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01.10.1919 - 24-05.2000
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My love for poetry, specifically Hindi poetry, was influenced by the Karnataka SSC Board, which had decided to make Hindi one of our 1st
language choices. This meant that
apart from reading excellent Hindi literature, we were also introduced to some of Hindi
poetry’s stalwarts – Mahadevi Varma, Sumitranandan Pant, Ramdhari Singh Dinkar,
Suryakant Tripathi, Maithili Sharan Gupt, Harivanshrai Bachchan, as well as the
dohas of Kabir, Mirabai, Surdas, etc.
Growing up with my
film-crazy father also meant that film music was an integral part of my
childhood. When I listen to songs, while it’s the melody that initially captures my
attention, it’s the lyrics that keep me engrossed. The words have
magic. They transport me to other worlds, touch
an emotional core within me, and express what I feel but cannot say.
But for all my love
of words, there were very few lyricists whose work I could identify solely by
listening to their words. Yet, I ‘knew’ them – through their verse, their words, the emotions they expressed so beautifully. And
in some of those songs, surely, I had ‘met’, known and loved Majrooh
Sultanpuri?
Born Asrar-ul-Hasan
Khan in Nizamabad, Azamgarh district, where his father Siraj Haq Khan was a police
constable, the young lad first began writing poetry under the pen name ‘Naseh’.
It wasn’t until he fell prey to unrequited love that his pen name changed to ‘Maj-rooh’
(literally ‘wounded soul’). ‘Sultanpuri’ was added because he worked as a hakim
for a few years at Sultanpur.
Educated in the traditional
manner, Asrar became proficient in Arabic and Persian, apart from Urdu and
religious studies. He also studied Unani medicine, meaning to become a
traditional hakim, but didn’t practice very long. Meeting legendary Urdu
poet Jigar Moradabadi at a mushaira was a turning point. ‘Jigar’ would soon become
Majrooh’s mentor, and while the latter never copied him, it is fair to say that
Jigar’s poetry shaped his own writing.
It was Jigar who was
also responsible for introducing Majrooh to films. At a mushaira in Bombay
in 1945, Majrooh made the acquaintance of producer AR Kardar. Impressed by the
young man’s talent, Kardar requested him to write the songs for his Shahjehan
(1946). In an interview in later years, Majrooh narrated how he
very nearly rejected the offer. It was Jigar, he said,
who told him that writing for films would help keep his home fires burning.
Unfortunately, before
he could establish himself as a lyricist, his leftist leanings got him into
trouble with the authorities and he was jailed for two years. Then, in 1948-49,
he collaborated with Naushad again for Mehboob Khan’s Andaz. However,
fate conspired again – at a mill workers’ union meeting in 1949, Majrooh, disillusioned
by Nehruvian socialism, recited a poem calling Jawaharlal Nehru a ‘slave of the
commonwealth’ and ‘Hitler’.
Aman ka jhanda is
dharti pe kisne kaha lahraaye na paaye
Ye bhi koi Hitler
ka hai chela maar le saathi jaane na paaye
Commonwealth ka
das hai Nehru maar le saathi jaane na paaye
An arrest warrant
was issued against him by Morarji Desai, then-Governor of Bombay, which forced
Majrooh to go into hiding to elude arrest. Around this time fellow Progressive poets Faiz Ahmed ‘Faiz’ and Sajjad Zaheer were
imprisoned for their alleged involvement in the Rawalpindi Conspiracy Case.
Majrooh came out of hiding to participate in a protest meeting against their
incarceration and was arrested and lodged at the Arthur Road Jail in Bombay for
a year.
Majrooh continued to
be fiercely opinionated, courting arrest during the Sino-Indian War (1962) and
even during the Emergency when, at Jawaharlal Nehru University, he fearlessly
recited:
Sutoon-e-daar par
rakhte chalo saron ke chiraagh
Jahan talak ye
sitam ki siyaah raat chale
But he was to soon
be disillusioned with the communist party as well. When the Party split, the
heart-broken poet wrote:
Hum ko junoon kya
sikhlaate ho, hum the pareshaan tum se ziyaada
Chaak kiye hain hum
ne azizo char garebaan tum se zyaada
Majrooh’s poetry
transcended romance, speaking instead of societal injustices and man-made
barriers. Yet, for a man who dismissed his work in Hindi films, he had a long,
eventful career that spanned five decades, collaborating with celebrated
music directors from Naushad, Anil Biswas, Salil Choudhury and SD Burman to the
generations that came after them – RD Burman, Laxmikant-Pyarelal, Jatin-Lalit,
Anand-Milind etc.
In 1993, Majrooh was the first lyricist to be awarded the Dadasaheb Phalke Award. Twenty years
later, the Government of India issued a postal stamp commemorating him.
Majrooh’s simple
turns of phrase expressed the most profound emotions. With more than 6,000
songs in over 300 films to his credit, Majrooh’s poetry traversed the gamut
from the soulfully romantic to philosophical, cynical and devotional. As with
the other music directors, singers and lyricists whose work I’ve chronicled, it
is difficult to choose just a handful of songs – I’ve tried to illuminate his
versatility, but mostly, these are songs that I love.
I’m not a great fan of Saigal, but there are some Saigal songs that touch me deeply, and this is one of them.
Though it was titled Shahjahan, the movie focused more on the travails of a lovelorn poet, Suhel (KL Saigal),
Roohi (Nasreen), the object of his affections, and Amir Ali Shirazi (P Jairaj), his rival
for Roohi’s affections.
Saigal spends a lot of time with his arms akimbo
singing sad love songs, and in this,
Majrooh captures the intensity of a poet’s heartbreak.
Dil ke haathon se
daaman chhudakar
Gham ki nazron se
nazaren bachakar
Uth ke woh chal
diye
Kahte hi rah gaye
hum fasaana
Haay haay ye
zaalim zamana
Arzoo (1950)
Singer: Talat
Mahmood
Music: Anil
Biswas
Majrooh didn’t get
his takhallus for nothing – he knew the pain of a wounded heart.
Here, a
small ghazal that is a soft ode to heartbreak, lending pathos to the
journey of a man who desires nothing more than to be left alone with the ache.
Jaa kar kahin kho
jaaun main
Neend aaye to so
jaaun main
Duniya mujhe
doondhe magar
Mera nishaan koi
na ho…
3. Beqaraar hai koi
Shama Parwana (1954)
Singers: Mohammed
Rafi, Suraiya
Music: Husnlal-Bhagatram
We all know great
songs that transcend the films they are in. Shama Parwana is a boiling
hot mess (pun intended) but Husnlal-Bhagatram composed a round dozen songs for
the movie.
This one talks of the restlessness of lovers for whom every moment of
separation is an aeon. Majrooh uses metaphors – Dasti hai naagin si furqat
ki raatein and very descriptive phrases -
Hansna hai bas
mein na rona hai bas mein
Mahlon mein rah
kar woh qaid-e-qafas mein
- to describe the lovers’ plight.
The poor man (Johnny
Walker) has lost his ‘jigar’, or so he says. If he was hoping for
sympathy, he isn’t getting any - ’Yahaan use laaye kaahe ko bina kaam re?’ As
flirtations go, he isn’t getting very far with her, though the sparks are
there.
And Majrooh was
clearly having fun with the lyrics:
Kahin dar ke
maare chooha toh nahin ho gaya
Kone kone dekha
na jaane kahaan kho gayaAnd since they do
spend some time looking for the missing jigar in the corners, between
the files, under the tables… a rollicking good time is had by all.
5. Saanwle salone dekho din bahaar ke
Ek Hi Rasta (1956)
Singers: Hemant
Kumar, Lata Mangeshkar
Music: Hemant
Kumar A film lyricist must
be versatile, writing songs that for various milieus, encompassing various
emotions, and for every context under the sun.
Here, a little family – father (Sunil Dutt), mother (Meena
Kumari), son (Daisy Irani) – is on a happy cycling jaunt through the
countryside. Hemant Kumar composes – and sings, in tandem with Lata Mangeshkar
– a light, frothy tune complemented by Majrooh’s lyrics that notes the flowers,
the call of the koel, the river side, etc., distilling the very essence
of springtime.
Jhoom ke pawan
dekho chali
Pyar ke nashe
mein khili kali
Phoolon ke dar pe
ye bhanwra pukar
Aaye deewane tere
intezaar ke
The SD-Majrooh
collaboration began in earnest after Pyaasa and continued until the
former’s death. Like the OP Nayyar-Majrooh collaboration, it is hard to pick just one song. I’ve already done one post on some of my
favourite songs of the duo, and so my choices whittled down to Hothon pe aisi baat (Jewel Thief) and Hai apna dil to awara (Solva Saal) before I picked this for its lyrics.
Majrooh writes about a man so intoxicated by his
beloved’s gaze - her eyes are as soft as muslin, he says, how can he not be
maddened by them? The tone may be playful, but the feelings are intense.
Koyi dekhe
nasheeli aankhen malmal ke
Dil kaise bane na
deewaana
Shama kare hai
ishaare jab jal jalke
Kaho kya kare
parwaana
7. Desi kya bidesi
Lal Batti (1957)
Singers: Shamshad
Begum, Manna Dey
Music: Salil
Choudhury Shamshad Begum sang
only three songs for Salil Choudhury. This rollicking number is one of them.
This is not a typical Salilda tune, neither are the lyrics
typical Majrooh (nor are they usual for the time).
Tum ko thokar maari
I'm very sorry
Tum ko hamaara salaam hai
Jaao ji dii maafi
Itna hi hai kaafi
Ulfat ka banda ghulaam hai
Lal Batti is also significant for the fact that it
was co-directed by Balraj Sahni (with Krishna Chopra) and supposedly, this song
was picturised on him and Sulochana. However, the film also (supposedly) starred
Mala Sinha, Shashikala and Jawahar Kaul, or so says IMDB.The other Salilda
film for which Majrooh wrote the lyrics was Apradhi Kaun – the delightful
Koi dekhe to kahe was on my shortlist.
One thing I have
noticed about the best male lyricists (and this includes Sahir, Shakeel and
Shailendra) is how attuned they are to women’s feelings. Here, for instance, is
Majrooh, describing the joy of waiting (and getting) for a letter. The surge of
excitement when you hear the postman’s bell, the quick steps slowing down just
as you reach the door (or in this instance, the gate) so you can pretend you
weren’t waiting, holding the letter but not opening it just yet…
Is mein jo baat
hogi badi qaatil hogi
Teri aawaaz bhi
in baaton mein shaamil hogi
Ye dil thahre
zara, nazar thahre zara
Sun phir teri
sadaa hum
Tere khat leke
sanam paanv kahin
rakhte hain hum
Chhaya (Meena
Kumari) knows who the letter is from, and she can also guess at its contents.
But she’s so delirious with joy at hearing from him that she needs to take a
moment to calm down before she can read it.
It is hard enough to
write poetry, but it is harder still to write to a definite metre. Most
lyricists learn quickly enough to do so. Here, it is interesting to see how a
song, a straight lift of Paul Anke’s Diana, is transformed into an
anthem of young love’s rebellion. When Raja/Roop (Shammi Kapoor) is told he has
to stay away from Neeta (Asha Parekh), his reaction is to precipitate the very
showdown that his mother is trying to avoid.
And so, Majrooh strikes a defiant
tone:
Leke mera dil yun
tu ne
Aankh jhuka li kyun tu ne
Tu ne yahi socha
hoga
Sunti hai mehfil kya hoga
Kya hoga ye kis
ko padi
Hosh kahaan jab
aankh ladi
Aankh ladi dil
haar diya
Teri ada ne maar
diya, dilruba… meri Neeta!
Majrooh’s lyrics
seem to suggest that it is the journey that is important – pause, reflect, walk
on. Your destination may be unknown, but there’s joy to be had in the here and
now. So, listen to your heart.
Aise main chal
raha hoon pedon ki chhaaon mein
Jaise koi sitaara
baadal ke gaaon mein
Mere dil tu suna
koi aisi daastaan
Jisko sun kar,
mile chain mujhe meri jaan
Manzil hai
anjaani…
There is a mistaken
notion that poetry must be serious to be ‘good’. But a good lyricist is one who
can cut his suit to fit the cloth as the saying goes.
Here, a young man (Shammi
Kapoor), is serenading his beloved – he’s so in love
with her he wants everyone to know how wonderful she is. So, when patrons of
the restaurant get up to leave, he is not loth to tell them off – humorously,
of course.
Balle balle, uth ke
mister kyun chale
Pyar pe mere kaho
kyun jale
Baith bhi jaao
meherbaan
Dua kare mile
tumhe bhi aisa dilruba
12. Dil ki tamanna
Gyaarah Hazaar
Ladkiyan (1962)
Singer: Mohammed
Rafi
N Dutta An often-overlooked
music director, N Dutta had some fabulous compositions to his name.
Here, Majrooh spins a ‘bewafa’ song, but
the accusations are gentler, and there’s a gentle air of melancholy in:
Yaadon ki dhool aankhon
mein hai
Daaman ki hasrat
haathon mein hai
Khwaabon ke
veerane mein tanha
Thak gayi raahi
chalte
Yes, she gets the
point.
Like N Dutta,
Chitragupt had some fabulous melodies to his credit as well. This one is a particularly sweet one.
Majrooh captures the wonder and joy of freshly awakened hopes and dreams
in:
Khwaab jaagi
aankhon se milne ko aaye
Pyaar armaanon ka
dar khatkhataaye
Kitne saaye dol
pade sooni si angnaayi mein
Dil ka diya jala
ke gaya
Ye kaun meri
tanhaaii meinWhat a beautiful, almost visceral
description! Unfortunately, the film itself was allegedly a mess. (Dustedoff had once done a
hilarious ‘review’ of this film.)
14. Thahriye hosh mein aa loon
Mohabbat Isko
Kehte Hain (1965)
Singer: Mohammed
Rafi, Suman Kalyanpur
Music: Khayyam
This is a quintessential
romantic song – the man (Shashi Kapoor) requesting his beloved (Nanda) to leave
only after he regains consciousness. How long will they live apart? Come, he
invites her, reside in his heart. But she is too shy to even admit her love. He
has no patience for such shyness.
Aisi kya sharm
zara paas to aane deeje Rukh se bikhri
huyi zulfon ko hataane deeje
Pyaas aankhon ko
bujha doon to chala jaaiyega
Thahriye hosh
mein aa loon to chala jaaiyega
When l wrote about
ghazals in films, I mentioned Rehte the kabhi jin ke – a
scathing condemnation of a lover’s betrayal. This song, however, is quite the
opposite – almost a prayer, so devotional is it in its expression of love. Well
past the first flush of youthful passion, it’s a love that’s grown, deep and
sincere, yet is constrained to remain silent. Majrooh draws upon
the imagery of a lamp in a temple, a flower offered to the deity, the sacred
ash, to reflect a love that is almost spiritual in its intensity, ending with a
plea never to be separated again:
Ye aag birha ki
mat lagaana
Ki jalke main raakh
ho chuki hoon
Ye raakh maathe
pe maine rakh li
Ke jaise mandir
mein lau diye ki
The love and
devotion are mutual, and so is the heartbreak.
16. Tumne mujhe dekha
Teesri Manzil (1966)
Singer: Mohammed
Rafi
Music: RD Burman I was initially
going to choose Daiyya ye main kahaan aa phansi because it is such a
whackadoodle song in its music, picturisation and lyrics – I mean, how
does one come up with ‘Kali si murgi ud gayi kidhar tu ru tu ru/ Deke anda
kahaan ja phansi’? But this song, with its unintended irony - he has
written her a letter revealing a terrible secret, and assumes she is here
because she’s forgiven him) and inherent pathos (this was the first song that
Shammi Kapoor shot for after Geeta Bali’s death)? Majrooh’s lyrics not only
convey his love for her, but also his gratitude, of things that were, and now
is.
Kahin dard ke
sehra se rukte chalte hote In hothon ki
hasrat mein tapte jalte hote
Meherbaan ho gayi
zulf ki badariyaa
Jaaneman,
jaan-e-jaan…
And her journey too,
ends here –
Aakhir woh mere
dil tak kadmon ke nishaan pahunche Khatm se ho gaye
raaste sab yahaan…
Dastak had one lovely song after another, with Mai
ri being a particular favourite. But this one – a ghazal not
originally written for this film – is particularly scathing, with its plaint of
a woman who, by a twist of fate, is objectified by the men who surround her.
Their constant leering upsets her husband (they live in a house that was
previously occupied by a prostitute) who constrains her from singing or dancing
lest it bring more unwarranted attention. But now, forced by circumstances to
sing for an old client of the previous occupant, Salma (Rehana Sultan) can only
express her anguish through her song, even though she feels like a commodity
doing so.
‘Majrooh’ likh
rahe hai vo ahl-e-vafaa ka naam
Hum bhi khade hue
hain gunahgaar ki tarah
Madan Mohan would
win the only award of his career – the National Award – for the score of the
film.
18. Roz shaam aati hai
Imtihaan (1974)
Singer: Lata
Mangeshkar
Music: Laxmikant-Pyarelal
There’s a hint of
wistfulness in this song, almost as if she’s surprised by the difference that
he has made in her life.
Roz shaam aati
thi magar aisi na thi Roz roz ghata
chhaati thi magar aisi na thi
Ye aaj meri
zindagi mein kaun aa gaya….
It’s also a song of
hope, of fresh beginnings, of learning to trust and of letting herself believe
in these new feelings. Majrooh’s lyrics capture the nuances very well indeed.
19. Pehla nasha pehla khumar
Jo Jeeta Wohi
Sikander (1992)
Singer: Udit Narayan, Sadhana
Sargam
Music: Jatin-Lalit
If there’s one song
that shows you how relevant Majrooh remained, it is this lovely song that talks of the rush of first love. The
intervening decades had brought about a sea change in the man-woman
relationship, in the expression of love, and even in its language. For
Majrooh, then in his seventies, to be able to express all of it with such
youthfulness, such freshness, showed a new generation of Hindi film [song]
lovers that you didn’t necessarily have to be young to be youthful.
Udta hi phiroon
in hawaaon mein kahin Ya main jhool
jaaoon in ghataaon mein kahin
Ek kar doon
aasmaan aur zameen
Kaho yaaron kya
karoon ya nahiin
Pehla nasha pehla
khumaar
Naya pyaar hai
naya intezaar
Kar loon main kya
apna haal Ae
dil-e-beqaraar,
Mere
dil-e-beqaraar, tu hi bataa…
The beauty of the
lyrics lay in its simplicity, in the unabashed joie de vivre of the
young who believe that love is theirs by right, but who, like their parents and
their grandparents before them, begin to realize that falling in love turns
everything topsy-turvy. The dreams of doing the impossible, the confusion of
not knowing what exactly to do, Majrooh’s pen painted these fragile emotions
with a delicate hand.
Majrooh's journey can be summed up in his couplet:
Main akela hi chala tha jaanib-e-manzil magar
Log saath aate gaye aur kaarvaan banta gaya
And we are indeed privileged to be part of that caravan. Which songs of Majrooh's would you add?
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