Shyam: The Swashbuckling Hero and Super-star of yesteryears

Centennial Birthday of Shyam

It is beyond one’s wild imagination that an expert horse-rider like the swashbuckling hero Shyam could lose the reins of horse while giving a simple shot on the set of Filmistan’s “Shabistan” (1951) and had a nasty fall. The fall proved fatal and destiny snuffed the life out of this versatile actor. When Shyam was brought to the Hospital, his makeup was still on….. and the facial expression indicted as if he was ready for another take!!!! But alas, the bright career of this legendary actor was cut short abruptly on 25 April, 1951. Next day, Times of India, Bombay carried its obituary eulogizing the star’s aura. “High, wide and handsome Shyam, most popular of the Indian screen’s male stars, idol of millions of film-goers throughout India and adored by lakhs in Bombay where he was mobbed at every appearance, went laughing off to work from his Chembur home on Wednesday morning. By afternoon, he was dead.” The entire film world was dumb founded and his fans were shell shocked with his tragic end.

The red-blooded Shyam had razor-edged features and enticing charms, which made him one of the popular macho men of Indian Cinema. The tall, stout handsome Shyam had the looks and pizzazz of a Hollywood star. A small but inexpugnable treasure of his films mirrored his elegant style and awesome persona. Starting from Punjabi Cinema at Lahore, he eventually rose to become an undisputed heart throb of millions. His large female fan-following were madly attracted by his suave appearance in neatly brushed hair and sword-trimmed moustache. The impeccably well-mannered and vivacious Shyam was the most widely admired screen idol of the forties. The debonair hero of several hits lived a life like the dreams he spun on celluloid.   

Shyam alias Sunder Shyam Chadha was born to Sita Ram Chadha, an army personnel and Charan Devi on 20 February 1920 in Sialkot, (now in Pakistan). The family belonged to Village Roopwal, Tehsil Chakwal (Pakistan) and his ancestral home was a nicely built villa in the village. A rich educated and respected benevolent family shifted to higher end cities of Rawalpindi and Lahore before partition. His mother was a beautiful tall lady and Shyam took to her looks. Unfortunately, he lost his mother when he was only five years old. The eldest of four brothers and one sister, Shyam had a great fascination for films right from his early childhood. He actively participated in college plays/ dramas and became the President of the Dramatics Society of Gordon College, Rawalpindi. Braving family opposition, in particular from his father, Shyam powered on thanks to the support of his uncle Tarachand Chadha, who convinced his father to allow him to join the films. After graduation, Shyam moved to Lahore in search of roles in films, but he had to struggle a lot. Meanwhile, he started writing weekly columns in English and Urdu newspapers.

Then he went to Pune to accomplish his dream of becoming an actor and joined Prabhat. He appeared for the screen-test at Bombay Talkies but missed the bus to filmdom. But he was determined to work in films and he became assistant director to J.K. Nanda. In 1942 Lady-luck smiled on him and he got the opportunities to act simultaneously in Punjabi and Hindi films. He made his debut as hero in Cine Studios’ Punjabi movie ‘Gowandhi’ (1942) with Veena, M. Ismail, Manorama and Asha Posley as his co-stars. This film was released on 8 April, 1942 and it became a super-hit at the box-office. He also got a chance to act opposite livelier Ramola in Talwar Productions Hindi movie Khamoshi (1942), which was censored on 16 May, 1942. Next year he appeared in two Hindi films ‘Bhalai’ (1943) and ‘Mazaq’ (1943). However, his big break into Hindi Cinema came when W.Z. Ahmed, his old friend from Lahore, cast him in his Film, ‘Mun ki Jeet’ (1944) opposite his wife Neena. In this film, Shyam’s robust personality and well-chiselled features were fully exploited. The picture was a runaway success at the box office and Shyam catapulted to stardom overnight. Then he appeared as a lead hero opposite Geeta Nizami in ‘Room No. 9’ (1946). His next appearance was opposite actress Nain Tara in a comedy film ‘Aaj Aur Kal’ (1947).

Following the partition of India in 1947 he came to Bombay and again went for screen-test at Bombay Talkies, he was selected this time. He played the main lead opposite Munawar Sultana in 'Majboor' (1948). The film celebrated jubilee at many places and Shyam never looked back thereafter. Once rejected by Bombay Talkies, he was now their regular artiste and he was cast opposite Snehprabha in the movie ‘Shikayat’ (1948). In Dillagi (1949), a tragic romance of unrequited love, Shyam played the lovelorn Majnu archetype whose beloved was married off elsewhere. It was perhaps his finest performance on the screen. Naushad scored melodious tunes especially the romantic song 'Tu Mera Chand Main Teri Chandni' touched new heights of popularity all over the country. 

He ruled the Hindi cinema from 1948 to 1951. He had scaled dizzying heights of superstardom with mega hits like Bazar, Patanga, Kaneej, Samadhi and Shabistan under his belt. When Shyam took on a negative role for Ramesh Saigal’s Samadhi, his friends were aghast about how a star like him can play a negative role? However, Samadhi proved a box-office bonanza and his role earned many accolades. He was bracketed with Ashok Kumar and Dilip Kumar as an actor. In his short career of 10 years he did 31 Films and alone in 1949 he appeared in record nine films: Bazar, Dillagi, Naach, Patanga, Chandni Raat, Char Din, Dada, Kaneez, Raat Ki Rani. Next year he did six films: Nirdosh, Suraj Mukhi, Chhoti Bhabhi, Samadhi, Sangeeta and Meena Bazar. His last film turned to be Shabistan, which was completed with a stand-in and body double Alam Butt after his untimely death.

His acted with all the top contemporary heroines like Ramola, Suraiya, Nigar Sultana, Kuldip Kaur, Munawar Sulltana, Naseem Bano, Nargis, Rehana , Nimmi  and Meena Shorey etc. delivering a string of hits in the late forties. Singing star Suraiya and Shyam were together in Dillagi, Char Din and Naach. Shyam and Nigar Sultana worked together in several hit films Patanga, Sangeeta,  Bazar and Shikayat. He acted with Munawar Sulltana in films like Dada,  Kaneez, Raat Ki Rani and Majboor while he did Chandni Raat and Shabistan with Naseem Bano. With Nargis it was Meena Bazar and Chhoti Bhabhi. Kuldip Kaur: Nirdosh and Kaneez; Ramola: Khamoshi; Neena: Man Ki Jeet; Rehana: Suraj Mukhi; Nimmi: Wafa; Meena Shorey: Kale Badal; Geeta Nizami: Room No. 9 and Nita: Aaj aur Kal.

Starting his acting career with a Punjabi film Gowandhi, he was under moral debt to his mother-tongue, which he repaid by producing ‘Bhaiya Ji’ (Punjabi-1950) with title role enacted by Om Parkash. His last Punjabi film as an actor was Madari(1950) in which he played a guest role.

Manto and Shyam were two bodies, one soul. They shared their thoughts, works and dreams. In his book ‘Stars from Another Sky’, Manto dedicated the most poignant and heart-warming chapter to Shyam titled ‘Murli Ki Dhun’. His unsuccessful attempt to flirt with actress Kuldip Kaur in a first-class suburban train compartment and hints of dalliances with Nigar Sultana, Ramola as well as Mumtaz Qureshi. After Manto migrated to Pakistan, Shyam would intuitively know his friend’s needs and send money to him. Manto called Shyam fun loving, liberal and a man with roving eye for good looking women. Shyam was a lover of beauty and he believed death must be beautiful else Shyam would have never gone at the prime of his youth.

Shyam married a beautiful Muslim lady and aspiring actress Mumtaz Qureshi (Taji). They had a daughter Saira Kazmi and their son Shekhar (now known as Shakir) was born posthumously, two months after Shyam’s death. Mumtaz Qureshi migrated to Pakistan and later married Ansari, hence the two children were raised as Muslims. Sahira became a noted Pakistan television artiste while Shakir is a doctor living in London.

Manto was battling his own demons at a mental hospital in Lahore, when he heard of Shyam’s death. He paid a heartfelt tribute to Shyam in his writings. “Shyam smiling, Shyam laughing, Shyam screaming, Shyam’s feasting, drinking and living life to the full, utterly unaware of death and its terrors. So he said to himself that whatever he had read in the newspaper was untrue… even the newspaper he held in his hand was only a figment of his imagination.” He ended his tribute with a dialogue with Shyam’s spirit: “Dear Shyam, I left Bombay Talkies. Can’t Pandit Nehru leave Kashmir? Now isn’t that hiptullha?”

Mr. Bimal Chadha, nephew of Shyam has revealed the other facet of the flamboyant hero. Shyam had a heart of gold with abundant love, compassion, affection and caring for his family, friends, co-workers and even the starry-eyed fans. Shyam was an exceptionally humane and broad-minded individual. He was also a generous and caring human being who took care of his stepmother and stepbrothers and sisters with great affection. He nevertheless always felt a great void in his life because his mother died when he was very small. Many believe that the face of Indian cinema would have been quite different had he not met with such a tragic and untimely death. He would have given the triumvirate of the ’50s, a solid run for their money. Bimal and his family have lovingly treasured Shyam’s memories, photos, letters, handwritten cards, books and other belongings. A book on Shyam written by Bimal Chadha to mark his Centennial Year is under print.

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