struggling actor or vocalist might move to a new or smaller industry for the sake of opportunity, which might not exist in the presence of established stars. However, it is difficult to comprehend why Noor Jehan, the leading star, chose to move when the scale and opportunities in Pakistan were significantly limited by comparison. Yet, she did – and was instrumental in restoring the film industry to a credible and thriving level.

The number of composers Noor Jehan could work with in Pakistan was much smaller, and the variety was significantly limited. In Bombay, composers came from diverse regions, bringing local flavours and influences. These varied traditions and styles enriched Indian cinema, particularly its music. In contrast, Pakistan’s industry was largely dominated by Punjabi composers. A few less successful ones had migrated from other parts of the subcontinent.

Despite these limited creative resources, Noor Jehan made the most of what was available, producing many memorable numbers. Her contribution formed the steel frame of Pakistan’s cinematic productions, ensuring their lasting legacy.

Over time, Noor Jehan gave up acting to focus solely on her singing, consolidating the foundation of cinema music in Pakistan’s much smaller industry. This industry has always struggled to find its footing, often overshadowed by its much larger counterpart across the border.

This aspect of Noor Jehan’s contribution is not as frequently mentioned as her music or the patriotic anthems she performed on various occasions, particularly during the wars Pakistan faced. Her decision to remain in Pakistan and contribute to its film industry helped instill confidence in a fledgling sector.

It has been reported that many prominent Muslim personalities initially considered moving to Pakistan but, realising the limited scale of the industry and the uncertainty surrounding it chose not to take the leap.

Some individuals from this region were already well-established and did not even consider relocating. Abdur Rashid Kardar, a Lahore native and one of the pioneers of Indian cinema, had successfully set up his studio and production company in Calcutta and later in Bombay. He chose to stay back, avoiding any risks.

In contrast, Noor Jehan and Shaukat Hussain Rizvi – though the latter was not originally from this region – chose to rebuild their careers in Pakistan. One can only wonder what the state of Pakistani cinema, particularly its film music, might have been if they had not made the decision to migrate. Both played foundational roles in shaping the cultural identity of the newly formed country, a contribution that should never be underestimated.

The writer is a culture critic based in Lahore