Evolution of Hindi Film Music 1930 to 1980 Chapters 3 and 4
CHAPTER
3
Transition of Classical Music to Film Music
It was my earnest
view that before dealing with the main topic it would be appropriate to bring
the importance of the origin and modifications taken place in Hindustani music.
Our music directors and singers were trained people in the classical Hindustani
Music. They also wanted to bring the classical music to the public in such a manner
that they would appreciate and start liking the songs. Aim of the music
directors was to capture maximum number of audience.
Bollywood raags: Hindustani classical vocalists who made film music
Featuring
Bade Ghulam Ali Khan, Amir Khan, DV Paluskar and other legends.
At the turn of the last century,
practitioners of Hindustani music were suddenly faced with new
technologies. Despite their general initial reluctance to record
gramophone discs, they soon saw this as yet another means to disseminate their
music to a wider audience and as an additional source of income.
Cinema similarly provided musicians with a new means of sustenance. With
the emergence of the talkies in the 1930s, musicians took up employment with
film production houses established in Bombay and Calcutta, working as members
of the orchestra, as actor-singers, or as composers. Film songs and
background scores placed a different set of demands on practitioners of
Hindustani music, who had until then performed art music live or recorded for
gramophone discs. In the new setup, they had to make music that was composed
and arranged to suit the purposes of the film narrative. In this
situation, the element of elaboration that was integral to Hindustani music was
eliminated.
Between those early years and now, several practitioners of Hindustani music
have been involved in film music recordings. Most of them were
instrumentalists; vocalists seem to have participated less frequently.
Curiously, not all of them wished to discuss their work in films. They probably
felt their involvement in film recordings was a compromise that they were
forced into in order to make ends meet. To that extent, they did not feel as emotionally
attached to their work in films as they did with their presentations of art
music. But they also possibly do not want their film work to take away
from their personae as practitioners of art or classical music. As a result,
the anonymity lent to instrumentalists as members of film orchestras proved
beneficial to them.
The situation today is quite different: many practitioners of Hindustani music
see their involvement in film music, however infrequent, as an added
qualification. They are happy to see their names feature in the credits
as singers, instrumentalists or composers.
Countless songs that can be cited as examples of superb artistry on the part of
instrumentalists. But here are a few instances of vocalists who have lent
their voices to early Hindi film songs. Evidently, these songs are composed
along the lines of traditional raag-based ghazal (in the first instance),
khayal (in the second and third
Begum Akhtar
Six songs from Roti
Famous for her ghazal and thumri-dadra renditions, Begum Akhtar (1914-1974)
acted and sang for the film Roti (1942), the music
for which was composed by Anil Biswas.
Saraswati Rane
Bina Madhur Madhur Kachu Bol
The next song features Kirana gharana vocalist Saraswati Rane (1913-2006),
daughter of renowned vocalist Abdul Karim Khan singing playback in the
film Ram Rajya (1943), with music composed by Shankarrao Vyas,
a disciple of music educationist and vocalist Vishnu Digambar Paluskar.
Amir Khan and DV Paluskar
Aaj Gaawat Man Mero Jhoom Ke
Founder of the Indore gharana Amir Khan (1912-1974) also sang a duet with DV
Paluskar (1921-1955) for the film Baiju Bawra (1952).
The music director for this film was Naushad.
Bade Ghulam Ali Khan
Prem Jogan Ban Ke Sundari
The
last track features the inimitable Patiala gharana vocalist Bade Ghulam Ali
Khan (1901-1968) singing for the film Mughal-E-Azam (1960).
The music for the film was composed by Naushad, but this song is based on
a thumri immortalised by Bade
Ghulam Ali Khan in raag Sohini.
What distinguishes Hollywood from Bollywood?
No- please don't go into the lengthy discussions about quality and quantity.
The answer is simple - film songs! For Hollywood- a musical film with songs is
more of an exception. For Bollywood - every film is a musical as a rule unless
proved otherwise.
Film songs are the life and soul of Hindi movies or for
that matter for most of the movies made in the sub-continent. For almost
seventy years this tradition is going on. A tradition which began with a song
picturised on a fakir in the first ever 'talkie' film in India - Ardeshir
Irani's Alam Aara (1931). When Wazir Mohammed Khan sang De
de khuda ke naam pyare in this movie, he could never have imagined
that he was pioneering the most revered and at the same time most reviled music
forms in India.
Film music derived its melodies from three
diverse sources: Indian classical music, folk music from different regions, and
Western classical and popular music. Initial music directors adapted and
modified music from these sources to create a music tradition suitable to the
common man.
At this time, the use of the orchestra was
minimal and the music director displayed his musical abilities with the help of
very few musical instruments. This did not, however, take away from the music
its melody and charm. R.C. Bora, Pankaj Mulick, K.L. Sehgal, Kanan Devi, K.C.
Dey, Pahari Sanyal, Saraswati Devi and Khem Chandra Prakash were some of the
greatest singers and music directors.
Many new and promising music directors
emerged during the 1950s including Anil Biswas, Vasant Desai, Naushad, C.
Ramchandra, S.D. Burman, Jaidev, Madan Mohan, Roshan, M.S. Baburaj, S. Bal
Chander, Salil Choudhry, Bhupen Hazarika, Hemant Kumar, P. Nageshwar Rao and
Sudhir Phadke.
The role of the lyricists, who drew
inspiration from poetry and literature, played a major role in enriching the
music of the time. Songs conveyed a meaning owing to their rich lyrics. Sahir
Ludhianvi, Majrooh Sultanpuri, Shailendra, Kafi Azmi, Pradeep and Gopal Das
Neeraj were some of the leading lyricists of the 1950s.
Geeta Dutt, Talat Mehmood, Mukesh, Manna Dey
were great singers who, in company with the music directors and the lyricists,
produced everlasting melodies. These singers sang not only in Hindi and Urdu
but in other Indian languages.
Music in Indian films is generally not
conceived as an autonomous entity within itself, but has to be intimately
connected to the storyline. So songs and music were created in accordance with
the requirements of the film and were woven into the various situations of the
film. Much melodious music was produced. This is especially true of the period
1950s- 1970s.
In the 1960s and 1970s there was relative
stability. There was an ever increasing standard of recording quality as
technical advances were made. But playback singers such as Lata Mangeshkar,
Hemant Kumar, Asha Bhonsle, Kishore Kumar, and Mohammad Rafi were the mainstay
of the playback singing scene. Kalyanji Anandji, R.D. Burman and Laxmikant-
Pyarelal emerged as the talented and big music directors in the two decades.
1930s
The first song recorded in India by
Gauhar Jaan in 1902 and the first Bollywood film Alam Aara (1931) were under Saregama, India's oldest music label
owned by RP Sanjiv Goenka Group. Linguistically, Bollywood songs tend to
use vernacular Hindustani, mutually intelligible to self-identified speakers of
both Hindi and Urdu, while modern Bollywood songs also
increasingly incorporate elements of Hinglish. Urdu poetry has had a
particularly strong impact on Bollywood songs, where the lyrics draw heavily
from Urdu is also occasionally used for Bollywood songs.
The 1930s were the
formative years for Hindi film music but not without some shining milestones.
Jaddanbai (Nargis's mother) and Saraswatidevi were the first two music
directors on the world movie scene. The film Indrasabha made
in 1932 still holds the world record for the number of songs in a single movie.
Can you imagine how many songs it had? Seventy-one!
The two foremost singers- composers from that
era hailed from Bengal - Pankaj Mullick and K.C.Dey. The soft Bangla- school of
music was the most preferred one then. The singing sensation of that era was
Kundanlal Saigal. This type-writer salesman earning eighty rupees a month was
hired as a singing actor at a princely sum of two hundred rupees per month by
the 'New Theatres' composer R. C. Boral. This proved to be the most profitable
decision for the film company. Saigal's songs became a rage all over the
country and inspired many a future stalwarts.
1940s
Rudradeep
Bhattacharji, one who worked on evolution of Hindi Film music says
“August
15th, 1947, the day India became independent, was a Friday. On that historic
day, two Hindi films were released in Bombay. One disappeared without a trace –
the other went on to become a musical milestone.
There
has always been a symbiotic relationship in India between the success of a film
and the popularity of its songs, and the P.L. Santoshi-directed Shehnai was no
exception. The film was the fifth-highest grosser of the year, and a
significant contributing factor in its favourable run at the box office was the
stupendous popularity of “Aana Meri Jaan Sunday Ke Sunday” (Darling, Come To Me
On Sundays), which heralded the arrival of jazz in the Bombay cinema”
The 1940s were the years of flux. A new order
came into existence. More robust Punjabi style of music pushed back the soft
Bangla style. Playback singers replaced the genre of singing stars. Though
singers like Noorjahan and composers like Ghulam Haider were taken away by the
Partition, the future of the Hindi film music was in safe hands by then. The
entry of exceptional singers like Geeta Roy-Dutt, Suraiya, Shamshad Begum,
Rajkumari, Lata Mangeshkar, Asha Bhosle, Mohd. Rafi, Mukesh,Talat Mahmood,
Manna Dey, Hemant Kumar and Kishore Kumar had ensured that. Superlative
composers like Anil Biswas, Naushad, C.Ramchandra, S.D.Burman and Vasant Desai
were there now to compose masterly tunes for these golden voices.
1950s
The 1950s coincided with the 'Golden Age' of
Hindi film music. Sweet melodious tunes and poetic lyrics made almost all the
songs memorable and a joy to listen to. Music directors like Shankar-Jaikishan,
Madan Mohan, O.P.Nayyar and Salil Chaudhury along with the earlier masters
created magic through their music. They were creative and innovative in their
compositions. Their tunes had a superb blend of the Indian regional folk music,
Indian Classical music and the Western music.
No wonder so many soundtracks of that era have retained
their popularity to this day. How could one forget the beauty of ' Barsaat '
and ' Baiju -Baawra '? How could one afford to miss the
mystique of ' Madhumati ' and ' Mughal-e- Azam '?
How could one avoid feeling the affinity for 'Anarkali ' and
' Albela '?
1960s and
Seventies
Music in Indian films is generally not
conceived as an autonomous entity within itself, but has to be intimately
connected to the storyline. So songs and music were created in accordance with
the requirements of the film and were woven into the various situations of the
film. Much melodious music was produced. This is especially true of the period
1950s- 1970s.
In the 1960s and 1970s there was relative
stability. There was an ever increasing standard of recording quality as
technical advances were made. But playback singers such as Lata Mangeshkar,
Hemant Kumar, Asha Bhonsle, Kishore Kumar, and Mohammad Rafi were the mainstay
of the playback singing scene. Kalyanji Anandji, R.D. Burman and Laxmikant-
Pyarelal emerged as the talented and big music directors in the two decades.
By the end of the 1970s, film music began
losing its golden image. Romance and soft emotions, fodder for good music in
the films, received a setback in the popular films of the 1980s. In trying to
keep pace with life, softness and subtle nuances of music gave way to fast,
loud and orchestral forms.
CHAPTER
4
Having dealt with
the fundamentals for making the Hindi film music otherwise known as Bollywood
music and its development in 1930s and onwards till 60-70sin the earlier chapters
I wish to proceed further by highlighting those who laid the foundation and
kept the public in further expectation for melodious music with meaningful
lyrics. They were the pillars and they created a sensation in the viewers by
composing melodious songs and made the public to hum these tunes or sing these
songs in their personal get together.
The three apexes
responsible for making Bollywood songs very attractive even in the minds of
those who don’t understand Hindi were the lyricists, the music director and the
singer. In fact, these three can promote a dull actor to fame by the song
composed. I shall deal with these important subjects separately in the
succeeding paragraphs.
Lyricists
Dr. Vidya Hattangadi dealt with this briefly According to her
“The Indian Hindi cinema world cannot be imagined without
songs and dance sequences. Film songs serve a variety of purposes. They are put
at thoughtful intervals all through the story; they make a more telling
statement than only dialogues. They are both entertaining and enlightening.
Many a hit songs, penned by legendary poets and lyricists, have contributed to
a film’s box office revenue. This post is about some of the most famous poets
in the world of Hindi cinema. You can hear a romantic, sad, bhaktirasa
(devotional), patriotic, bravery, lonely, laughter, compassion, fighting all
sorts of songs. The songs come in form of cabarets, qawali, bhajan, kirtan,
ghazal, disco, dance and romantic songs. Urdu played a crucial role in the
growth and development of the Bollywood, especially adding rhyme and lyricism
to the Hindi numbers. The most famous poets of Bollywood have penned their
poetries in Urdu/Hindi mix language.”
Very popular and noteworthy lyricists of the Golden era of
Bollywood music are Shakeel Badayuni, Kaifi Azmi, Sahir Ludhianvi, Shailendra,
Majrooh Sultanpuri, Anand Bakshi, Nida Fazli, Gulzar, Gopaldas Neeraj and later
in seventies Javed Akhtar. There are some more lyricists I may have left out
without any intention. This point may not be taken seriously.
Shakeel Badayuni.
Shakeel wasborn on 03 August 1916 in a village Badaun in UP.
He studied in Aligarh Muslim University and shifted to Bombay (now Mumbai) in
1944 to write songs for films. He met film
producer, A.R. Kardar and
music composer, Naushad Ali, who
asked him to sum up his poetic skills in one line. Shakeel wrote, Hum
Dard Ka Afsana Duniya Ko Suna Denge, Har Dil Main Mohabbat Ki Ek Aag Laga
Dengey. Naushad immediately retained him for Kardar's film, Dard (1947).
The songs of Dard proved to be very successful,
especially Uma Devi (Tun
Tun)'s Afsana Likh Rahi Hoon. Only a few are so lucky that they
attain success in their first film, but Shakeel deserved success which started
with Dard and continued on over the years.[5]
Together, he and Naushad became one of the
most sought after composer/lyricist duos in the industry. Among the scores they
churned out together, are those of "Deedar"
(1951), Baiju Bawra (1952), Mother India (1957), and Mughal-e-Azam (1960), that stand
out. Other films they scored together include Dulari (1949), Shabab (1954), Ganga Jamuna (1961), and Mere Mehboob (1963). Although
Shakeel Badayuni worked most extensively with Naushad, he also collaborated
with Ravi and Hemant Kumar as well. His lyrics for the song Husnwale
Tera Jawab Nahin and Ravi's music score both won Filmfare Awards for the hit
film Gharana. His
other notable film with Ravi is Chaudhvin Ka Chand (1960), while Sahib Bibi Aur Ghulam (1962) is his biggest hit with Hemant Kumar. The
title song from Chaudhvin Ka Chand, rendered by Mohammed Rafi, won Badayuni the Filmfare Award for Best Lyricist in 1961.
Shakeel penned numbers for around 89 films.
In addition, he wrote many popular ghazals sung by Begum Akhtar, and which are still sung by vocalists like Pankaj Udhas and others.
.Association with Ravi
Shakeel also wrote a substantial chunk of his
songs for music director Ravi Sharma.
Prominent amongst those were Chaudhvin Ka Chand (1960), Gharana (1961),
Ghunghat, Grahasti (1963), Nartaki (1963),
as well as Phool Aur Patthar and Do Badan (both released in 1966).[5]
Association with Hemant Kumar
Shakeel wrote for Hemant Kumar for movies like Bees Saal Baad (1962), Sahib Bibi Aur Ghulam (1962), Bin
Badal Barsaat.[5]
Association with S.D. Burman
Shakeel penned lyrics for the tunes of S.D.
Burman for movies Kaise Kahoon & Benazir.[5]
Others
C.Ramachandra – Zindagi Aur Maut, Wahan Ke
Log.[5] Roshan – Bedaag, Noorjahan
When Shakeel Badayuni was
diagnosed with tuberculosis, he was put up in a sanatorium in Panchgani for
treatment. Naushad knowing that his financial
condition was not well, took 3 films to him, getting the lyrics written in the
sanatorium, and got him a payment of nearly 10 times more than his normal fees.
His best 20 songs are:
1. Suhani Raat Dhal Chuki (Dulari)
2. Man Tarpat Hari Darshan Ko Aaj (Baiju Bawra)
3. O Duniya Ke Rakhwale (Baiju Bawra)
4. Madhuban Me Radhika Naache Re (Kohinoor)
5. Pyar Kiya To Darna Kya? (Mughal- E- Azam)
6. Chaudvin Ka Chand Ho (Chaudvin Ka Chand)
7. Dil Laga Kar Hum Ye Samjhe (Zindagi Aur Maut)
8. Mere Mehboob Tujhe Meri (Mere Mehboob) (1963)
9. Jane Bahaar Husn Tera Bemisaal Hai (Pyar Kiya To
Darna Kya)
10.
Ek Shahenshah Ne Banwa Ke Haseen Taj Mahal (Leader)
11.
Koi Saagar Dil Ko (Dil Diya Dard Liya)
12.
Beqarar Kar Ke Hume (Bees Saal Baad)
13.
Lo Aa Gai Unki Yaad (Do Badan)
14.
Na Jao Saiyaan (Sahib Bibi Aur Ghulaam)
15.
Meri Baat Rahi Mere Man Me (Sahi Bibi Aur Ghulam)
16.
Aaj Puraani Raahon Se (Aadmi)
17.
Jab Dil Se Dil Takrata Hai (Sunghursh)
18.
Ek Baar Zara Phir Kahe Do (Bin Baadal
Barsaat)
19.
Tumhe Paa Ke Hum Ne (Gehra Daag)
20.
Zindagi Tu Jhoom Le Zara (Kaise Kahoon)
Awards won
·
1961 Filmfare Best Lyricist
Award for the song Chaudvin ka chand
ho in the film Chaudhvin Ka Chand (1960)[6]
·
1962 Filmfare Best Lyricist
Award for the song husnwale tera
jawab nahin in the film Gharana (1961)[6]
·
1963 Filmfare Best Lyricist
Award for the song Kahin Deep Jale in
the film Bees Saal Baad (1962)
Government Recognition
His contribution by writing songs for eighty
nine films with three meritorious awards was recognised by the
Government and got him the title Geet
Kar-e-Azam. A postage stamp, bearing his face, was released by India Post to honour him on 3 May 2013
Shakeel
(people used address him with affection) used to say
Main
Shakeel Dil Ka Hoon Tarjuman
Keh
Mohabbaton Ka Hoon Raazdaan
Mujhe
Fakhr Hai Meri Shayari
Meri
Zindagi Se Juda Nahin
Sahir
Ludhianvi
Abdul Hayee (8
March 1921 – 25 October 1980), popularly known by his pen name (takhallus) Sahir
Ludhianvi, was an Indian poet and film song lyricist
who wrote primarily in Urdu in addition to Hindi.
After experiencing a bitter personal life in
his early days of age he moved with hos mother to Lahore in 1943. There, he completed Talkhiyaan (Bitterness)
(1945), his first published work in Urdu. He
was member of All India
Students Federation. Sahir edited Urdu
magazines such as Adab-e-Lateef, Shahkaar, Prithlari,
and Savera[11][12] and became a member of the Progressive Writers' Association. However, when he made controversial
statements promoting Communism, a warrant for his arrest was issued by the Government of Pakistan. In 1949, after partition, Sahir fled
from Lahore to Delhi. After eight weeks, Sahir moved
to Bombay.[11] He later lived in Andheri, a suburb of Mumbai. There, his neighbours included Gulzar, a poet and lyricist and Krishan Chander, an Urdu litterateur. In the 1970s, Sahir built a bungalow
which he called Parchaiyaan (Shadows), after one of his works,
and lived there until his death.
Sahir's work as a lyricist in the film
industry gave him financial stability beyond his earnings as a poet. He made
his debut with four songs performed in the film Azadi Ki Raah Par (1949).
One of the songs was Badal Rahi Hai Zindagi. Both the film and its
songs went unnoticed. However, after Naujawan (1951 film), with music by S.D. Burman, Sahir gained recognition. Sahir's major
success was Baazi (1951). Again, the composer was Burman.
Sahir was then considered part of Guru Dutt's team. The last film Sahir
made with Burman was Pyaasa (1957).
In Pyaasa, Guru Dutt played a poet named Vijay.
After Pyaasa (1957), Sahir and Burman went separate ways due
to artistic and contractual differences.[14]
Sahir did work with other composers
including Ravi, Roshan, Khayyam and Datta Naik. Datta Naik also credited as N. Datta, a
Goan, admired Sahir's poetry and their collaboration produced the score
for Milaap (1955), Chandrakanta (1956), Saadhna (1958), Dhool
Ka Phool (1959). Sahir also worked with music director Laxmikant–Pyarelal in the films like "Man Ki Aankhe",
"Izzat", Dastaan and
Yash Chopra's "Daag" all have fabulous songs. From about 1950 until
his death, Sahir collaborated with Baldev Raj Chopra (1914 - 2008), a
film producer and director. Sahir's last work for Chopra was for Insaaf Ka Tarazu. Yash Chopra, both while directing for B.R.films, and
later as an independent director and producer, also engaged Sahir as the
lyricist for his films, till Sahir's death.
In 1958, Sahir wrote the lyrics for Ramesh
Saigal's film Phir Subah Hogi, which was based
on Fyodor Dostoevsky's novel Crime and Punishment. The male lead was played by Raj Kapoor. It was presumed that Shankar–Jaikishan would be the composer but
Sahir demanded a composer with a more
intimate knowledge of the novel. Khayyam composed
the film score. The song Woh Subah Kabhi Toh Aayegi with its
minimal background music remains popular. Khayyam collaborated
with Sahir in many films including Kabhie Kabhie and Trishul.
Sahir was a controversial figure in that he
was artistically temperamental. He insisted that the film score should be
composed for his lyrics and not the other way around. He also insisted on being
paid one rupee more than Lata Mangeshkar and this created a
rift between them.[12] Sahir promoted his girlfriend, Sudha Malhotra's singing career.[12] He also insisted that All India Radio credit film song
lyricists.
Best Bollywood songs
·
"Thandi Hawayein Lehrake Aaye" sung by Lata Mangeshkar, composer S. D. Burman in Naujawan(1951).
·
"Jayen To Jayen Kahan" sung by Talat Mahmood, composer
S. D. Burman in Taxi
Driver (1954).
·
"Aana Hai To Aa", sung by Mohammed Rafi, in
Naya Daur (1957) O.P.
Nayyar composer.
·
"Saathi Haath Badhana" in Naya Daur (1957),
sung by Mohammed Rafi and Asha Bhonsle.
·
"Jane Kya Tune Kahi" sung by Geeta Dutt, "Jane Woh Kaise" sung by Hemant
Kumar and "Yeh Duniya Agar Mil Bhi Jaye
Toh Kya Hai" sung by Mohammed Rafi in
Pyasa (1957) S.D. Burman, composer.
·
"Aurat Ne Janam Diya Mardon Ko" sung by Lata Mangeshkar, in Sadhana (1958) Datta Naik, composer.
·
"Chin-o-Arab Hamara Hindustan Hamara", sung by Mukesh in Phir Subha Hogi (1959) Khayyam, composer.
·
"Tu Hindu Banega Na Musalman Banega", sung by Mohammed Rafi in Dhool ka Phool (1959) Datta
Naik, composer.
·
"Yeh Ishq Ishq Hai", sung by Mohammed Rafi and Manna
De in Barsaat ki Raat (1960) Roshan, composer.
·
"Na To Karvan Ki Talash Hai", sung by Mohammed
Rafi, Manna
De, Asha Bhonsle and Sudha Malhotra in Barsaat
Ki Raat (1960) Roshan, composer.
·
"Allah Tero Naam Ishwar Tero Naam', sung by Lata Mangeshkar in Hum Dono (1961) Jaidev, composer.
·
"Main Zindagi Ka Sath Nibhata Chala Gaya", Hum Dono (1961)
sung by Mohammed Rafi, Jaidev composer.
·
"Kabhi Khud Pe Kabhi Haalat Pe Rona Aaya", Hum
Dono (1961) sung by Mohammed Rafi, Jaidev, composer.
·
"Abhi Na Jao Chhodkar Ke Dil Abhi Bhara Nahin", Hum
Dono (1961) sung by Mohammed Rafi, Asha Bhosle, Jaidev, composer.
·
"Chalo Ek Baar Phir Se Ajnabi Ban Jaye Hum Dono', sung
by Mahendra
Kapoor in Gumrah (1963) Ravi, composer.
·
"Aye Meri Zoharjabin", Waqt (1965) sung by Manna
Dey, Ravi (music director).
·
"Aagey Bhi Jane Na Tu", film Waqt (1965) sung by
Asha Bhonsle, Ravi, composer.
·
"Tum Agar Saath Dene Ka Wada Karo", sung by Mahendra
Kapoor in Hamraaz (1967), Ravi, composer.
·
"Neele Gagan Ke Tale", Hamraaz (1967) sung by
Mahendra Kapoor, Ravi composer.
·
"Ye Dil Tum Bin Kahin Lagata Nahin", Izzat (1968)
Lata-Rafi, Laxmikant–Pyarelal.
·
"Babul Ki Duaen Leti Ja", sung by Muhammed Rafi in
Neel Kamal (1968).
·
"Man Re Tu Kahe Na Dheer Dhare", sung by Mohammed Rafi
and "Sansar Se Bhage Phirte Ho, Bhagwan Ko Tum Kya Paoge" sung
by Lata
Mangeshkar in Chitralekha (1964) Roshan,
composer.
·
"Tora Mann Darpan Kehlaye", sung by Asha Bhosle in
Kaajal(1965) Ravi, composer.
·
"Ishwar Allah Tere Naam", sung by Mohammed Rafi in
Naya Raasta (1970) Datta Naik, composer.
·
"Chala Bhi Aa Aja Rasiya", Man ki Anken (1970)
Lata-Rafi, Laxmikant–Pyarelal.
·
"Na Tu Zameen Ke Liye Na Aasaman Ke Liye", Dastaan (1972)
Mohammad Rafi, Laxmikant–Pyarelal.
·
"Mere Dil Mein Aaj Kya Hai", Daag (1973) sung by
Kishore Kumar, Laxmikant Pyarelal, composer.
·
"Main Pal Do Pal Ka Shair Hoon", sung by Mukesh in
Kabhi Kabhi (1976) Khayyam, composer.
His work influenced Indian cinema, in
particular Bollywood films. Sahir
won the Filmfare Award for Best Lyric for Tajmahal (1963).
He won a second Filmfare Award for Best takhallus Lyricist for his work in
Kabhi Kabhi (1976). He was awarded the Padma Shri in 1971. On 8 March 2013, the ninety-second
anniversary of Sahir's birth, a commemorative stamp.
President of
India, Pranab Mukherjee on 8 March 2013 released the Commemorative Postage
Stamp on Sahir Ludhianvi
Majrooh Sultanpuri
Asrar ul Hassan Khan (1 October 1919 − 24 May 2000), better known
as Majrooh Sultanpuri, was an Indian Urdu poet and lyricist in India's Hindi
Film Industry. He
wrote Hindustani lyrics for numerous Hindi film soundtracks.
He was one of the dominating musical forces
in Indian Cinema in the 1950s and early 1960s, and was an important figure
in the Progressive Writers Movement. He is considered one of the
finest avant-garde Urdu poets of 20th century literature.
In his career spanning six decades, he worked
with many music directors. He won the Filmfare Best Lyricist Award in 1965 for " Chahunga Main Tujhe" in the film Dosti and the highest award in Indian
cinema, the Dadasaheb
Phalke Award for lifetime
achievement in 1993. In the 1980s and 1990s, most of his work was with
Anand–Milind, their most notable collaborations being Qayamat se Qayamat tak,
Lal Duppatta Malmal ka, Love, Kurbaan and Dahek.
He also wrote timeless classics with
Jatin-Lalit for films like Jo Jeeta Wohi Sikander (including the song “Pehla Nasha”) and their debut
film Yaara Dildara (including the song “Bin Tere Sanam”), which are
both often heard to this day on the Indian musical airwaves.
Majrooh Sultanpuri was born as Asrar ul Hassan Khan in a
Rajput Muslim family, in Sultanpur, Uttar Pradesh, where his father was posted in the Police
Department in 1919/1920. His father, though, a police officer, was
not too keen on his son receiving English education and Majrooh was therefore
sent for traditional 'Madrasa education' which led to his obtaining the
qualification first of Dars-e-Nizami –
a seven-year course which concentrated on religious affairs along with
proficiency in Arabic and Persian- and then the certificate of ‘Alim. He thereafter joined Lucknow's Takmeel-ut-Tib College of Unani medicine (Greek System of Medicine). He was a
struggling Hakim when he happened to recite one of his ghazals at a mushaira in Sultanpur. The ghazal was a
hit with the audience and Majrooh decided to drop his fledgling medical
practice and began writing poetry seriously. Soon he was a 'regular' at
mushairas and a "shagird" i.e. disciple of the then top name in
Urdu Mushairas viz Jigar Moradabadi. While
Majrooh is popular as a film lyricist and is widely known in that capacity, be
it known that he also created one of the best-known verses of Urdu poetry:
"Main akela hee chala tha janibe manzil magar, log saath
aate gaye aur carvan banta gaya!" (I set off alone towards the destination
but people joined in and soon it became a caravan.
In 1945, Majrooh went to attend a
mushira at the Saboo Siddique Institute. Here his ghazals and poetry were
highly appreciated by the audience. One of the impressed listeners was film
producer A.R.
Kardar. He contacted Jigar
Moradabadi who helped him
to meet Majrooh. However, Majrooh refused to write for films because he didn't
think very highly of them. But Jigar Moradabadi persuaded him, saying that
films would pay well and would help Majrooh to support his family. Kardar then took
him to music composer Naushad who put the young writer to test. He gave Majrooh a tune and asked
him to write something in the same metre, and Majrooh wrote Jab Usne Gesu
Bhikraye, Badal Aye Jhomm ke.... Naushad liked what he wrote and Majrooh was
signed on as the lyricist of the film Shah Jehan (1946). The songs of
the film became so immensely popular that singer K.L. Saigal wanted Jab Dil hi toot Gaya to
be played at his funeral.
Majrooh subsequently did films like Naatak (1947), Doli (1947) and Anjuman
(1948) but his major breakthrough came with Mehboob Khan’s immortal love triangle, Andaz (1949), where he penned hit
songs like Tu Kahe Agar, Jhoom Jhoom Ke Naacho Aaj, Hum
Aaj Kahin Dil Kho Baithe, Toote Na Dil Toote Na and Uthaye
Ja Unke Situm. Another film of his, where his songs proved extremely
popular, was the Shaheed Latif directed, Dilip Kumar-Kamini Kaushal starrer, Arzoo (1950). Ae Dil Mujhe Aisi Jagah Le Chal from
the film remains one of the finest songs filmed on Dilip Kumar.
He was sentenced to two years imprisonment
due to his politically-charged poems in 1949. Having to start his film career
afresh, Majrooh finally broke though again with the Guru Dutt films Baaz (1953) and especially, Aar
Paar (1954). With such
successful songs like Babuji Dheere Chalna, Kabhi Aar Kabhi
Paar, Yeh Lo Main Haari Piya and Sun Sun Sun Sun
Zaalima among others, Majrooh was back with a bang. Thereafter, he
never had to struggle again. Singer Geeta Dutt singled out Yeh Lo Main
Haari Piya as among her ten best songs ever in a list she put together
in 1957.
The Guru Dutt-Majrooh Sultanpuri-O. P. Nayyar team went even one better with
Dutt’s following film, Mr. & Mrs. '55 (1955). The songs are one of the reasons for the
success of the film and numbers like Thandi Hawa Kaali Ghata, Udhar
Tum Haseen Ho, Jaane Kahan Mera Jigar Gaya Ji and Chal
Diye Banda Nawaz were hummed in every nook and corner of the country.
Although Majrooh Sultanpuri worked with all
the top music directors of the day – Anil Biswas, Naushad, Madan Mohan, O. P. Nayyar, Roshan, Salil Chowdhury, Chitragupt, N. Datta, Kalyanji-Anandji and Laxmikant-Pyarelal to name some, his associations
with S.D. Burman stands
out resulting in some outstanding songs.
With S.D. Burman, his work in films
like Paying
Guest (1957), Nau
Do Gyarah (1957), Kala
Pani (1958), Solva
Saal (1958), Sujata (1959), Bombai Ka
Babu (1960) and Jewel
Thief (1967) is
unforgettable. The list of hit songs he has written is huge as all these films
had some extremely finely composed songs set to his writing. Few could match
Majrooh and S.D. Burman in light, ‘chhed-chhad’ (playful), romantic songs
like Chhod Do Aanchal (Paying Guest), Aankhon Mein Kya
Ji (Nau Do Gyarah), Achha Ji Main Haari Chalo Maan Jaao Na (Kala
Pani) and Deewana Mastana Hua Dil (Bombai Ka Babu). But in the
same films Majrooh showed just how beautifully he could write serious songs
such as Chand Phir Nikla (Paying Guest), Hum Bekhudi
Mein Tumko Pukare (Kala Pani) and Saathi Na Koi Manzil (Bombai
Ka Babu).
With R.D. Burman, though they did countless
films together, his work, particularly, in the frothy Nasir Hussain musicals of the 1960s, ’70s and
early ’80s stands out in films like Teesri Manzil (1966) – produced by Hussain and
directed by Vijay Anand, Baharon Ke Sapne (1967), Pyar Ka Mausam (1969), Caravan (1971), Yaadon Ki
Baaraat (1973), Hum
Kisise Kum Naheen (1977)
and Zamane Ko Dikhana Hai (1981).
In the year 1964, the partnership of Majrooh
Sultanpuri and Laxmikant-Pyarelal started through the film Dosti. Laxmikant–Pyarelal got more out of
the veteran Mahrooh in Dosti (1964). It was Majrooh’s award-winning lyrics.
Majrooh won his only filmfare award. Laxmikant–Pyarelal too won their first Filmfare
award for the music of Dosti.
Majrooh Sultanpuri and Laxmikant-Pyarelal worked for nearly 40 films. The Laxmi-Pyare and
Majrooh team produced some spectacular, noteworthy albums like Dillagi (1966), Pathar Ke Sanam (1967), Shagird (1967), Mere Hamdam Mere Dost (1968), Dharti
Kahe Pukar Ke (1969), Abhinetri (1970), V. Shantaram’s classic,
dance-musical, Jal Bin
Machhli Nritya Bin Bijli (1971), Ek Nazar (1972), Imtihan (1974) and many more.
Majrooh Sultanpuri's few hit songs with Laxmikant-Pyarelal 'Chahunga Main Tuze' Dosti 1964, {Ye Aajkal Ke Ladke} Dillagi 1966,
"Payal Ki Jhankar" Mere Lal, 1966, "Bade Miyan Deewane" and
"Dil Wil Pyar Wyar" Shagird, 1967. "Hui Shaam Unka",
"Chhalkaye Jaam" and "Chalo Sajana" Mere Hamdam Mere Dost, 1968.“Patthar Ke Sanam”, "Mehboob Mere Mehboob
Mere", "Tauba Ye Matwali Chal" and "Batadu Kya Lana"
all from Patthar Ke Sanam 1968. "Ek Tera Saath", Wapas, "Je Hum Tum Chori Se" Dharti
Kahe Pukar Ke, 1969. "O Ghata Sawari" and "Sa
Re Ga Ma Pa" Abhinetri. In 1971, two songs from V Shantaram classic Jal Bin
Machhli Nritya Bin Bijli "O Mitwa O
Mitwa","Kajara Laga Ke" and Mukesh classic "Taron Na
Sajkę"."Rook Jana Nahin" and "Roz Sham Aati
Thi", Imtihan 1974.
He continued writing ever so youthful songs
even for the next generation – for Hussain’s son, Mansoor Khan, in the latter’s films like Qayamat Se Qayamat Tak (1988) and Jo Jeeta Wohi Sikander (1992).
Among the last films he wrote for was
the Shah Rukh Khan starrer One 2 Ka 4 released after his death in 2001.
Awards and
recognitions
Sultanpuri on a 2013 stamp of India
Majrooh went
on to write lyrics for popular films throughout the 1956s. Along with Faiz Ahmed Faiz, Khumar Barabankvi Majrooh was
considered the most notable ghazal writer. Majrooh won his only Filmfare Best Lyricist Award for the song "Chahunga Mein Tujhe Saanj
Savere" from Dosti. He
was also awarded the Dadasaheb Phalke Award in 1993 and became the first lyricist to win
the prestigious award.
Shailendra
Shilendra (30 August 1923 –
14 December 1966) was a popular Indian Hindi-Urdu Poet, lyricist and Film producer. Noted for his association
with the filmmaker Raj Kapoor, singer Mukesh, and the composers Shankar-Jaikishen, he wrote lyrics
for several successful Hindi film songs in the 1950s and the
1960s. He is generally considered the greatest lyricist in Hindi film
industry due to his remarkable simplicity in songs.
Shailendra was born in Rawalpindi, Punjab -
now in Pakistan. His ancestors belonged to Akhtiyarpur, Ara
district of Bihar. He comes from a humble family. He lost
his mother and sister at a young age. His village in Bihar mostly comprised
agricultural laborers and Shailendra’s father had shifted to Rawalpindi to find
work at a military hospital. Shailendra came in contact with Indra Bahadur
Khare at the Kishori Raman Vidyalay (Now Kishori Raman Inter College)
Mathura. Both started composing poems, sitting on the rock located on the bank
of a pond in between railway 27 quarters and railway line near to Mathura
station. Afterwards Shailendra moved to Bombay for films and Indra Bahadur Khare got his fame in Raashtreey Kavita
Though Shailendra started his career in Indian Railways as an apprentice
he could not continue because his love for writing poetry. The filmmaker Raj Kapoor noticed Shailendra, when the latter was reading out his poem Jalta
hai Punjab at a mushaira (poetic symposium). Kapoor offered to buy the poem Jalta Hai
Punjab written by Shailendra and for his movie Aag (1948). Shailendra, a member of the left wing Indian People's
Theatre Association (IPTA), was wary of mainstream Indian cinema and refused. However, after his wife became pregnant, Shailendra
himself approached Raj Kapoor in need of money. At this time, Raj Kapoor was
filming Barsaat (1949), and two of the film songs
had not yet been written. For ₹ 500, Shailendra wrote these two
songs: Patli kamar hai and Barsaat mein. The music
for Barsaat was composed by Shankar–Jaikishan.
The team of Raj Kapoor, Shailendra and
Shankar–Jaikishan went on to produce many other hit songs. The song "Awara Hoon" from the 1951 film Awaara, written by Shailendra, became the most
appreciated Hindustani film song outside India at the time.[10] Shailendra had penned down plenty songs
lyrics for Raj Kapoor's film. Shree 420 released in 1955 is one of them. All
songs of this film were super hits and till date people sing in various
occasions. One can easily understand the power and magic of Shailendra's lyrics
from the song "Pyaar hua iqaraar hua hai, Pyaar se phir kyo darta hai
dil", is till date evergreen golden classic song of Bollywood.
In the days when composers would recommend
lyricists to producers, Shankar–Jaikishan once promised Shailendra that they
would recommend him around, but didn't keep their promise. Shailendra sent them
a note with the lines, Chhoti Si Yeh Duniya, Pehchaane Raaste Hain.
Kahin To Miloge, toh Poochhenge Haal ("The world is small, the
roads are familiar. We'll meet sometime, and ask
'How
do you do?'"). Shankar–Jaikishan realised what the message meant and having said
sorry, turned the lines into a popular song. The song, sung by Kishore Kumar, was featured in the film Rangoli (1962),
for which the producer Rajendra Singh Bedi wanted to sign up Majrooh Sultanpuri as the lyricist. However, Shankar–Jaikishan
insisted on Shailendra and the producer had to oblige.
Apart from Shankar–Jaikishan, Shailendra also shared a rapport with composers such as Salil Chowdhary (Madhumati), Sachin Dev Burman (Guide, Bandini, Kala Bazar), and Ravi Shankar (Anuradha). Apart from Raj Kapoor, he shared a rapport with
filmmakers such as Bimal Roy (Do Bigha Zameen, Madhumati, Bandini)
and Dev Anand (Guide and Kala
Bazar).[citation needed]
Shailendra also wrote lyrics for several
Bhojpuri films. Avijit Ghosh mentions in his book, Cinema Bhojpuri, that
Shailendra penned songs for Ganga Maiya Tohe Piyari Chadhaibo (the first
Bhojpuri film), Ganga, Mitwa and Vidhana Naach Nachave. In page 184, Ghosh also
writes that Shailendra received the best lyricist award for Ganga Maiyya... for
all Bhojpuri and Magadhi films released till then at a function held in April
1965 in Calcutta.
In 1961 Shailendra invested
heavily in the production of the movie Teesri Kasam (1966), directed by Basu Bhattacharya and starring Raj Kapoor and Waheeda Rehman. The film won the National Film Award for Best Feature Film. However, the film was a commercial
failure. The trauma caused by the failure deeply affected his health and
he died on 14 December 1966, aged just 43.
Awards won by Shailendra
Shailendra won the Filmfare Best Lyricist Award three times.
·
1958: "Yeh Mera Deewanapan Hai" (Yahudi)
·
1959: "Sab Kuch Seekha Humne" (Anari)
·
1968: "Main Gaoon Tum So Jao" (Brahmchari)
As a producer Shailendra's film Teesri Kasam
(1967) won prestigious National Film award of 1967 in the category Best feature
film
Government of India released a commomerative
stamp pf Shailendra in 2013.
|
Shankardas Kesarilal Shailendra |
Some of the popular songs written by
Shailendra include:
·
"Suhana Safar Aur Yeh" – "Madhumati"
·
"Chalat Musafir Moh Liya Re" –
"Teesri Kasam"
·
"Yeh Mera Diwanapan Hai" – "Yahudi"
·
"Dil Ka Haal Sune Dilwala" – "Shri 420"
·
"Tu Pyar Ka Saagar Hai" – "Seema"
·
"Yeh Raat Bhigi Bhigi" – "Chori Chori"
·
"Paan Khaye Saiya Hamaro" – "Teesri Kasam"
·
"O Sajana, Barkha Bahar Aai" –
"Parakh (1960 film)"
·
"Aaja Aai Bahaar" - "Rajkumar"
·
"Ruk Ja Raat, Thahar Ja Re Chanda"
– "Dil Ek Mandir"
·
"Yaad Na Jaye Bite Dino Ki" –
"Dil Ek Mandir"
·
"Chadh Gayo Paapi Bichhua" – "Madhumati"
·
"Awara Hoon"
– Awaara
·
"Ramaiya Vastavaiya" – Shri 420
·
"Mud Mud Ke Na Dekh" – Shri 420
·
"Mera Joota Hai Japani" – Shri 420
·
"Aaj Phir Jeene Ki" – Guide
·
"Gata Rahe Mera Dil" – Guide
·
"Piya Tose Naina Laage Re" – Guide
·
"Kya Se Kya Ho Gaya" – Guide
·
"Din Dhal Jaaye Haye" – Guide
·
"Har Dil Jo Pyar Karega" – Sangam
·
"Dost Dost Na Raha" – Sangam
·
"Sab Kuchh Seekha" – Anari
·
"Kisi Ki Muskurahaton Pe" – Anari
·
"Dil Ki Nazar Se" – Anari
·
"Khoya Khoya Chand" – Kala Bazar
·
"Pyaar Hua Ikraar Hua" – Shri 420
·
"Ajeeb Dastan Hai Yeh" – Dil Apna Aur Preet
Parayi
·
"Jhoomti Chali Hawa" – Sangeet Samrat Tansen
·
"Jeena yahan marna yahan" – Mera Naam Joker
·
"Nache Man Mora Magan" – "Meri Surat Teri Ankhen"
·
"Sajan Re Jhooth Mat Bolo" – "Teesri Kasam"
·
"Raat Ke Hamsafar, Thak Ke Ghar Ko
Chale" – "An Evening in Paris"
·
"Tu Zinda Hai To Zindagi Kay Jeet Par Yakeen Kar"
Hazrat Jaipuri
Hasrat Jaipuri, born Iqbal Hussain (15
April 1922 – 17 September 1999) was an Indian poet, who wrote in the Hindi and Urdu languages. He was also a renowned
film lyricist in Hindi films, where he won the Filmfare Awards for Best Lyricist twice.
Jaipuri studied English till medium level, and then acquired his taalim (education)
in Urdu and Persian from his maternal grandfather, the poet Fida Husain 'Fida'. He
began writing verse, when he was around twenty years old. Around the same time,
he fell in love with a neighborhood girl name Radha. Hasrat talked about a love
letter he wrote to this girl, in an interview, later in his life, that love
knows no religion. Hasrat Jaipuri was quoted as saying, "It is not at all
necessary that a Muslim boy must fall in love only with a Muslim girl. My love
was silent, but I wrote a poem for her, 'Yeh mera prem patra padh kar, ke tum
naaraaz na hona." It is not known for sure whether the love letter was
actually delivered to Radha. But veteran film producer Raj Kapoor liked it enough to include it in his Sangam (1964
Hindi film) and the song ended up
becoming a 'hit' song in India.
In 1940, Jaipuri came to Bombay (now Mumbai), and started working as a bus conductor, earning a monthly salary of eleven
rupees. He used to participate in mushairas. At a mushaira, Prithviraj Kapoor noticed Jaipuri and recommended him to his son, Raj Kapoor. Raj Kapoor was planning a musical love story, Barsaat (1949) with Shankar–Jaikishan. Jaipuri wrote his first recorded
song, Jiya Beqaraar Hai for the film. His second song (and
first duet) was Chhor Gaye Baalam.
With
Shailender he was working for Raj Kapoor. After the death of Jaikishen, one of
the music directors of Shankar- Jaikishen and failure of Mera Naam Joker and
Kal Aaj aur Kal many changes took place and Hazrat was not a regular lyricist
of Raj Kappor after 1971.
Awards received during hiscareer
·
Filmfare Best Lyricist
Award - 1972 for Zindagi Ek
Safar Hai Suhana (Andaz, 1971)
·
Filmfare Best Lyricist
Award - 1966 for the song Baharo
Phool Barsao [Suraj (1966 film)]
·
Josh Malihabadi Award,
from Urdu Conference
·
Dr. Ambedkar Award,
for Jhanak Jhanak Tori Baaje Payaliya [Mere Huzoor (1968)],
a Brajbhasha song
·
Jaipuri was also awarded a doctorate degree
from the World University Round Table.
Popular Songs of Hazrat Jaipuri
|
Song Title |
Film |
Notes |
|
Jiya Beqaraar Hai |
First recorded song |
|
|
Chhod Gaye Baalam |
First duet song |
|
|
Zindagi ek safar hai
suhana |
||
|
Teri pyari pyari
soorat ko |
specially written for
Chanda Jaipuri |
|
|
Pankh hote to ud aati
re |
||
|
Tere khayalon meinhum |
||
|
Ehsan tera hoga mujh
par |
||
|
Tum mujhe yoon bhula
na paaoge |
||
|
Aji Rooth Kar Ab
Kahan Jaiyega |
Nomination for Best
Lyricist |
|
|
Sayonara sayonara |
||
|
Aao twist Karen |
||
|
Ajhoon na aaye baalma |
Sanjh Aur Savera |
|
|
Duniya bananewale |
||
|
Sun Sahiba Sun |
||
|
Unke Khayal Aaye To |
||
|
Badan Pe Sitare
Lapete Hue |
Inspired to write
this song on seeing a woman dressed in a sari studded with glittering stars
in Paris |
|
|
Yeh Mera Prem Patra
Padh Kar |
Written when he fell
in love with a Hindu girl named Radha |
|
|
Main Rangeela Pyar Ka
Rahi[2] |
Chhoti Bahen (1959
Hindi film) |
Beautiful heart
touched lyrics |
|
Jhoome Re Jhoome Re[3] |
|
Anand Bakshi
Anand Bakshi (21 July 1930 – 30 March 2002) was
an Indian poet and lyricist. He was nominated for the Filmfare
award for Best lyricist a total of 40 times, resulting in 4 wins.
Anand Bakshi (Bakshi Anand Prakash Vaid) was
born in Rawalpindi in
the Punjab
Province of British India (now in Punjab, Pakistan), on 21 July 1930 into
a Mohyal Brahmin family of the Vaid clan.The family arrived in Delhi, via a
Dakota aircraft after the Partition of India and then migrated
to Pune, then Meerut and settled again finally in Delhi.
Bakshi was fond of writing poetry since his
youth, but he did this mostly as a private hobby. In a 1983 interview
with Doordarshan, Bakshi
recounted that after his initial studies, he joined the Indian Navy, where
due to a paucity of time, he could only write occasionally. He continued
to write poetry whenever time permitted, and used his songs and lyrics in local
programmes related to his troop. He worked in the Navy till partition and
joined Indian Army in Corps of Signals.
He while in service used to market his songs in the Mumbai film world.
Career in Hindi Films.
Anand Bakshi came to Hindi films to
make a name for himself in writing and singing, but ended up becoming more
successful in writing lyrics. He got his
break writing songs in a Brij Mohan film titled Bhala Aadmi (1958), acted by Bhagwan Dada. He wrote
four songs in this film. His first song in this film was "Dharti Ke Laal
Na Kar Itna Malaal" which was recorded on 9 Nov 1956. (In his own voice on
All India Radio interview)[4]
After writing for a few movies from 1956
onwards, he first found success in 1962 with Mehendi Lagi Mere Haath,
which was produced by (Limelight), Music Kalyanji & Anandji and music
Pub-HMV/Saregama. Bakshi later made another mark for himself writing a quawwali
for the 1962 film Kala Samundar, the song was "Meri Tasveer
Lekar Kya Karoge Tm". He got his real big breakthroughs in 1965 with Himalay Ki God Mein, and a huge breakthrough again in 1965 with the
super-hit film Jab Jab Phool Khile, starring Shashi Kapoor; and yet again in 1967 with the super-hit movie Milan (starring Sunil Dutt). These six hit films within a decade of his
entry into films cemented his status as a lyrics writer of immense calibre.
Bakshi was preferred lyricist by Rajesh Khanna for films with Rajesh Khanna in lead.
He went on to work as a lyricist of over 4000 songs and 638 films in his
career.
He got his first break as singer in a film
directed by Mohan Kumar – Mom Ki Gudiya (1972). The first
song he sang was a duet – "Baaghon mein bahaar aayi hothon pe pukaar
aayi", along with Lata Mangeshkar, with music composed
by Laxmikant–Pyarelal. He also sang the solo "Main dhoondh raha tha
sapnon mein" from the same film. He also sang songs in four other
films: Sholay (1975), where he sang the qawwali
"Chand Sa Koi Chehera" along with Kishore Kumar, Manna Dey and Bhupinder, (the song was released on vinyl, but not in the feature
film); Maha Chor (1976); Charas (1976)
Song : Aaja Teri Yaad Aayi; and Balika Badhu (1976).
Anand Bakshi was widely associated with music
composers such as Laxmikant–Pyarelal, R D Burman, Kalyanji Anandji, SD Burman, Anu Malik, Rajesh Roshan and Anand–Milind, and his songs have been sung by all the top
singers as well as other singers such as Shamshad Begum, Ila Arun, Khursheed Bawra, Amirbai Karnataki, Sudha Malhotra and more. He is known to have worked
with more than one generation of music composers.
He wrote the first recorded songs of many
first time male and female leads who went on to become stars, and also of
singers such as Shailendra Singh, Kumar Sanu, Kavita Krishnamurthy etc., and he established himself as a versatile
lyricist with the song "Dum Maro Dum" in the movie Hare Rama
Hare Krishna (1972).
After this, he wrote memorable lyrics in many
movies including Bobby, Amar Prem (1971), Aradhana (1969), Jeene Ki Raah, Mera Gaon Mera Desh, Aaye Din Bahar Ke, Aya Sawan Jhoom Ke, Seeta Aur Geeta, Sholay (1975), Dharam Veer, Nagina, Lamhe, Hum (1991), Mohra (1994), Dilwale Dulhania Le Jayenge (1995), Pardes (1997), Heer Raanjha, Dushman (1998), Taal (1998), Mohabbatein (2000), Gadar: Ek Prem Katha (2001), and Yaadein (2001).
Anand Bakshi had a
storehouse of Punjabi numbers from his childhood. Many of the superhit
Punjabi-styled songs he wrote were secretly composed by him. He had a vast
knowledge of music and songs. While he had already made a mark as a Bollywood lyricist, Anand Bakshi got his first opportunity to sing for a Bollywood
production in a duet with Lata Mangeshkar.
Anand Bakshi was a lyricist first then
a poet. And what poetry he wrote! People didn't seem to realize that his simple
words conveyed the most profound truth about existence. Take Bakshi's Sari Duniya Ka Bojh Hum Uthatay Hain
Log Aate Hain Log Jaate Hain Hum Wohi Pe Khade Reh Jaaate Hain in Manmohan
Desai's Coolie or Zindagi ke safar mein guzar jaate hain
jo muqaam woh phir nahin aate from Aap Ki Kasam. These were songs which expressed a profound truth about
life.
Bakshi wrote a song for any
situation in a jiffy. He would call the music composer to his home at say, 4.30
pm and have the words for the entire song ready by 5.30 pm when he went for his
walk. For him writing the lyrics for a song was like having breakfast.
Anand Bakshi didn’t like to
write in the lyrics to pre-composed tunes. While he would be conversing with
people, his mind was constantly writing songs. He would often think of the
words along with the tune, which he would share with the composer. He was
constantly active creatively.
Gulzar
Sampooran Singh Kalra (born 18 August 1934), known
professionally as Gulzar, is an Indian poet, lyricist, author, screenwriter, and film director known for his works in Hindi cinema. He started his career with music
director S.D. Burman as a lyricist in the 1963
film Bandini and worked with many music directors
including R. D. Burman, Salil Chowdhury, Vishal Bhardwaj and A. R. Rahman. Gulzar also writes poetry,
dialogues and scripts. He directed films such as Aandhi and Mausam during the 1970s and the TV
series Mirza
Ghalib in the 1980s. He also
directed Kirdaar in 1993.
Gulzar was born in a Sikh family as
Sampooran Singh Kalra, to Makhan Singh Kalra and Sujan Kaur, in Dina, Jhelum District, British India (present-day Pakistan). In school, he had read translations
of the works of Tagore which he recounted as one of his
life's many turning points. Due to the partition, his family split and he had to stop
his studies and come to Mumbai (then called Bombay) to support his family. Sampooran
took up many small jobs in Mumbai to eke out a living, including one at a
garage at Vichare motors on Bellasis road (Mumbai). There he used to touch up accident-damaged cars by
mixing shades of paint, in his own words "I had a knack for colours".
His father rebuked him for being a writer initially. He took the pen name Gulzar
Deenvi and later simply Gulzar In an interview with
Rajyasabha TV, he recounted enjoying his work as a painter as it allowed him a
lot of time to simultaneously read, write, attend college and be involved with
the PWA (Progressive Writers Association).
It was during his interactions in the PWA
Sunday meetings that Shailendra and Bimal Roy encouraged him to join films. Gulzar
began his career under film directors Bimal Roy and Hrishikesh Mukherjee. His book Ravi Paar has a narrative of
Bimal Roy and the agony of creation. He started his career as a songwriter with
the music director Sachin Dev Burman for the
movie Bandini (1963).
In films, he found an environment associated with literature in the group he
worked with, including Bimal Roy, most of whose films were based on literary
works. Shailendra, who
has penned the rest of the songs in the movie requested Gulzar to write the
song "Mora Gora Ang Layle", sung by Lata Mangeshkar.
Directed and produced by Hrishikesh Mukherjee, the 1968 film Aashirwad had dialogues and lyrics written by
Gulzar. Song lyrics and poems written by Gulzar gave the poetic attribute and
the "much-needed additional dimension to Ashok Kumar's role in the film. Ashok Kumar received the
Best Actor at the Filmfare and at the National Film Awards for
this role. Gulzar's lyrics, however, did not gain much attention until 1969's Khamoshi, where his song "Humne Dekhi
Hai Un Aankhon Ki Mehekti Khushboo" (lit., "I have seen the fragrance
of those eyes") became popular. Ganesh Anantharaman in his book Bollywood
Melodies describes Gulzar's lyrics, with the purposeful mixing of the
senses, to be "daringly defiant". For the 1971 film Guddi,
he penned two songs, of which "Humko Man Ki Shakti Dena" was a prayer
which is still sung in many schools in India.
As a lyricist, Gulzar had a close association
with the music director Rahul Dev Burman. He has also worked
with Sachin Dev Burman, Shankar Jaikishan, Hemant Kumar, Laxmikant–Pyarelal, Madan Mohan, Rajesh Roshan, and Anu Malik. Gulzar worked with Salil Chowdhury in Anand (1971) and Mere Apne (1971); Madan Mohan in Mausam (1975),
and more recently with Vishal Bhardwaj in Maachis (1996), Omkara (2006)
and Kaminey (2009); A. R. Rahman in Dil Se.. (1998), Guru (2007), Slumdog Millionaire (2008) and Raavan (2010) and Shankar–Ehsaan–Loy in Bunty Aur Babli (2005). Gulzar
took inspiration from Amir Khusrow's "Ay Sarbathe Aashiqui" to pen
"Ay Hairathe Aashiqui" for Mani Ratnam's 2007 Hindi film Guru, which had music composed by A. R. Rahman. Another Ratnam-Rahman hit, "Chaiyya Chaiyya" from Dil
Se also had lyrics written by Gulzar, based on the Sufi folk song
"Thaiyya Thaiyya", with lyrics by poet Bulleh Shah. For another collaboration with Rahman
for Danny Boyle's
2007 Hollywood film Slumdog Millionaire, Rahman and Gulzar won the Academy Award for Best
Original Song for "Jai Ho" at the 81st Academy Awards. The song received international acclaim and won him
a Grammy Award (shared with Rahman) in the category of Grammy Award for Best Song Written for a Motion Picture, Television or
Other Visual Media. He also wrote a song for the Pakistani
Drama Shehryar Shehzadi, and this song Teri Raza, has been sung
by Rekha Bhardwaj and was composed by Vishal Bhardwaj.
Other Contributions. Gulzar
has written lyrics and dialogues for several Doordarshan TV series including Jungle Book, Alice in
Wonderland, Hello Zindagi, Guchche and Potli Baba Ki with Vishal Bhardwaj. He has more recently written and narrated for the children's audiobook
series Karadi Tales. Gulzar is also associated with
Aarushi Eklavya foundation an NGO based in Bhopal, Madhya
Pradesh working in the field of education. He has written stories and
poetry for the magazine Chakmak. Gulzar has also worked in Bollywood movies like Anand , Mere Apne , Omkara and many more. In April 2013,
Gulzar was appointed as the Chancellor of the Assam University.
As on 2019, Gulzar has won a total of 36 awards and honours, including
5 National
Film Awards, 22 Filmfare Awards, Rashtriya Kishore Kumar Samman from the Government of
Madhya Pradesh for 1999-2000, 1 Academy Award for Best
Original Song (2008), 1 Grammy
Award (2010), 2002 Sahitya Akademi
Award for Urdu, Padma Bhushan (2004), and 2013 Dadasaheb Phalke Award.
Kaifi
Azmi
itnā to zindagī meñ kisī ke
ḳhalal paḌe
hañsne se ho sukūn na rone se
kal paḌe
jis tarah hañs rahā huuñ maiñ
pī pī ke garm ashk
yuuñ dūsrā hañse to kaleja
nikal paḌe
ik tum ki tum ko
fikr-e-nasheb-o-farāz hai
ik ham ki chal paḌe to
bahar-hāl chal paḌe
saaqī sabhī ko hai
ġham-e-tishna-labī magar
mai hai usī kī naam pe jis ke
ubal paḌe
muddat
ke ba.ad us ne jo kī lutf kī nigāh
jī
ḳhush to ho gayā magar aañsū nikal paḌe
Kaifi Azmi was a famous Hindi and Urdu poet and lyricist
of Hindi film. He was born on Januray 14, 1919 in a landlord family of Mejwan,
Azamgarh, Uttar Pradesh. Azmi abandoned his studies of Persian and Urdu during the
Quit India agitations in 1942 and shortly thereafter became a full-time
Marxist. During this period, Azmi started to win great acclaim as a poet and
became a member of Progressive Writers' Movement of India.
Later
he went to Bombay and joined Ali Sardar Jafri in writing for the party’s paper,
Qaumi Jung. In 1947, he visited Hyderabad to participate in a mushaira. There
he met, fell in love and married a woman named Shaukat Azmi. She later became a
renowned actress in theatre and films. Azmi's first collection of poems,
Jhankar was published in 1943. As a lyricist and songwriter, though he wrote
for numerous films, he will always be remembered for Kaagaz Ke Phool (1959),
Haqeeqat (1964), Heer Raanjha (1970).
Azmi
died on May 10, 2002. He was the recipient of Padma Shri, one of the Indian
Government's highest civilian awards. Besides he was awarded the Uttar Pradesh
Urdu Academy Award, Maharashtra Urdu Academy Award, Delhi Urdu Academy Award.
He has also been honored with a doctorate from Vishva Bharati University.
He was from a family of
artists. His three brothers are also shayars (poets). Azmi was married to Shaukat Azmi. They have a daughter, Shabana Azmi who is an actress,[2] and a
son, Baba Azmi, a cinematographer. Azmi's
daughter-in-law Tanvi Azmi is also an actress.
Nobody would forget the song
in HAQEEKAT
|
Kar chale hum fida jan-o-tan sathion |
|
Kaifi
Azmi |
|
I sacrifice now, this
life and body, o friends... |
Azmi's work in films includes working as a
lyricist, writer, and actor. Azmi wrote his first lyrics for the film Buzdil,
directed by Shaheed Latif and music by SD Burman, released in 1951. His early
work as a writer was mainly for Nanubhai Vakil's films like Yahudi Ki Beti (1956), Parvin (1957), Miss
Punjab Mail (1958) and Id Ka Chand (1964). While
directors like Khwaja Ahmad Abbas and Bimal Roy strove to create the "New
Cinema", writers like Sahir Ludhianvi, Jan Nisar Akhtar, Majrooh Sultanpuri, and Kaifi changed the tenor and vocabulary of the Hindi
film song, creating a fresh new wave in Hindi film lyrics that lasted many
years.[9] His greatest feat as a writer was Chetan
Anand's Heer Raanjha (1970) wherein the
entire dialogue of the film was in verse. It was a tremendous achievement and
one of the greatest feats of Hindi film writing. Azmi also won great critical
accolades for the script, dialogues and lyrics of M.S. Sathyu's Garam Hawa (1973), based on a story by Ismat Chughtai. Azmi also wrote the dialogues for Shyam Benegal's Manthan (1976) and Sathyu's Kanneshwara
Rama (1977). As a lyricist and songwriter, though he wrote for
numerous films, he will always be remembered for Guru Dutt's Kaagaz Ke Phool (1959) and Chetan
Anand's Haqeeqat (1964), India's greatest war film. Some notables
films for which he wrote lyrics include Kohra (1964), Anupama (1966), Uski
Kahani (1966), Saat Hindustani (1969), Shola
Aur Shabnam, Parwana (1971), Bawarchi (1972), Pakeezah (1972), Hanste Zakhm (1973), Arth (1982) and Razia Sultan (1983). For Naunihal (1967), he wrote the song "Meri
Aawaz Suno Pyar ka Raaz Suno" (Hear my voice, hear the secret of love)
sung by Mohammad Rafi. The song is picturised over the funeral procession of
Prime Minister of India, Jawahar Lal Nehru. Years later, after
Azmi's own death his daughter, Shabana Azmi mentioned finding comfort in verses from the
song. Azmi wrote the lyrics for Bible Ki Kahaniyan, the first Christian mythological television show
broadcast in India. He also played a memorable role of Naseem's
grandfather in Naseem (1995).
Azmi died on 10 May 2002 at around the age of eighty-three. He was survived by
his wife, daughter, and son. His autobiography is included in a collection of
his works, Aaj ke Prashid Shayaar:
Kaifi Azmi
He was the recipient of Padma Shri, India's fourth-highest civilian award in
1974. Besides he was awarded the Utara Pradesh Urdu Academy Award and the Sahitya Akademi Award for Urdu for
his collection Awaara Sajde, Special Award of Maharashtra Urdu
Academy, Soviet Land Nehru Award, Lotus Award from the Afro-Asian Writers'
Association, and President's Award for national integration. In
1998, Government of Maharashtra conferred the Jyaneshwara Award on
him. He was also honoured with the prestigious Sahitya Akademi Fellowship for
lifetime achievement.
Kaifi Azmi returned his Padma Shri in the
1980s after the then Chief
Minister of Uttar Pradesh Vir Bahadur Singh remarked that
those speaking Urdu as a second language should be made to sit on a donkey and
paraded. According to his daughter Shabana Azmi, her father replied that he had written in
Urdu all his life, and if his State’s Chief Minister held such views on the
language, he, as a writer, must stand up for himself.
In 2000, he was conferred the first
Millennium Award by the Government of Delhi and the Delhi Urdu
Academy. He has also been honoured with a doctorate from Vishva Bharati
University, Santiniketan.
Another Tribute on him was that the government has inaugurated a train named "Kaifiyat Express" which runs from his hometown Azamgarh to Old Delhi.
Sahitya Akademi Award
·
1975: Sahitya Akademi Award: Awara Sajjde
·
sajjde
·
2002: Sahitya Akademi Fellowship (Immortals
of Literature)
National Film Awards
·
1970: National Film Award for Best
Lyrics: Saat Hindustani
·
1973: National Film Award for Best Story: Garam Hawa (with Ismat Chughtai)
Filmfare Awards
·
1975: Filmfare Award for Best Dialogue: Garam Hawa
·
1975: Filmfare Award for Best Story: Garam Hawa (with Ismat Chughtai)
·
1975: Filmfare Award for Best Screenplay: Garam Hawa
Other
than what I dealt with in detail above there are more lyricists of the present
day Hindi Film Music, such as, Irshad Kamil, Prasoon Joshi, Amitabh
Bhattacharya, Kausar Munir and Varun Grover. Since my paper is only up to 1980s
I am not going into the details of these lyricists. My paper is restricted till
1980s only. Of course, many poems/songs written by popular poets like
Rabindranath Tagore, Mirza Ghalib,Muhammad Iqbal, Bankim Chandra Chatterjee,
Bakt Kabirdas, Meera Bhai, Tulsidas,to name a few, were also taken in many
movies for bringing an awareness to the people of our country.
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