30.08-1923-14.12.1966 |
I spent a lot of time when I was growing up listening to Hindi songs. My favourite songs were those whose words resonated with me – in fact, for many years, I wrote down the lyrics of those songs just so I could read them again and again. Mostly, I would spend hours, rewinding cassettes so I could jot down the words correctly. As I grew older, and often went to the city to watch movies, I would buy the little lyric booklets – they initially sold for 25 paise, and later went up to Re.1. (I wonder whether they still sell those.)
Strangely enough, I never associated the songs itself with the lyricists – very rarely did I know then who wrote which song. The names were familiar – Shailendra, Hasrat Jaipuri, Shakeel Badayuni, Sahir Ludhianvi, Raja Mehdi Ali Khan, Qamar Jalalabadi, Kaifi Azmi, Gulzar… but despite liking the verses these talented men wrote, there were very few songs that I could identify as being written by a specific lyricist.
It’s only later, when I became more attuned to the words of the songs that I liked that I began to pay attention. Today, on his death anniversary, I post a tribute to one of Hindi cinema’s greatest poet-lyricists, Shankardas Kesarilal better known by his takhallus, ‘Shailendra’.
Shailendra was born in Rawalpindi (now in Pakistan) and moved to Mathura where he did his schooling. It was here, still a boy, that he began to dabble in poetry. Growing up, he took up a job as a welding technician in the Indian Railways and was transferred to Bombay. Like many other literary greats of the time, Shailendra was a communist and an integral part of IPTA – the Indian People’s Theatre Association, the oldest association of theatre artists in India. It was IPTA that he was introduced to Salil Chowdhury, with whom he would go on to collaborate both for IPTA and for films.
Working at the Matunga Railway Workshop, Shailendra spent his evenings taking part in mushairas and Kavi Sammelans. At one such meeting, he recited his famous poem on the Partition – Jalta hua Punjab. In the audience was another young man, on the cusp of his own journey as a director – Raj Kapoor.
The
fates intervened – a personal crisis led Shailendra to approach Kapoor for
work. Kapoor, who was then finalising Barsaat, already had one
lyricist on board – Hasrat Jaipuri. But he offered Shailendra two songs – Barsaat
mein tak dhina dhin and Patli kamar hai. The film, and the songs,
were a hit, and Kapoor had his dream team – music directors Shankar-Jaikishan,
lyricists Hasrat Jaipuri and Shailendra. Until his untimely death, Shailendra, whom Raj Kapoor
affectionately called ‘Kaviraj’ would write some of Kapoor’s most iconic songs.
Apart from Shankar-Jaikishan, with whom Shailendra worked the most, he also
collaborated with Salil Chowdhury, SD Burman, and many other music directors.
The sheer diversity of themes in his poetry, complemented by his innate understanding of the story and characters, helped him shape word images that moved the narrative forward. The tragedies in his life (a penurious childhood, the deaths of his mother and sister, caste discrimination) gave an empathetic edge to his lyrics, while his innate desire for social justice found its reflection in the socialist underpinning of his songs.
Shailendra
had earlier written the dialogues for Bimal Roy’s Prem Patra (based on
Salil Chowdhury’s script); in 1963, he decided to produce Teesri Kasam
based on Phaniswar Nath Renu’s novella to be directed by close friend, Basu
Bhattacharya, who had earlier worked as Bimal Roy’s assistant. The film,
starring Waheeda Rehman and Raj Kapoor, was inordinately delayed and a
commercial disaster upon release. Though it did receive a lot of critical acclaim and even the National Award.
However, it was too late for Shailendra who never recovered from the failure of the film; he died in 1966 at the age of 43.
Today, on his death anniversary, a list of some of my favourite songs, written by Shailendra.
Dil ka haal sune dilwala
Shree 420
(1955)
Singer: Manna Dey
Music: Shankar Jaikishan
Khush hoon magar aabaad nahiin main
Manzil mere paas khadi hai
Paanv mein lekin bedi padi hai
Taang adaata hai daulat wala
Dil ka haal suno dil waala
It’s the plight of the common man, who’s constrained by his circumstances, and the obstacles that the rich and the wealthy place in his path. Such a complex thought expressed in such a simple manner. There was humour too, and irony when he wrote:
Boodhe daroge ne chashme se dekha
Upar se dekha neeche se dekha
Aage se dekha peeche se dekha
Bole ye kya kar baithe ghotala
Ye to hai thanedaar ka saala
There’s one rule for the rich and well-connected; one for the poor.
Raat aur Din (1967)
Sapnon ke jhilmil nagar mein jaane kahaan kho gaye ab
Hum raah poochein kisi se na tum apni manzil bataao
Mehfil mein ab kaun hai ajnabii tum mere paas aao
She shall not ask the way, nor he mention his destination, but they are strangers no longer; come, open your heart and seize the day!
Teesri Kasam (1966)
Singer: Mukesh
Maram na jaane koi
Chatpat tadpe preet bichaari
Mamta aansoo roye
Na koi is paar hamaara
Na koi us paar
Sajanwa bairi ho gaye hamaar
For a man to write from a woman’s perspective is not easy, but the sensitivity that Shailendra brought to Mahua’s plight was filled with compassion. Once again, while the verses ostensibly sang about a village woman, but it stood as a metaphor for Hira Bai, the itinerant dancer, who has no one to call her own, no child to fulfil an unexpressed maternal yearning.
Teesri Kasam
was Shailendra’s passion project, and he lovingly crafted the songs from the
raunchiness of Paan khaaye saiyyan hamaaro to the boisterous Chalat
musafir moh liya re pinjre waali muniya to the philosophical resignation of
Duniya banaanewale.
Jagte Raho (1956)
Chalti ko gaadi kahe dekh Kabira roya
That which is colourful they call ‘narangi’ (colourless/orange)
Milk, cooked to solids, they call ‘khoya’ (‘lost’/milk solids)
Something that moves, they call ‘gaadi’ (standing still/vehicle)
Dekh Kabira roya (Kabir weeps at the paradoxes)
And then spun an equally fantastical song about the paradoxes in life. Life is a dream; in that dream world, what is true? What is false? Everything is false! He (Motilal) lives as his heart dictates; when he has the time, he will worry about the morality of his actions. But in the meantime, who cares? When it is easier to extol the virtues of drink:
Patthar ke honthon par pada
Us ke seene mein bhi dil dhadka
Ye us ne bhii kaha
It can even bring a stone to life!
Parakh (1960)
Singer: Lata Mangeshkar
Pyaase pyaase mere nayan
Tere hii khwaabon mein kho gaye
Saanwli saloni ghata
Jab jab chhaaye
Akhiyon mein rain aa gayi
Nindiya na aayi
In these rains, my beloved
My eyes remain parched
Lost as they are in dreams of you
When these dark beautiful clouds gather
Night shutters my sight
Yet slumber remains aloof
So simple. So evocative. So romantic.
Bandini (1963)
Singer: Asha Bhosle
Aur meri gudiya churaayi
Baabul ki main tere nazron ki paali
Phir kyun huyi main paraayi
Beete re jug koi chhithiyaa na paati
Na koi naihar se aaye re
She
was her father’s favourite, why has she become a stranger? It’s been ages since
she’s received a letter, nor has anyone come to meet her. Send me home, my
brother, she pleads, send me home to my parents.
Kya karein woh jaan kar anjaan hai
Uparwala jaan kar anjaan hai…
‘Each sigh is like a storm in itself’, he claims, but what can he do when the One who knows feigns ignorance? ‘The One above’ he stresses, looking piously upwards. Each word is cloaked in meaning, if only one were to pay attention. But what exactly is he talking about?
Kaanon mein kuch keh ke to is dil ko bahla de
Ye bhi mushkil hai to kya aasaan hai
Uparwala jaan kar anjaan hai…
If the ‘one above’ would only smile upon him, whisper in his ears, then his future would be bright. But if this is too difficult a boon to bestow, then what is it that’s simple? He is innocence personified, and the girl is left to ponder – God? Or her?
Anarkali (1953)
Singer: Lata Mangeshkar
Music: C Ramchandra
Karoongi main kya chand saansein bachaa kar
She offers her life for his, for what does she have to live for if he dies? Her
prayers are all that she can offer to save her beloved; the irony is that her prayers will come true: she will foreit her life for his, only, not the way she imagines.
Singer: Lata Mangeshkar
Man mein hi mere man ki rahi jaaye
Khilne ko tarse nanhi nanhi kaliyaan
Piya jaane na, haay
Kaise din beete kaise beeti ratiyaan
Piya jaane na
It is tragic – seasons have come and gone, but the man who yearned to hear her sing, the man who rushed out to buy her flowers, he’s so engrossed in his work that he has no time for her. Indeed, he isn’t even listening to her sing now.
Singer: Manna Dey
Ik pal jaise ik yug beeta
Yug beete mohe neend na aayi
Don’t ask how I passed the night
An aeon passed
in the blink of an eye
An aeon passed
But slumber passed me by
That endless night; a lamp that doesn’t dispel the darkness; a night, pitch black, with neither moon nor stars to light the way; not even the dawn brings hope.
Jyot ke pyaase mere nain bechaare
Bhor bhi aa ski kiran na laayi
And because Shailendra began his career with Raj Kapoor, and because Kaviraj's death anniversary is the same as Raj Kapoor's birth anniversary, I leave you with a song that brings Raj Kapoor's 'Dream Team' together.
Kisi ki muskuraahaton pe ho nisaarAnari (1959)
Singer: Mukesh
Music: Shankar Jaikishan
Zinda hai humeen se naam pyaar ka
Ke mar ke bhi kisi ko yaad aayenge
Kisi ke aansuon mein muskuraayenge
Kahega phool har kali se baar baar
Jeena isi ka naam hai
'Ke mar ke bhi kisi ko yaad aayenge". Never was a truer word written. Shailendra did leave behind a legacy that will never die – in his songs that spoke of universal
emotions, in songs that reflected us ordinary people, and our dreams and hopes
and aspirations. He took our inexpressible feelings and reflected them back at
us in words so simple we could hardly fail to understand. He spun his magic to
tell us what we didn’t know we felt. He left his mark – not just on
Hindi cinema, but on our hearts, imprinted himself in our memories, in a
collective consciousness of what it means to be human. Yes, he's remembered. He will be remembered.
A career spanning 17 years, more than 800 songs – it’s difficult to do justice to the man’s talent in a single post with a handful of songs. What are some of your favourite Shailendra songs?
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