PROFILE
SINCE the Indian films came into existence, so many film distributors,producers and directors came and will come on the scene but nobody knows that under which circumstances they have to survive whenever any film is flopped. There are some to survive while majority of them sunk never to come out. Slowly but steadily, some of the household names like Gemini, AVM, Prasad Productions and V Shantaram and many others are losing their names somewhere in the storm.
Moreso, the Motion Picture Association of Delhi or Bombay never to dare to remember at least the names of Billimoria, Manak Chand, Jain, and Sardari Lal etc who sacrificed their everything to establish the film distribution in Delhi.
Among these distributors elite the name of Magan Behari Lal Nigam of Premier Pictures can't be ignored.
MAGAN BEHARI LAL NIGAM, a name to reckon with in the field of the film distribution. He ran his Premier Pictures, one of the leading film distribution concern till 1955, in partnership with Chand Bahadur Saxena.
Born on January 7, 1917 to Smt & Shri Shadi Lal Nigam, an electrical and mechanical engineer, in Delhi,had just completed his Delhi Board education from Amba Prasad A.S.V.J. Sanskrit High School—now known as A.S.V.J. Sanskrit Senior secondary School,-- Darya Ganj, Delhi, that his father expired on July 15,1935, leaving behind three sons—Anand Behari, Magan Behari and Chhail Behari—and two daughters—Bali and Lajwanti. As the youngest brother Chhail Behari was not so mature to shoulder the family responsibility along with his elder brothers. He was married to Shanno Devi Nigam, daughter of Shri Shiv Narain Nigam, Post Master, Delhi GPO, on December 8, 1939.
Sharing the family responsibilities, Magan took some drastic steps against the wishes of his eldest brother, leaving aside his further education, decided to give maximum education to his youngest brother, joined Bawa Glass Co.,(BGC) Fatehpuri, Delhi—where now Punjab and Sind Bank functioning—a company owned by Bawa Bachhatar Singh, then Mayor of Delhi. Those days, BGC had a great name in pottery, but left the BGC on emotional grounds for not informing the untimely death of his youngest bother Chhail Behari.
It was black August 1, 1945, at one hand his younger brother,Chhail Behari, was lying on his death bed and on the other side,
he along with Bawa was busy in Municipal polling. Bawa was a Congress candidate from Pahar Ganj and Magan was having the heavy amount to spend on the polling stations, so he was on the move from one polling station to another. After discharging his duties, when at mid-night, on returning home, he was shocked finding his younger brother dead.Leaving behind him, his pregnant wife, Smt Ram Rati Nigam. When he came to know that Bawaji was informed, he resigned from the job and for this mishappening Bawa, himself, though had apologised him. It was his sincerity towards work that after so many years, in 1962, when he went to invite him to attend the marriage of his eldest daughter, Shashi. Bawa said “Nigam Babu though I am not attending any function now, except some homely functions, but I will come to grace the function” and stayed late to receive the barat.
He joined Himalayan Trading Co. (HTC) at Connaught Place, owned by Magistrate Sardar Singh Dhupia. While working with HTC he learnt type and shorthand. Having some business tips while working with BGC and HTC, he started his side business concern Universal Trading Company, dealing in glass-cutter supply.
There he came in contact with C.B.Saxena, a friend of Dhupia, and to have a new mile stone in life, established Premier Pictures, at Bhagirath Palace, Chandni Chowk, Delhi and through this office released many hits like Lottery, Sita Haran, Shahji (Punjabi), Nehle Pe Dehla, Dhoomdham, Aap Biti(Directed by Kumar: *ing E.Billimoria, Pramila, Leela Mishra, Ajit,Agha and Kumar), Naseeb, Movie Arts’ Do Baatain(*ing Ramola Narang, Maya Banerji, Hira Lal and Sundar), Urvashi, Kinara and above all, the evergreen Dev Anand and Nimmi starrrer SAAZA. But the release of K.B.Lal’s Lal Dupatta compelled Magan to shutter down the office on the release day.
The box office collections of Lottery, Naseeb, Dhoomdham, and Aap Biti and of Sita Haran had already overshadowed the name of his partner Saxena in the trade but with the re-release of Saaza, Magan was known as FILMWALA in the trade.
He,also, ran Prem Talkies for many months at the Parade Grounds(opposite Red Fort),Delhi but due to the government’s changed policy the cinema was closed. As that time this area was under the control of army,i.e., Red Fort. Prem Talkies was the first and the last cinema to run on this ground(Parade Grounds) by Premier Pictures.
In the history of film industry, G.P.Sippy’s Sazaa is the first film to storm box office in its second run because in its first run, from some of the cinemas, the film was off before completing the week. And the credit to make the flop film a hit, goes to Magan Behari Lal Nigam.
The reason of falling flat of the film was the tragic end. The distributor bundled out the agreement with Sippy Films and when M.B.L.Nigam came to know about it, he immediately telegrammed Kamal Amrohi “to sign Sazaa on behalf of Premier Pictures, if G.P.Sippy agrees to change the end,” e.g., happy end instead of tragic end. Though the other partner was deadly against to sign such a flopped film but he had to bow before Mr. Nigam after the release. And the name of Nigam stormed from Delhi to Bombay.
Those were the days, when a distributor used to favour his counterparts to attend the premier of the film. Magan was very much impressed with the direction, songs, and dialogue and above all, the cast of the film. But the Magan’s name, from Delhi to Bombay, became popular more than the film Sazaa. The industry was stunned with the business tactics of his.
As soon as, Kamal Amrohi gave the signal, he rushed to Bombay and at a throwing away price, signing the film returned Delhi with due publicity of the film. He distributed a song booklet and ten postcards in his mohallah, relatives and other known circle just to write name of the film, song line, singer and music director to forward them in choices’ programmes at All India Radio, Vivid Bharati and Fermaish programme at AIR Urdu etc but as soon as the Tum na jaane kis jahan mein kho gaye song stormed the AIR he released the film and the film proved a super hit. For almost three months, he kept himself busy in laying the foundations to re-release Sazaa, but the partner, Saxena, in the trade was busy in mudding Magan’s name with various hyphens and the release watered on every adjective.
But the release of K.B.Lal’s Lal Dupatta brought so thick dark clouds over Magan’s life. He was too much badly ridden of financial crisis that he and his family had to starve for many years to clear it but never allowed any debtor to knock his door. So many reasons came in-between, first was the betrayal by the partner, C.B.Saxena, who before the release of the film had withdrawn a large chunk of amount on one plea or the other, from the banks and reinvested that amount in other firm, Saxena Cine Corporation, run by his son Kanwar Bahadur Saxena. But at the time of hour, the partner along with his family shifted to Bombay, leaving his business partner, Magan in lurch. And the heavy dark clouds surrounded him all round as staff salary, office rent, cinema’s dues—like theatre hire etc—publicity , staff welfare account and apart from them all, his own family.
The fact is that the film was flopped every where and the producer himself had to shut down his office the same day, so the recovery of the amount for the film was not possible.
Secondly, the migration of two film producers to Pakistan who fled with Rs 25,000 and Rs 38,600 respectively of Premier Pictures.
Those were the days, when the Almighty from all sides was bent upon to examine the Magan’s patience. If some other was on his place must have suicide by then but Nigam struggled and chewed iron balls at every step. For many months, he along with his family lived only on grams, gur and water only. Saxena was so cunning that he withdrew the amount –transferred from Premier Pictures—from the banks. As Nigam was the sleeping patner of Saxena Cine Corporation, the debtors filed a suit against Nigam, for recovery of their money because among the partners only Nigam was handy to them. None came forward to ask his welfare. Even his own father-in-law refused to assist him when—to save him from crucial hands of law—he asked for Rs 50 help because this amount was to be deposited in the court as the penalty or he was to jail for at least three months. But some of his media friends like Sampat Lal Purohit, editor, Yugchaya, and Chandrashekhar Sharma, editor, Kamal, the most popular film magazines of that era, came to his rescue. Even his eldest brother didn’t; for whom, Magan’s wife, Shanno Devi, just after a few week of marriage, handed over all her ornaments to her eldest brother-in-law, at one go, who due to failure in business, had, till neck, drowned in debt. More so, Magan in his hey days used to burden the expenses of his eldest brother’s family but alas! The position was reversed in his own case.
It was no, doubt, a Herculean task to feed the family of ten—five sons, Kamal Behari, Rajesh Behari, Bipin Behari, Awadh Behari and Rajendra Behari and three daughters, Shashi, Ratan and Bharat—but with the cooperation of her wife, Shanno Devi, he passed over these hard crucial days. Instead of expecting any help from any quarter, they themselves worked hard and got ridden, every year the new dresses and books etc were purchased, never asked school authorities even any fee concession. Everybody was wondered that how are they running the show. Shanno Devi used to have to some knitting and swinging works so that the guests may be offered some refreshments etc.
When the Premier Pictures was shuttered down, Kamal Amrohi called him to Bombay to control his production, Mahal Pictures Pvt. Ltd. Recalling back—Kamal Amrohi, Meena Kumari, Kumar(actor-producer), and Dr Dheesh, then M.S. of Irwin Hospital now known as LNJP Hospital, New Delhi and an active member of Railway Board—were all friends in need and deeds.
Kumar—during his stay in Delhi, used to stay at Nigam’s residence, Pahari Imli—written off all the dues towards his films like Kinara, Pyar Ki Baatein etc.
He provided employment so many unemployed—skilled and unskilled—youths in Railways through Dr Dheesh. One day, Mrs Dheesh asked him, ‘you are recommending so many, why don’t employ Kamal—eldest son of him—so that you may have some financial support?” He said, “He is studying now and before giving maximum education, no question of service arises.”
Kamal supported him by appointing as his production Controller. During this period, Paakiza was launched but was stopped after completing six/seven reels. Before the mahurat of the film, the holy man had predicted not to produce it as it could harm you. Even then, the film was launched against the advice.
Resultantly, during the production he divorced Meena and before this mishappening, Meena was snatched from the claws of death during the picturisation of a song Tu Ganga ki mauj… of Baiju Bawara, when her boat crossed the danger mark of the lake and luckily her boat was blocked between the two rocks.
If at the first hand, the film anyhow, could have been completed the cost of production must have crossed the limit because at every new chapter of the film Meena was demanding a new hero, so slowly but steadily the film was transforming into a multi-starrer. And during this going-on of a new actor, actor turned politician Govinda and producer Kirti Kumar’s father Arun, too, was signed. So at the time of dropping the idea of producing the film any further, Arun had a balance of Rs 600/- and to recover that amount he send his actress turned wife Nirmala. Magan refused to pay but due to the interference of Kamal, he paid Rs 100/- only because she has approached Kamal and Kamal had asked that “bechari aurat hai, khali haath mat bhejoo” and for the balance Arun was asked to come personally. The next day, Arun questioned him for not paying the balance to my wife, Nirmala. He replied, “Arun Saheb aap ki filmi shaadi hai, hamein kya maloom ki shaadi abhi kayam hai talaaq nahin hua, Arun sahib ye final payment ki baat hai”, Arun laughed heartily and the matter was over.
During his almost three years of stay, his expenses were just rupees five only and the whole salary was dispatch to Delhi for the family and debtors. But all of a sudden left Bombay. One day as usual while he was working in his cabin, a transporter, during gossiping with the staff, said, “Bhagwan bari kismet se hamein family teta hai aur woh bade kismet wale hote hain jo family hote huye apni family ke beech rajtey hain”, as these words transpired through the ventilators panes approached his ears, taking the saying at heart, he hurriedly finished his day’s work and collected the language from the bungalow to leave Bombay for ever, to live with his family in Delhi. Since then, till his death on March 17, 2005, never thought to go Bombay. And on reaching Delhi, send his resignation to Kamal Amrohi, who rushed to Delhi to know the reason of resignation. At New Delhi’s Imperial Hotel, both of them cleared their doubts and then gave full month salary to him.
Anyway, after a long gap when Meena Kumari expressed her willingness to complete the Pakeeza before her death. Then again, Kamal contacted him with two options; either control Delhi office to be inaugurated with the release of Pakeeza or join production at Bombay. But refreshing all those horrible days and the prediction of the holy man, he refused. Though Meena was anxious to complete the film before her death, perhaps she had intuition about her death.
In this context, it is important to remind the prediction of the holy man, proved. At first instance, divorce and secondly her death. But her death, made the film a memorable. Though till-mid third week, the box-office collection was very poor but her death stormed the box-office. For three days, all the cinemas—except those cinemas running Pakeeza—were closed as a tribute.
Magan used to praise Meena Kumari very much. He was never tired in praising her devotion and sincerity towards her husband, Kamal Amrohi. She used to hand over every single penny—earned in black and white—at the hands of Kamal, never took her lunch or supper alone, if both are in Bombay or elsewhere. If any how, Kamal returned too much late at night, she used to sleep at the dining table in her wait—without taking even a drop of water.
Magan goes on to tell that for many months, her masseuse, was asking to increase her salary. When her personal approach to Kamal failed to cut any ice, she asked him “Nigam Babu Kaafi samaye se massage wali (unable to recollect her name) tankha badane ke liye kah rahi hai lekin Kamal kuch jawab nahin de rahe hain, aap hi bol kar bechari ke kuch paise badwa do”. He reminded several times to Kamal, one day, in great irritation asked him, “Meena Ji ko kaha do massage karwani ho karwain, Na karwani ho no karwain, paisa ek nahin badeka”. Till Magan was in Bombay, even single paisa was recommended by Kamal but Meena never utter any word against Kamal. Obvious to that apologised him for facing humiliation for her sake.
When Nigam Babu was asked about the souring relation between Kamal and Meena, he told that so many times, he tried his best to negotiate between the two but her driver was bent upon on watering all his efforts. And for his nefarious role, was thrashed many times very mercilessly between the staff by Nigam Babu. And cautioned his friend Kamal for the devilish role of the driver but before the poisoning of the driver, his every effort was falling flat.
In his capacity, as a friend, he tried his best to settle the score between the two but as they were normal again the same devil—driver—spoiled the milk. It is very interesting that having souring relations, Kamal had no grudge with Meena. Being an old staffer, the driver couldn’t be removed from the services. As to why and purposely, he was bent upon in making their life so miserable.
Being so close with the family, who has witnessed the hey days of them, Magan bhai was questioned about her affairs with Ashok Kumar, Raj Kumar, and at later stage with Dharmendra( during the shooting of O.P.Ralhan’s Phool Aur Patthar) and so on and so forth. He narrated in detail that when he started to read the writings on the walls, the unexpected storm, he dared to question Meena, “Meenaji agar kuch namumkin haadsa ho gaya to aapke aage puri zindagi padi hai…kyon na kuch din…” Understanding the meaning, she told him, “ Nigam Babu aap to sab kuch jantein hain aur sab kuch apni aankhon se dekh bhi rahain hain, meri kya galti hai…jahan tak dusri shaadi ki baat hai, woh to namumkin hai…Nigam Babu marte waqt bhi mere shauhar ka naam Kamal Amrohi hi hoga…” It was proved that at the time of death, the name of her husband remained the same Kamal Amrohi. If any woman has to learn sincerity and devotion towards her husband should read Meena Kumari. Kamal’s fault was that he relied on the concocted baseless tales of the devil(driver). They were leading a very happy married life.
On hearing so much of struggles about Meena Kumari, it is observed that her roles in Phool Aur Patthar, Sahib Bibi Aur Ghulam, Choti Bahu etc depicted her real life, that is why during the picturisation of Na jao sainya chodake bahiyan…(Sahib Bibi Aur Ghulam) she had asked producer-director, Guru Dutt to have wine, whether you pay or not, but "without wine, in actual, I will not act”. Actually, this song was describing her sufferings in real life.
It is observed that couplet--jab tak the aemakon ke pas paise,aji aap hain aise vaise aur jab jeb thi khali kaon hain aap aise vaise(When you have money in pocket,everybody will honour you, but,alas,since you are pennyless,none will care you) -- he used to recite at times, was proved right in his own life.
Any way, as the news of his arrival, permanently, in Delhi, spread the fire in the jungle. So, before leaving for Bombay, L.D. Desai, film distributor and exhibitor (owner of Chitra in Amritsar, Krishna Talkies, Batala and New Royal Cinema, Aligarh) especially opened the office, Desai & Co., on Sunday and appointed him, as his stenographer. He was so sentimental that after joining Desai & Co, so many producers like AVM, Rajshri etc approached him to control their Delhi offices with the three/four times more offer than Desai. But he refused them all. He served Desai & Co till the closure of the company. As the Jayesh, the maternal grandson of L.D. Desai, was not interested in the film trade like his father Dinkar Desai and as soon as Jayesh established his own business Motorcraft, NOIDA, Dinkar started to squeeze the film business and in 1997/98 with the closure of the company, he left and was the last and only employee to serve the company for such a long period.
During the service with Desai, in 1974/75, Sardar Swarn Singh, producer, distributor and owner of Swarn (now as Supreme) Cinema, Vishwas Nagar, Shahdara, contacted him to shoulder with him but having negative response, Singh compelled him to have only Sunday. Singh had so much of confidence on him that with the consultation with Desai, he asked him to give an hour daily at office, Prince Film Corp., Bhagirath Palace and Sunday at the cinema. As he was busy in producing Thokar.
Once Ratan Lal Behl, the partner of Singh, had to beg pardon just to lie with Swarn Singh. The matter was, the production of Rajendra Kumar and Asha Parikh starrer Badla Aur Balidaan, and secondly, the renovation of the cinema were in full swing but unfortunately, their release of Ram Dayal’s Prabhat faced the wrath of timely ban over the names of Ram and Sita; Behl asked Nigam Saheb not to come as the problems were before you, there was nothing to explain. He stopped attending Prince Films Corp.
After almost two months, on returning from Bombay, for three/four days, not seeing Nigam Saheb, Swarn Singh inquired about his well being. Behl told him that for not having money, he refused to come. Singh thundered, “Behl Saheb, Nigam ko pahchanne ke liye jigar chhahiye; Aare us shaksh ne mera jo sath diya hai film line mein koi de nahin sakta. Kamai na hone par Behl Saheb aap Prince… chod chaoge lekin Nigam nahin,” He called him for to know the facts but on hearing the same version like-Behl. Laughed heartily said Behl Saheb dekha sari apne par lekar kya tum sab ko bachane ki koshish ki hai…Then Behl told that the fact was that “I personally has asked him not to come”. Swarn warned Behl never to repeat such nonsense in future. He felt very sorry, when in 1984 anti-Sikh riots he along with his sons was burnt alive.
During Emergency, some Income Tax officials started to have friendship with him, used to have refreshment etc at Arya Restaurant, Dewan Hall, Chandani Chowk, just to know that how the film distributors earn and invest their black money. As soon as he came to know the modus operandi of these IT officials, he immediately questioned that why a film distributor or a businessman should reveal his black money? See! During British rule we Indians were taxed on the yearly income of Rs 3,000/-, gold was Rs.15/17 per tola and wheat was 20-22 seers per rupee. I have to marry my youngest daughter and today’s gold rate at the Dariba is Rs 676/- per ten grams and you are taxing on the annual income of Rs 8,000/-. More so, a tola is more weighty than your ten grams. Secondly, a business man has thousands of ways to hide his actual income when a salaried employee can’t.
Interestingly, since then no IT official was seen the Delhi film market—Bhagirath Palace.
He was so soft spoken that the editors of the most popular, Hindi film magazines—Yugchaya and Kamal—were obliging him with five complementary copies every month till 80s. When they know that from him they will never have any business.
So much of courage and patience was in his blood that facing the betrayal by the partner, migration of two film producers, to Pakistan, with Rs 25,000/- and Rs 38,600/-- respectively, grabbing of wife’s (Shanno Devi) whole jewellwery by his eldest brother, supported him when the starvation had surrounded him from allround but got negative response from all quarters when he himself was in great need. No body ever dared to ask his family members “have they anything to eat at the moment?” More so, if whenever, he with his wife used to visit any relative, except a few, without asking for a drop of water, were very systematically requested them to go back to the pavilion.
He was principled,sentimental and a practical man in his life that as his second uncle used to harass him of selling the property to some third person,but he opposed all the time on the basis of a Regd. Will by the eldest uncle, Shri Brij Lal, the first party. The fact is that he hasn't any copy of that Will, so he requested his sister-in-law's husband, Munshi Atal Behari Lal Nigam,--a resident of Gali Batashan, Chawri Bazar,Delhi-- to procure that Will but all the time, his requests were turned down which brought some differences between the two but there is a saying do some good. So, just a few months before his death, he procured a copy of the Will to him. That Will worked like the Brahmast, Magan was able to save the property sold at the hands of some Muslims by the family members of the second elder uncle.But it is our judiciary that instead of taking any action of violating the Ragd Will, it winded up the case on one plea or the other.Anyway, sooner than later, on having the Will copy in hands,he had assured Atal that "Atal jis din is Vasiyat ke sahare main is makan ko bachaonga, is ghar main dekhna meri zindagi mein nahin to mere marne ke baad bhi tumhari photo is ghar ki shan hogi".Though, among other brother-in-laws(saroods),the two had a good rapport,even during the hard struggling days, it was Atal,who used to visit him daily before going to the court. Sometimes, the two had some serious discussions on family affairs. To make the family unite, Magan used to repeat the saying of the transporter,"bas Munshiji apna kam karte raho, aur kismat mein jo hona hai hokar rahega".But after having the copy of the Will,Magan was jubilant.
The coordination between the two was so remarkable, can't be explained in words. None could judge that who is counselling whom.
Whenever, anyone of the family members talked about the jewellery of their mother that “why did your brother not mortgage or sell his own wife’s (Smt Kishori Devi) jewellery?” He used to silence by saying that “I supported my brother in crisis, what he did, his deeds went with him and my deeds will go with me”.
He thanked the Almighty for blessing him such a family who tried to avoid any confrontation, and shoulder the responsibility and dignity of the family as one unit.
During his hey-days of film distribution, there was a very proudy and renowned film distributor,called Mr Jain of Darya Ganj, when like Magan Nigam black clouds surrounded him, his own family disowned him and used to come to the film distributors' offices just to have 25 paise for a cup of tea,Magan recalls down memory lanes.
Howrah Bridge released in 1958, was an actioner and an instant hit, with cult O.P. Nayyar songs like Asha Bhonsle’s Aaiye mehrbaan and Geeta Dutt’s Mera naam Chin Chin Chu. This was followed by Insan Jaag Utha, his first social as a producer, with Sunil Dutt andMadhubala. While both films had Madan Puri—with whom Shakti was to have a long association—in important roles the second film was his first with S.D.Burman, with whom his association was to have momentous implication in the decades to come. Apart from scoring music for Naughty Boy, Aradhana, one song in Amar Prem and Anuraag, S.D.Burman also to catapult Kishore Kumar to the top playback league with Aradhana and later make for Shakti’s long and personally intimate equation with his son R.D.Burman.
who plays the Commissioner of Police in film, gets an anonymous call from Naseeruddin Shah demanding the release of four dreaded militants in lieu of information regarding bombs planted in four different parts of Mumbai.
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