'''Ghulam Haider''', (1908-53) Music composer born in Hyderabad (Sind, Pakistan). Studied dentistry. Leading composer from the Lahore group with e.g. Shyam Sundar, Khurshid Anwar and S.D. Batish. With [[Naushad Ali|Naushad]] initiated a musical revolution helping to institutionalise an [[All-India Film]] aesthetic in the 40s. Learnt music from Babu Ganeshlal, with whom he worked in theatre playing harmonium in Calcutta. Briefly composer for the Jenaphone recording label. Broke into films in Lahore with [[Shorey]]; then worked for [[Pancholi]] starting with the Punjabi film Gul-e- Bakavali featuring [[Nurjehan]] as a child actress. Regular composer for Pancholi until Poonji. His score for [[http://en.wikipedia.org/wiki/Khazanchi|Khazanchi]] led to a series of Pancholi hits pioneering new marketing strategies. Best-known compositions, often sung by Shamshad Begum, invoke Punjabi folk rhythms and extensively feature percussion instruments like the dholak. Moved to Bombay in 1944 where he worked in [[Filmistan]] ([[Chal Chal Re Naujawan]]) and [[Minerva Movietone|Minerva]]. Composed one successful Mehboob film ([[http://en.wikipedia.org/wiki/Humayun|Humayun]]) and gave [[Lata Mangeshkar]] her first big break in playback singing (Majboor, in duets with [[Geeta Dutt]] and Mukesh). Returned to Lahore after Partition, where he started Filmsaz with director S. Nazir Ajmeri and actor S. Gul, making Beqaraar. Also scored Akeli, Bheegi Palkein and the two Nurjehan films Gulenar (1953) and Laila. '''FILMOGRAPHY''': 1934: Thief of Iraq; 1935: Majnu 1935; Swarg Ki Seedhi; 1939: Gul-e- Bakavali; 1940: Yamla Jat; 1941: Choudhury; Khazanchi; 1942: Khandaan; Zamindar; 1943: Poonji; 1944: Bhai; Chal Chal Re Naujawan; Phool; 1945: Humayun; 1946: Behram Khan; Jag Biti; Shama; 1947: But Tarash; Manjdhar; Mehndi; 1948: Barsaat Ki Ek Raat; Majboor; Padmini; Patjhad; Shaheed; 1949: Kaneez; 1950: Do Saudagar; Putli; 1953: Aabshar. [[Music]]