Bharat Vyas

 

Bharat Vyas (1918–1983) was a noted Indian lyricist who wrote the songs for Hindi films in 1950s and 1960s.

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Bharat Vyas was born in Churu in the state of Rajasthan in 1918. He studied B. Com at Calcutta and after completing his studies he came to Bombay. His first film as lyricist was Duhaai (1943). He was the writer of the immortal prayer song, ‘Ae Malik Tere Bande Hum’ and 'Ye Kaun Chitrakar Hai'. He directed a Bollywood film Rangila Rajasthan (1949) for which he wrote the lyrics and composed three songs.

He died on 4 July 1983 in Mumbai.

His filmography with Super Star Rajesh Khanna 
 
Karm (1977) 

1.  "Jab Charon Taraf Andhera Ho" - by Mahendra Kapoor & Asha Bhosle
2.  "Jab Dukh Se Man Ghabra Jaye" - by  Mahendra Kapoor
3.  "Karm Kaho Qismat Kaho" - by  Mukesh
4.  "Karm Kare Qismat Bane" - by Mukesh

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Jan Nissar Akhtar

Jan Nisar Akhtar (Urdu: جان نثار اختر‎; 18 February 1914 – 19 August 1976) was an important 20th century Indian poet of Urdu ghazals and nazms, and a part of the Progressive Writers' Movement, who was also a lyricist for Bollywood.

His filmography with Super Star Rajesh Khanna 

Aaina -1977

1. "Dharti Hansti Hai Chhalke Masti" - by Lata Mangeshkar
2. "Jane Kya Hojaye" - by Lata Mangeshkar and Mohammed Rafi
3. "Kaho To Aaj Bol Doon" - by Asha Bhosle
4. "Woh Jo Auron Ki Khatir" - by Lata Mangeshkar 
   
   
   
   
   
   
   
   
   
   
   
   
    

 

Neeraj

Dil Daulat Duniya (1972) (Released)

Hasrat Jaipuri

Hasrat Jaipuri (April 15, 1922 – September 17, 1999) was an Indian poet, who wrote in the Hindi and Urdu languages. He was also a renowned for his work as a film lyricist in Hindi films, where he won the Filmfare Awards for Best Lyricist twice.

His lyrics in movies of Super Star Rajesh Khanna

1) Mamta Ki Chhaon Mein - 1990

2) Dil Daulat Duniya - 1972

3) Andaaz - 1971

 

 

Sameer

Sameer (born 24 February 1958) is an Indian lyricist, writing primarily for songs in Hindi language films. His father is the famed Hindi lyricist, Anjaan (Lalji Pandey). He has won three Filmfare Awards.Recently, he announced his association with Tumbhi where he would nurture and review artists and their artwork.(2010). He also made an entry into the Guinness World Records for writing lyrics for most of the film songs.

His Lyrics Writing in the movies of Super Star Rajesh Khanna :

1)  Aa ab Laut Chalen - 1999

2)  Main Tere Dushman - 1989

3)  Paap Ka Ant - 1989

4)  Woh Phir Aayegi - 1988

5)  Swarg - 1990 

Anjaan

Birth: 28th October 1930
Birthplace: Varanasi
Profession: Poet, Bollywood Film song Lyricists
Family: Son – Sameer (Lyricist)

BIOGRAPHY :

A great charmer of Hindi language and literature, Lalji Pandey, was popularly known to all of us as Anjaan. Hailing from the Hindi heartland, Varanasi he participated in almost every gathering of hindi poets. Eventhough he used Urdu to the minimum he made his presence felt in every kavi-sammelans and mushairas. Use of Urdu language is a fashion in Indian Film Industry but Anjaan came up with his innovating new ideas and core hindi contemporary language for songs.

The Struggle

Anjaan got his first break with the 1953 Premnath production Prisoner Of Golconda where he wrote ‘Lehar Yeh Dole Koyal Bole’ and ‘Shaheedon Amar Hai Tumhari Kahani’. After this he remained fairly busy, but in small films. His only popular number was ‘Mat Poonch Mera Hai Mera Kaun Watan’ (Lambe Haath) with music by G. S. Kohli, with whom he did many small films. He was first noticed for his work with the Raaj Kumar film Godaan, based on the Premchand classic, with music by Pt. Ravi Shankar. This film got him a few good assignments in the mid - 60’s with big composers like O. P. Nayyar (‘Aap Ke Haseen Rukh’) in Guru Dutt’s Baharen Phir Bhi Aayengi and G. P. Sippy’s Bandhan, which established him commercially with ‘Bina Badraa Ke Bijuriya Kaise Barse’. This also saw the forging with fellow lyricist Indeevar and composers Kalyanji - Anandji. This was followed by songs in Kalyanji - Anandji’s ‘Kab? Kyon? Aur Kahan?’. Shankar - Jaikishan’s Umang, Rivaaz and Ek Nari Ek Brahmachari, Ravi’s Vandana (‘Aap Ki Inaayat Aap Ke Karam’), R. D. Burman’s Hungama (‘Wah Ri Kismat’, ‘Suraj Se Jo Kiran Ka Naata’ which was the first ever song filmed on Zeenat Aman) and a few other films.

Struggle paid way to Success

And yet it took Anjaan many more years before he emerged as a very prolific writer who amalgamated a lot of his commercial songs with lyricism and poetry. He was at his best in the Amitabh Bachchan films of Kalyanji - Anandji, beginning with Do Anjaane (‘Luk Chhip Luk Chhip Jao Na’) in 1976.

Followed Hera Pheri (‘Barson Purana Yeh Yaarana’), Khoon Pasina (the title song and ‘Bani Rahe Jodi Raja Rani Ki’), Muqaddar Ka Sikandar (‘Rote Hue Aate Hain Sab’, ‘O Saathi Re’, ‘Pyar Zindagi Hai’, ‘Dil To Hai Dil’), Don with his biggest hit of the career ‘Khaike Paan Banaras Wala’, (‘Ee Hai Bambai Nagariya’, ‘Jiska Mujhe Tha Intezaar’), Laawaris (‘Jiska Koi Nahin’, ‘Kab Ke Bichhde’) and Jaadugar. He also wrote hits for Bachchan with other composers like Rajesh Roshan (Do Aur Do Paanch, Yaarana) Bappi Lahiri (Namak Halaal, Sharaabi) and R. D. Burman (Mahaan). His liaison with Prakash Mehra also yielded hits like Zindagi Ek Juaa, Dalaal and other films like Jwalamukhi, Ghunghroo, Mohabbat Ke Dushman, Muqaddar Ka Faisla, Imaandaar, Chameli Ki Shaadi and Himalay Se Ooncha.

Songs for the new generations

In the 80’s, he even emerged as the writer of choice for Mithun Chakravarty’s films like Disco Dancer and Dance Dance and struck a gold mine in the films of Bappi Lahiri, Shibu Mitra and B. Subhash. Among his hits with them were the songs of Aandhi Toofan, Ilzaam, Aag Hi Aag, Paap Ki Duniya and Tarzan.

His work with others was almost schizophrenically different, with songs like R. D. Burman’s ‘Yeh Faasle Yeh Duriyan’ (Zameen Aasman), ‘Laagi Lag Jaaye Logon’ (Poonam / Anu Malik), ‘Ganga Mein Dooba’ (Apne Rang Hazaar), ‘Meri Saanson Ko Jo’, ‘Na Jaane Kaise’ and ‘Woh Woh Na Rahe’ (Badaltey Rishtey, ‘Hamrahi Mere Humrahi’ (Do Dilon Ki Daastaan), ‘Yashoda Ka Nandlala (Sanjog), ‘Sadiyan Beet Gayi’ (Triveni) and the beautiful songs of Eeshwar (all these films were with Laxmikant - Pyarelal showing a poetic vein). Another major hit was Anu Malik’s breakthrough film Ek Jaan Hain Hum.

His health suffered a major setback in the early 90’s, though he delivered hits with Zindagi Ek Jua, Dalaal, Ghayal and the 1990 chartbuster ‘Gori Hain Kalaiyan’ (Aaj Ka Arjun) and his last hit Shola Aur Shabnam (1992). His other films in the 90’s included Vishnu Devaa, Parakrami, Insaniyat, Police Aur Mujrim, First Love Letter, Aandhiyaan, Phool Bane Angaarey and others.

In the 60’s, Anjaan also wrote several non - films albums composed by Shyam Sagar and sung by Mohammad rafi, Manna Dey (Mayurpankhi Sapney) and Suman Kalyanpur. Rafi’s song ‘Main Kab Gaata’ was a big hit then. Anjaan also entered the world of Bhojpuri films with the massive hit Balam Pardesia in the late 70’s. The song ‘Gourki Patarki Re’ became a rage and set the stage for many more films with a resurgent Chitragupta and laying the foundation for the personal - and later - professional liaison between their respective sons Sameer and Anand - Milind.

Ganga Tath ka Banjara

Anjaan was a very successful all - rounder for almost 20 years in Hindi films, but his poetry still had the colour of Bhojpuri language and the ethos and culture of Uttar Pradesh, the citadel of hindi. This is why, says Sameer. he could write ‘Khaike Paan’, ‘Bina Badra Ke Bijuriya’ and similar songs with great skill. His own favourites were his songs from Apne Rang Hazaar and Badaltey Rishtey and ‘Maano To Main Ganga Maa Hoon Maano To Behta Paani’ and ‘Chal Musafir’ from Ganga Ki Saugandh. A few months before his death on 13th September 1997, his only book of poems, Ganga Tath Ka Banjara (A Gypsy From The Shores Of The Ganga) was released at the hands of Amitabh Bachchan.

The Best of Anjaan
Song Movie
Aap Ke Hasin Rukh Pe Baharen Phir Bhi Aayengi
Khaike paan banaras waala Don
Dil to hain dil dil kaa ayetabaar kyaa kije Muqaddar Ka Sikandar
Rote huye aate hain sab Mukaddar kaa Sikandar
O saathee re Muqaddar Ka Sikander
Pyaar jindagi hai Muqaddar Ka Sikander
Log Kehte Hain Maein Sharaabi Hoon Sharabhi
Kehna hi kya ye nein ik anjaan se jo mile Bombay

HIS LYRICIST IN THE MOVIES OF SUPER STAR RAJESH KHANNA :

4) Mamta Ki Chhaon Mein - 1990
3) Oonche Log - 1985
2) Disco Dancer - 1982
1) Bandhan - 1970

Gulzar

Gulzar was born as Sampooran Singh, on August 18, 1936. His birthplace was the town of Deena, which is now in Pakistan. The tumultuous events of the partition saw him shift base to Delhi, finding the climate in India more conducive to creative pursuit. He started as a poet and was associated with the Progressive Writers Association PWA.

Poet, Lyricist, Writer, Director - Gulzar is one of those sensitive people whose work is laced with the lyrical but psychologically adept examination of human sensibilities.

His career in the film industry began, like so many others, in a small way. He worked as an assistant to Bimal Roy, Hrishikesh Mukherjee and Hemant Kumar, learning the trade and honing his skills. His first break as lyricist came when he wrote Mora Gora Ang Lai Lae for Bimal Roy`s Bandini, 1963. He then began writing for films for directors like Hrishikesh Mukherjee and Asit Sen. Some of the films that Gulzar has written include Anand, 1970, Guddi, 1971, Bawarchi, 1972 and Namak Haram, 1973 for Hrishida and Do Dooni Char, 1968, Khamoshi, 1969 and Safar, 1970 for Asit Sen. All bore his trademark lyrics, elegant and sensitive. Recognition for his efforts was not long in coming.

Not yet completely satisfied with what he was doing in the film industry he soon began writing scripts, screenplays and drafted stories for films. Taking the big step, Gulzar turned filmmaker with Mere Apne in 1971.

Gulzar went on to make Parichay, 1972 and Koshish, 1972, a sensitive look at the travails of a deaf - dumb couple superbly played by Sanjeev Kumar and Jaya Bhaduri. With these films also began a mutually beneficial partnership with Sanjeev Kumar. The Gulzar - Sanjeev Kumar partnership resulted in such fine films as Aandhi, 1975, Mausam, 1975, Angoor, 1981 and Namkeen, 1982 and represent Sanjeev Kumar`s finest work as an actor. Aandhi ran into controversy due to Suchitra Sen`s role which was based on Indira Gandhi and was even banned for a while.

The 1980s and 1990s saw a decline in Gulzar the filmmaker even though films like Ijaazat, 1987, Lekin, 1990 and Maachis, 1996 had their moments. His last film to date Hu Tu Tu 1999 was a total misfire. However, Mirza Ghalib 1988 a TV serial made on the great poet`s life and starring Naseeruddin Shah as Ghalib was a landmark in the history of Indian Television. He has also contributed to the popular TV serials Jungle Book and Potli Baba Ki, with songs, narration and some typical Gulzar magic.

He has continued to write screenplays, dialogues and lyrics for other films among them Masoom, 1982 and Rudaali 1992. He has also been the lyricist of films like Thodi si Bewafaai, 1980, Basera, 1981, Sadma, 1983, Ghulami, 1985, Maya Memsaab, 1992, Dil Se, 1998 and Satya, 1998.

Gulzar has been honoured time and again for his work. This includes winning the National Award thrice - Best Screenplay for Koshish, Best Director for Mausam and Best Lyricist for Ijaazat. He has also won the Filmfare Award 14 times - including 7 times for Best Lyricist and The Best Director Award for Mausam.

Gulzar makes a comeback to the film industry with Rakesh Mehta`s Aks, where he has penned superior lyrics to recreate the dark and sinister mood of the film. Gulzar will always continue to remain the poet laureate of Hindi cinema.





Dialogue Writer:

5) Namak Haram - 1973
4) Bawarchi - 1972
3) Guddi - 1971
2) Anand - 1971)
1) Khamoshi - 1970

Lyricist :

5) Thodi Si Bewafai - 1980
4) Palkon Ki Chhaon Mein - 1977
3) Guddi - 1971
2) Anand - 1971
1) Khamoshi - 1970

Screenplay:

2) Namak Haram - 1973
1) Guddi - 1971

Story Writer:

2) Palkon Ki Chhaon Mein - 1977
1) Guddi - 1971

Qamar Jalalabadi

Sachcha Jhutha - 1970

Gulshan Bawra

 

 

 

 

Gulshan Kumar Mehta, popularly known by his pen name Gulshan Bawra (literally: "Gulshan the madman") (12 April 1937 – 7 August 2009) was an Indian songwriter and actor in Hindi cinema. In a career spanning 42 years, he has to his credit about 240 songs'

His Filmography with Super Star Rajesh Khanna :

As Actor :

Shehzada - 1972

As Lyrics Writer :

1) Agar Tum Na Hote - 1983

2) Sachcha Jhutha - 1970

3) Awaaz  - 1984 

Anand Bakshi

Name: Anand Bakshi
Birth: 1920
Birthplace: Rawalpindi
Profession: Poet, Bollywood Film song Lyricists
Family: A wife, two sons and two daughters

Anand Bakshi is one of the lyricist who had survived severe competition and the test of times. After writing for almost 40 years and after penning more than 4000 songs he could still instill freshness in any song. He was one of those few poets who had expressed love in a multitude of ways. Be it ‘Chingari Koi Bhadke’ from Amar Prem or ‘Bholi Si Surat’ from Dil To Pagal Hai. Bakshi also added the element of possession in a romantic relationship through the song ‘Tu Mere Saamne’ from Darr and ‘Jaadu Teri Nazar’ from the same film. Here’s an insight into the life of the veteran lyricist.

Background

Anand Bakshi was born in Rawalpindi in undivided India now Pakistan. He was an avid movie buff right from childhood and he had always dreamt of coming to Bombay and become a big shot. However he lacked the courage to tell his wish to others fearing that he might be ridiculed. At that point of time though his dream was limited to becoming a successful playback singer.

The Struggle

So passionate was Bakshi about joining the film industry that he ran away from home and joined the navy with the hope of reaching the city of his dreams. However fate had something else in store for him. The naval mutiny in Karachi ended his career in the navy. After the partition of the Indian subcontinent into India and Pakistan Bakshi returned to his family in Lucknow. Although he couldn’t continue with his education his dreams were very much alive. A short stint as a telephone operator followed but he soon realized that he was meant for something else and he moved to Bombay.

Although he had arrived in the city with a bagful of dreams no body really acknowledged his presence. Dejected and disillusioned Bakshi went back to Delhi and worked as a motor mechanic. But he was unable to rid himself of his desire to be a part of the glamour world and so he returned to the city of dreams. A few senior lyricists even ridiculed him but Bakshi persisted and his persistence paid off when a chance meeting with actor Bhagwan materialized into an offer to write the lyrics for Bhagwan’s film Bada Admi. A few years later Jab Jab Phool Khile released and the song ‘Pardesiyon Se Na Ankhiya Milana’ proved to be a big hit and that song made everyone notice Bakshi.

However life wasn’t exactly milk and honey for Bakshi as the struggle for survival continued even after Jab Jab Phool Khile. That was the result of groupism that existed during the late sixties and early fifties. Every music director had his or her own favorite lyricist. Shailendra and Hasrat Jaipuri were Shankar Jaikishan’s favorites and Shakeel Badayauni was patronized by Naushad. Even the great SD Burman refused to consider him seriously as a lyricist because he thought Bakshi was another one of those aspiring playback singers. Life was extremely difficult for the lyricist whose career had only just begun. To get into the elite group of poets was indeed a difficult exercise. His hard work and persistence finally paid off when the songs of Hariyali Aur Raasta proved to be chartbusters. The film had many timeless numbers and one of them was 'Bol Meri Taqdeer Mein Kya Hai'.

The Career Begins

It was Milan (1967) however that finally took Bakshi to the top. Songs like Sawan ka Mahina, Bol Gori Bol, Ram Kare Aisa Ho Jaye, Main to Diwaanaa and of course Hum Tum Yug Yug Geet Milan ke were hummed in every corner of the country. Anand Bakshi had arrived. And from then onwards he never looked back.

Followed a golden period for Bakshi whose association with Lakshmikant-Pyarelal and R.D. Burman led to such musical milestones like Farz (1967), Do Raaste (1969), Bobby (1973), Amar Akbar Anthony (1977), Ek Duje ke Liye(1981) with the former and Kati Patang (1970), Amar Prem (1971) and Hare Rama Hare Krishna (1971), just to name a few, with the latter. Of these his work in Amar Prem particularly stands out and was among his favourites. Shakti Samanta heard Bakshi recite Chingari Koi Bhadke at a 'kavi samelan' and incorporated it especially into the film. Other masterpieces in this film include Bada Natkhat Hai, Kuch to Log Kahenge, Yeh Kya Hua and Raina Beeti Jaaye.

Mention must also be made of his association with filmmakers like Raj Kapoor, Shubash Ghai and Yash Chopra.

Raj Kapoor
Bobby | Satyam Shivam Sundaram (1978)

Shubash Ghai
Karz (1980) | Hero (1983) | Karma (1986) | Ram Lakhan (1989) | Saudagar (1991) | Khalnayak (1993) | Taal (1999) | Yaadein (2001)

Yash Chopra
Chandni (1989) | Lamhe (1991) | Darr (1993) | Dil to Paagal Hai (1997).

Awards

Apart from being nominated innumerable amount of times for the Filmfare award Bakshi has also won the coveted trophy three times in his illustrious career. He won it for the first time in 1978 for the song ‘Aadmi Musafir Hai’ from the film Apnapan. In 1981 he won it for the song ‘Tere Mere Beech Mein’ from Ek Duje Ke Liye and after 14 years he won it for the third time in 95 for ‘Tujhe Dekha To Ye’ from Dilwale Dulhaniya Le Jaayenge.

Awards
Award Movie
Filmfare - 1977 Best Lyrics for Apnapan
Filmfare - 1981 Best Lyrics for Ek Duje Ke Liye
Filmfare - 1995 Best Lyrics for Dilwale Dulhania Le Jayenge
Filmfare - 1999 Best Lyrics for Taal
Zee Cine - 1999 Best Lyrics for Taal
Screen - 1998 Best Lyrics for Zakhm
Screen - 1999 Best Lyrics for Taal
Screen - 2000 Best Lyrics for Mohabbatein

The Best of Anand Bakshi
All Time Hits of Anand Bakshi
Song - Track Movie
Dil kya kare Julie
Tere mere beech mein Ek Duje Ke Liye
Dhire dhire bol koi sun na le Gora Aur Kala
Aaj mausam bada Loafer
Kora kagaz tha yeh man mera Aradhana
Sawan ka mahina Milan
Badi mastani hai Jeene Ki Raah
Gir gaya jhumka Jugnu
Bane chahe dushman Dostana
Dafaliwale Sargam
Zindagi har kadam Meri Jung
Lagi aaj sawan Chandni
Tujhe dekha to yeh Dilwale Dulhaniya Le Jayenge
Bholi si surat Dil To Pagal Hai

HIS LYRICIST IN MOVIES OF SUPER STAR RAJESH KHANNA :

43) Nazraana - 6-2-1987
42) Shatru - 15-8-1986
41) Amrit - 27-6-1986
40) Alag Alag - 1985
39) Awaaz - 23-11-1984
38) Avtaar - 11-3-1983
37) Rajput - 16-4-1982
36) Fifty Fifty - 13-11-1981
35) Bandish - 7-11-1980
34) Nishana - 17-10-1980
33) Chakravyuh - 29-6-1979
32) Amar Deep - 18-5-1979
31) Bhola Bhala - 1978
30) Prem Bandhan - 1978
29) Naukri - 1978
28) Anurodh - 1977
27) Chhaila Babu - 1977
26) Aashiq Hoon Baharon Ka - 1977
25) Chalta Purza - 1977
24) Mehbooba - 1976
23) Maha Chor - 1976
22) Aakraman - 1975
21) Prem Kahani - 1975
20) Roti - 18-10-1974
19) Prem Nagar - 24-5-1974
18) Aap Ki Kasam - 3-5-1974
17) Hum Shakal - 1974
16) Ajnabi - 1974
15) Namak Haram - 23-11-1973
14) Raja Rani - 1973
13) Amar Prem - 1972
12) Dushman - 1972
11) Joru Ka Gulam - 1972
10) Apna Desh - 1972
9) Anuraag - 1972
8) Maryada - 16-7-1971
7) Kati Patang - 1971
6) Aan Milo Sajna - 1971
5) Mehboob Ki Mehandi - 1971
4) Haathi Mere Saathi - 1971
3) The Train - 10-4-1970
2) Aradhana - 1969
1) Do Raaste - 1969

Playback Singer:

1) Maha Chor - 1976

Rajinder Kishan

Rajendra Krishan was born in Shimla. He was attracted toward poetry during his school days. After completing his education, he worked as a clerk in the municipal office till 1942. He used to participate in the poetry contests organized by newspapers.

In the mid-1940s, Krishan shifted to Mumbai to become a scriptwriter. His first film as a scriptwriter was Janta (1947). His first film as a lyricist was Zanjeer (1947). He was first noted for the script and lyrics of the Motilal-Suraiya starrer Aaj Ki Rat (1948).[1] After the assassination of Mahatma Gandhi, Krishan wrote a song Suno Suno Aye Duniyawalon, Bapu Ki Yeh Amar Kahani. The song was sung by Mohammed Rafi and composed by Husnlal Bhagatram, and was a great hit. He also tasted success as a lyricist with the films Badi Bahen (1949) and Lahore (1949).

A new phase began in his life. His knowledge of Tamil made him the ideal choice for AVM, and others to use his services for their films like Bahar, Ladki, Bhai Bhai. He wrote in all 18 scripts for AVM itself. The music directors for whom he regularly wrote songs — C Ramchandra, Madan Mohan and Hemant Kumar were also composing for the South Indian Hindi movies. The combination chalked up a series of hits right into the Sixties.

Rajendra Krishan also participated in the struggle to get a status for lyricists. As a person he was amiable, easy-going and full of humour. These characteristics expressed themselves in his lyrics also. His songs are simple, inventive and full of meaning. He could write a swinging song like Mr John, o Baba Khan and in the same film Barish (’57) a philosophical song, Dane dane pe likha hai khanewale ka nam, lenewale karod, denewale ek Ram. The songs he wrote for Anarkali (’53), Yeh zindagi usiki hai and Jaag dard-e-ishq jaag have attained legendary status. His Nagin (’54) songs Man dole mera tan dole and Mera dil ye pukare aja are reverberating in our hearts even today.

Apart from the three music directors mentioned above, he also wrote for other great composers like Sajjid Hussain (Saiyan ’51, Sangdil ’52), SD Burman (Bahar ’51, Sazaa ’51, Ek Nazar ’51), S Mohinder (Papi ’53), Chitragupt (Bhabhi ’57, Kangan ’59), Salil Choudhry (Chaya ’61), Laxmikant-Pyarelal (Intaqam ’69).

He could pen love-ballads and comedy songs with equal ease and effect. In the first category come the standards like Ye hawa ye raat ye Chandni (Sandgil), Koun aya mere man ke dware payal ki jhankar liye (Dekh Kabira Roya ’57), Mera Qarar leja mujhe beqarar kar ja (Ashiana ’52) and Ai dil mujhe bata de (Bhai Bhai ’56).

As the whole world knows C Ramchandra and Madan Mohan put a special ingredient into the songs they gave to Lata. Who can remain unmoved when listening to the following songs Rajendra Krishan wrote for her: Ham pyar me jalnewalon ko chain kahan aram kahan (Jailor ’58), Sapne me sajan se do bate ik yad rahi ik bhool gayen (Gateway Of India ’57), Dil se bhulado tum hamen (Patanga ’49)), Balma bada nadan re (Albela ’50), Ai chand pyar mera (Khazana ’51) and Wo bhuli dastan lo phir yad agayi (Sanjog ’61)?

On the other hand, the comedy songs he wrote for the same composers are a totally different kettle of fish. Here Rajendra Krishan’s comic music soared to delightful heights. He would take a central idea and keep on adding layer after layer of fancies to create a bright new world.

In Patanga, Lata and Shamshad take turns to describe a world of love where all the known institutions operate under strange rules — Pyar ke jahan ki nirali sarkar hai the post-office is actually the human eye and telegrams are glances; there is a school but it has only one class in it, lakhs of students enrol there but very few pass; the lessons are tough but oh so enjoyable! In fact if you fall in love you’ll join the unemployed masses. Every day will be holiday for you — har din itwar hai!

In the film Chandan (’58) we see Johnny Walker as a traffic constable singing the praises of the Super Cop in the Skies, who has a key for every lock and a lock for every key. Bada hi CID hai vo neeli chhatriwala, no one sees him receiving reports, but the moment a crime occurs he gets an "automatic telephone" and he has with him a pocket book in which has been noted sabka maal masaala, his thana stretches in all directions and it is always open. Everyone has to go there sometime or other. You can’t influence him, for all are equal so far as he is concerned — kya saali kya saala! (This is obviously a reference to Raj Kapoor’s story in Shree 420 (’55) of his being hauled up before the boodha daroga of a police station, and of being released the moment he was discovered to be the thanedar ka saala.

Again the same Johnny Walker in the ’65 film Bombay Racecourse (Madan Mohan) narrates the tale of a zalim snatching away his throbbing heart mistaking it for a ticking watch — Le gaya zalim ghadi samajkar and trying to pawn it. However when she learnt its market price, it being after all the heart of an ardent lover, she was struck by remorse and brought it back to him undamaged.

The imagery of Parwana (moth) and Shama (flame) for lover and beloved is a standard one in Urdu poetry. There was even a film called Shama Parwana (’54) where the moth (Shammi Kapoor) literally got burnt in the flame in the end. Rajendra Krishan wrote a straight lyric for Raj Kapoor in Paapi (S Mohinder, ’53) Tera kam hai jalna parwane chahe shama jale ya na jale whose climatic line states — jeene me hai teri ruswayi, marte nahijalkar parwane — the parwana gets a bad name only when it lives!"

Years later, in Khazanchi (Madan Mohan, ’58) he wrote about the modern parwana who is afraid of going near the fire naye zamane ka parwana jalne se dare! So this ingenious moth tries to solve the problem by sending his petition by post to the flame. She replies, "You’re there and I’m here, so what’s this talk of love between us?" The moth replies, "Everyone knows your penchant for burning. And this happens to be my new suit, and I bought this tie only this morning. Do you want me to risk all these? so, goodbye! Kon mufi me mare?

When the new decimal coinage was introduced, the first and most famous song about it, which was also a hit in the Binaca Parade that year, was written by him for Miss India (SD Burman, ’57) Badla zamana — where he lovingly describes how you can obtain for a mere rupee no less than 100 tiny round pretty coins, gol mol nanhe munne akhionke tare with which you can fill up your treasury.

In an interview, Hemant Kumar had this to say about Rajendra Krishan’s style of working, "Let’s suppose the recording of a song is fixed 15 days hence; he will come to the studio alright, but won’t work. He’ll say, ‘Come I know a place where this item is great! Let’s go eat.’ So we go there. Next day it’s something else. Then he’ll be away at the races. Thus we come to the 12th day. Now we put pressure on him. Then he’ll sit somewhere quietly and come back after 15-20 minutes with the complete song!" When one considers that both Ramchandra and Madan Mohan, for whom he did most of his work, believed in having the full lyric in their hands before composing, it is obvious that most of the great songs of that era owed their original inspiration to Rajendra Krishan’s lyric alone.

Rajendra Krishan could be satiric as well as playful. In Minister (Madan Mohan, ’59), he gave Asha a song where she taunts a gallivanting husband with apt imagery — Jab ghar men chulha jalta hai, phir hotel me kyun khate ho?

But when he was writing about what was happening around him like Mahatma’s assassination or the horrors of Partition, he lay bare his feelings in no uncertain terms. The Rafi song, Suno suno ai duniawalo Bapu ki ye amar kahani ends with the terse line, Apne hi hathonse hamne apna Bapu khoya (We killed Bapu with our own hands).

Again in the film about Partition, Lahore (Shyam Sunder, ’49) he gave a song to Manna Dey which begins,

• Dunia to kehti hai insaan kahan hai?
• Insaan ye kehta hai Bhagwan kahan hai?
• Insaan ne insaan par kya zulm kiya hai
• Ana hi lahu tha jise haske piya hai

He wrote a whole series of lovely songs for Hemant Kumar. The biggest hit was Nagin (’54), then there was Miss Mary (’57), Champakali (’57), Lagan (’55), Payal (’57), Durgesh Nandini (’56) and so on.

We have heard Hemant Kumar mention Rajendra Krishan’s fondness for the races; strangely enough he actually won a jackpot for an estimated 46 lakhs! This obviously took the edge off his struggle for existence! He won the Filmfare award for 1965 for the film Khandan (Ravi).

At the time of his death in 1988, he had written songs for 300 films, of which 100 carried his screenplay as well. HMV gave him the honour of being a major lyricist and brought out an LP containing 12 of his songs.

He deserved all the honours he received, but none of them can do justice to the legacy of sheer listening pleasure he has bequeathed us.A BharatMillenium

His Lyrics in Super Star Rajesh Khanna movies:

Doli - 1969

Sahir Ludhianvi

Birth: 1921
Birthplace: Ludhiana, Punjab.
Profession: Poet, Bollywood Film song Lyricists

BIOGRAPHY :

Abdul Hayie was born in Punjab in 1921. His formative years saw a lot of problems for the young man, the main being his villainous father and a major heartbreak during college. After getting his first work Talkhiyaan published from Lahore, Pakistan, Abdul Hayie, now known as Sahir Ludhianvi, had to flee Pakistan, after a warrant for his arrest was issued for writing explosive stuff in his editorial in Savera. An urge to succeed brought him to the land of dreams- Bombay. And thus started an illustrious career.

Sahir set the standards

Sahir, like his name, was a "magician" of words. He wove fascinating images in songs and ghazals, spellbinding his listeners and readers for decades. For about thirty years, he remained associated with the Hindi film industry. He composed hundreds of songs for Hindi/Urdu films. Most of his songs became hugely popular and are even today sung and hummed by people of all generations. Sahir`s most remarkable contribution is that through his lyrics, he catapulted the standards of Hindi film songs to a level that became the benchmark for quality poetry. His lyrics have immortalized many songs in the memory of Hindi film lovers.

For a moment, imagine and visualize the scene from Guru Dutt`s 'Pyaasa' (1957): "Jinhe naaz hai Hind par wo kahan hain!" The song succinctly portrays the decadence in Indian society, even as the accompanying visual is the camera tracking through a street of brothels. Or remember a dashing Devanand in 'Hum Dono' (1961), bellowing curls of smoke and singing. Take a romantic Amitabh Bachchan, ambling about a bed of flowers and crooning in the sylvan color riot of Yash Chopra`s 'Kabhi Kabhi' (1976).

'The Pyaasa' in Sahir Ludhianvi

Sahir Ludhianvi was basically a romantic poet. He had failed in love many times and therefore, his poetry is full of tragic emotions. He excels in portraying tragedy without going overboard. He talks of personal romance and the ensuing disillusionment. Then he talks of universal romance, and the inevitable frustration that follows it. His poetry is an amazing canvas of romantic shades.

The style is simple, straight, and direct. He minces no words. He expresses his thoughts directly without sublimating emotions. Sahir at times gets angry too. His anger can be against God or society. He challenges God and he challenges moribund traditions of society.

The best of Sahir Ludianvi
Award Movie
Jo Wada Kiya Taj Mahal
Kabhi Kabhi Mere Dil Mein Kabhi Kabhi
Chalo Ek Baar Phir Se Ajnabi Gumraah
Tum Na Jane Kis Jahan Me Kho Gaye Sazaa
Doob Gaye Aakash Ke Tare Angaarey
Zindagii Bhar Nahin Bhuulegii Barsaat Ki Raat
Allah Tero Naam Hum Dono
Woh Subah Kabhi To Aayegi Phir Subah Hogi
Maine Chaand Aur Sitaaro Ki Tamanna Ki Thi Chandrakantaa
Ai Merii Zoharaa-Jabiin, Tujhe Maaluum Nahiin Waqt
Abhi na jao Hum dono
Bichde sabhi baari baari Kaagaz ke phool
Aurat ne janam diya maradonko Sadhana
Choo Lene do naazuk Kaajal
Jaane woh kaise Pyaasa
Jo Baat tujhme hai Tajmahal
Kiska rasta Dekhe Joshila
Laaga Chunari me daag Dil hi to hai
Mein Pal do Pal Shayar hoon Kabhie kabhie
Man re Chitralekha
Na to Kaarvan ki talaash Barsaat ki raat
Pao choo lenedo Taj Mahal
Yeh Mahalo Pyasa
Ye raat Ye chandni Jaal

HIS LYRICIST IN THE MOVIES OF SUPER STAR RAJESH KHANNA :

1) Dhanwan - 1981
2) Daag - 1973

Shamim

Lyricist for Rajesh Khanna movie :

Raaz - 1967

Kaifi Azmi

Birthplace: Azamgarh, U.P.
Profession: Poet, Bollywood Film song Lyricists
Family: Wife - Shaukat Azmi, stage artist, writer; Daughter - Shabana Azmi, Bollywood actress, Social worker, Member of Parliament, Rajya Sabha.

BIOGRAPHY :

Born to a family of landlords in Majwan in the district of Azamgarh, UP, Kaifi Azmi was fortunate in having a liberal and modern father. His father took up a job as a tahsildar in various small towns in Uttar Pradesh. Although his father wanted Kaifi to have a modern "English" education, pressure from relatives who wanted him to be a theologian saw him admitted to the Sultan-ul-Madris seminary in Lucknow. He soon ran into trouble with the authorities there, organizing a union and launching a strike, which ran one-and-a-half years. Once the strike was called off, Kaifi Azmi was expelled and there ended his relatives' ambitions. Denied the kind of education he and his father wanted, Kaifi Azmi took courses at Lucknow and Allahabad universities that helped him acquire a command over Urdu, Arabic and Persian.

Kaifi Azmi - The revolt within

Kaifi, like most of the Urdu poets, began as a ghazal writer cramming his poetry with the oft-repeated themes of love and romance in a style that was replete with cliched similes and metaphors. However, his association with the Progressive Writers' Movement and Communist Party made him embark on the path of socially conscious poetry. In his poems he highlights the exploitation of the subaltern masses and through them he conveys a message of the creation of a just social order by dismantling the existing one. Such poetry serves a social purpose and in this respect Kaifi can be called a successful Progressive poet. The choice of his themes does not leave much scope for him to make rich his poetic creations aesthetically. In many of his poems his phonation is a bit louder, the style is direct and closer to rhetoric. Yet, Kaifi's poetry cannot be called plain propaganda. It has its own merits; intensity of emotions, in particular, the spirit of sympathy and compassion towards the disadvantaged section of society are the hallmarks of his poems. Kaifi's poems are also notable for their rich imagery and in this respect his contribution to Urdu poetry can hardly be overstated.

Azmi Saab's stint in film includes working as lyricist, writer and almost an actor! His early work as storywriter was mainly for Nanubhai Vakil's films like 'Yahudi ki Beti' (1956), 'Parvin' (1957), 'Miss Punjab Mail' (1958) and 'Id ka Chand' (1958). But perhaps his greatest feat as a writer was Chetan Anand's 'Heer Ranjha' (1970) wherein the entire dialogue of the film was in verse. It was a tremendous achievement and one of the great feats in Hindi Film writing. Kaifi Azmi Saab 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. The film, chronicles the plight of the minority Muslims in North India and is set in Agra after the first major partition exodus. Balraj Sahni played to perfection the central role of an elderly Muslim shoe manufacturer who must decide whether to continue living in India or to migrate to the newly formed state of Pakistan. 'Garam Hawa' remains today one of the most poignant films ever to be made on India's partition. Azmi also wrote the dialogues for Shyam Benegal's 'Manthan' (1976) and Sathyu's 'Kanneshwara Rama' (1977).


Kaifi Azmi - Film career

As a lyrics writer though he wrote for numerous films, he would always be remembered for Guru Dutt's 'Kaagaz ke Phool' (1959) and Chetan Anand's 'Haqeeqat' (1964), India's greatest ever war film. In the former who can forget 'Bichde Sabi Baari Baari' or 'Waqt ne Kiya Kya Haseen Situm' and 'Hoke Majboor Mujhe Usne Bhulaya Hoga' or 'Kar Chale Hum Fida Jaan-o-Tan Saathiyon' in the latter. The last mentioned patriotic song causes goose pimples even when heard today. Some other notable films for which he wrote the lyrics include 'Uski Kahani' (1966), 'Bawarchi' (1972), 'Pakeezah' (1972), 'Hanste Zakhm' (1973) and 'Razia Sultan' (1983). He also played a memorable old man in 'Naseem' (1995),a touching film centered around the destruction of the Babri Masjid at Ayodhya. The film is set in June-December 1992, the days preceding the demolition of the Masjid on December 6, 1992 by Hindutva fanatics. Naseem (Mayuri Kango) is a schoolgirl belonging to a middle class Mumbai based Muslim family. She enjoys a warm relationship with her aged ailing grandfather (Azmi Saab). With increasing horror the family watches on their TV the news of the build up at Ayodhya while the grandfather regales her with stories of life in pre-independence Agra. The grandfather dies on December 6 coinciding with the news of the destruction of the mosque. Azmi Saab's brilliant performance provides not just a reminder but a literal embodiment of the cultural traditions at stake those tragic days. It was a performance his daughter, multiple National Award winning actress Shabana Azmi, was proud of.

Kaifi Azmi passed away in Mumbai on May 10, 2002 following cardiac and respiratory infection. Time waits for none. This time it was Kaifi Azmi, the poet extraordinaire, who had to move on. Death came after a prolonged illness of 45 days.

The Best of Kaifi Azmi
Song Movie
Baharon Mera Jiwan Sanwaaro Aakhri Khat
Ye Nayan Dare Dare Kohraa
Waqt Ne Kiya Kya Haseen Sitam Kaagaz ke Phool
Chalte Chalte Yun Hi Koi Mil Gaya Tha Pakeezah
Tum Itna Jo Muskura Rahe Ho Arth
Dhire Dhire Machal Ai Dil Beqarar Anupama
Chalo Dildaar Chalo Pakeezah
Aane Waala Kal Ek Sapna Phir Teri Kahani Yaad Aayi
Ye Duniya Ye Mehfil Heer Ranjha
Dekhi Zamane Ki Yaari Kaagaz ke Phool
Mana Ho Tum Toote Khilone
Awards :
Award Contribution towards
Uttar Pradesh Urdu Academy Award Aawara Sajdey
Soviet Land Nehru Award Aawara Sajdey
Sahitya Academe Award Aawara Sajdey
Maharashtra State Urdu Academy's Special Award Urdu literature
Lotus Award Afro-Asian Writers' Committee

LYRICIST IN THE MOVIES OF SUPER STAR RAJESH KHANNA :


2) Bawarchi (1972) (Released)
1) Aakhri Khat (1967) (Released)

Shakeel Badayuni

Birth: 3rd August 1916
Birthplace: Badayun, Uttar Pradesh, India
Profession: Poet, Bollywood Film song Lyricists

BIOGRAPHY :

Born at ‘Badayun’ in Uttar Pradesh on August 3, 1916, Shakeel Ahmed Shakeel Badayuni made his mark on the Hindi film industry in the days to come. His father was a Maulana himself and made it a point that he teaches him Arabic, Farsi, Urdu, Hindi and Hindustani at home itself. Other than one of his ancestors called Khalifa Mohammad Wasil, none of his other relatives were concerned with poetry. Mushaiyaras and sher - o - shairi were and still are one of most popular cultural and artistic symbols with which Lucknow is associated. The cultural landscape always dotted with these literary and poetic exercises gave the background to young Shakeel’s growth as a poet.

Poetry in his times was uni-dimensional, a purely literary activity followed both with conceit and rigour by the then poets. Untouched by daily experiences, which distill art, it remained pedantic in its conservatism.

One of the early influences of Shakeel Badayuni was the works of Hazrat Maulana Zia - Ul - Qadri, whom he heard in various mehfils (poetry recitation sessions) and also sought his guidance at regular intervals.

Shakeel Badayuni's urge for writing

By the time he had joined the Aligarh University in 1936 he had gained considerable exposure at the mushaiyaras reciting his own poetry. Poetry in pre - Independent India, like other arts, was striving to gain its own voice and this led to the growth of a progressive poet’s movement, which later manifested in various forms such as IPTA. The progressive poets consisted of Majaaz, Jazbi, Jaan Nissar Akhtar, and Masud Akhtar Majaal whereas Raaz Muradabadi, a disciple of Jigar Muradabadi, led the traditionalists. Raaz, Jigar and his clique used to concentrate mainly to composing Ghazals. Shakeel, who later became a student of Jigar was introduced by Raaz who was his intimate.

Raaz and Shakeel were the proteges of Maulana Ahsan Marharwi, their lecturer of Urdu at college. In the inter - varsity mushaiyara competitions, Aligarh University used to win hands down to the envy of others because of these two exemplary poets. Their benign and encouraging professor, Maulana Ahsan used to keep them informed about literary meets and accompanied personally on such tours.

The heady days of youth were spent in honing up one’s first flowering of talent and Shakeel’s powerful outpourings on social issues in later years were then grappling with more tender emotions of Love.


Shakeel's first job

His first job was with the supplies department at Delhi in 1942, which he joined immediately after passing his graduation. He continued in this profession for four years till 1946. Literary sycophancy was scaling new heights with the followers of Jigar donning the clothes of their teacher and adopting his mannerisms while talking and reciting their verses.

This cultural slavery was unacceptable to Shakeel and forged his own identity with a distinct individuality. Touring extensively to recite his ‘kalaam’ (writing), his growing appreciation also brought to the fore the qualities needed for a poet and his / poetry to be accepted by the audience. The poets personality, the tone of voice, literary and poetic balance and the right mix of humour and wit, both idiomatic and colloquial were his prescriptions for a successful acceptance by the public and patrons.

The recipe of success as it were hit him when he arrived in Mumbai in 1946. The cinematic requirements of writing according to a given situation, mood, place and even tune while enforcing artistic restrictions gave him insights into the aspect called ‘mass communication’ and its essentials. Ideas and ideals, both could be maintained if one gave up the notion that literary flights were the true signs of a genius. For Shakeel, simplifying was obviously different from simplistic.

Shakeel's tour with bollywood

With Naushad as composer and Mohammad Rafi giving vocals, Shakeel penned the greatest bhajan of Hindi films ‘O Duniya Ke Rakhwale’ and other songs of Baiju Bawra. He won two Film Fare awards, but retained a low - profile inspite of his literary and cinematic stature as a poet.

Jigar Muradabadi opined, 'Shakeel is a poet by nature and he was not made and shaped to be a poet. Whatever he speaks is intimately associated with the real facts of life like a mirror image. He is peerless while building magical palace of words.’

According to late Sahir Ludhianvi, another of his legendary compatriots, 'Shakeel should be credited for selecting the genre of ghazals after the greats like Jigar and Firaaq in which he showed his charismatic abilities making beautiful ghazals. His ghazals adhere to the traditional spirit while highlighting contemporary values. His ghazals have reflected the ideas related to the transformations in literature and the changes of values of life giving it new meanings, colours and directions.'

His ghazals were sung by most of the prominent artistes outside the cinematic gamut while his lyrics used extensively in the films.

Awards
Award Movie
Filmfare - 1960 Chaudhvin Ka Chand
Filmfare - 1961 Gharana
Filmfare - 1962 Bees Saal Baad


The Best of Shakeel Badayuni
Song Movie
Door Ke Musafir Hamko Bhee Saath Le Le Udan Khatola
Aaj Purani Rahon Se Aadmi
Kahin Deep Jale Kahin Dil Bees Saal Baad
Suhaani Raat Dhal Chuki Dulaari
Pyaar kiya tho darna kya Mughal -E-Azam
Dhoondo Dhoondo Re Saajna Ganga Jamuna
Duniya Ke Rakhwale Baiju Bawra
Aaj Mere Man Me Sakhi Baansuri Bajaaye Koi Aan
Ye Zindagi Ke Mele Duniya Kam Na Honge Mela
Chhod Babul Kaa Ghar Mohe Pee Kaa Nagar Babul
Kaahe Jiya Dole Ho Kaha Nahi Jaaye Anokhi Adaa
Jogan Ban Jaungi Saiyan Tere Kaaran Shabaab
Chandan Kaa Palnaa Resham Ki Dori Shabaab
Zindagi Dene Waale Sun Dil - E - Nadan

HIS LYRICST IN SUPER STAR RAJESH KHANNA MOVIES :

Aurat - 1967

Majrooh Sultanpuri

Birth: 1st October 1919
Birthplace: Sulatanpur, U.P.
Profession: Poet, Bollywood Film song Lyricists
Family:

BIOGRAPHY :

Think of an individual who has been in the Indian film music industry for the last five decades and been contributing continuously. One can come up with name like Lata Mangeshkar and …. Yes next name has to be Majrooh Sultanpuri. Changing with the pace of the times but still retaining the simplicity of the words and lyrics makes this man a true master worker of songs in Indian Film Industry.

Majrooh's parents wanted him to be a physician, but he preferred to be a poet, and touch many more lives that he would have, had he been a physician. He used poetry as a medium to express his communist views before he was drawn into the world of Hindi film lyrics. He was one of those lyricists with a never-say-die spirit, and who has entralled us over the past 50 years with his fine lyricism. His lyrics ranged from soft melodies, ghazals, romantic duets, rock-n-roll, pop, qawaalis to bhajans.

Majrooh Sultanpuri gets noticed

Majrooh Sultanpuri was first noticed at a mushaira at Bombay's Saboo Siddik Institute ground in 1945. The young poet was a protege of Jigar Moradabadi. The young poet after patiently awaiting his turn got the chance to step on to the podium. With his black sherwani buttoned to the throat, snow-white, full width Lucknowi pajama, fair complexion, and handsome countenance, he had a definite presence and commanded attention.

The cultured, well-modulated voice and the obvious beauty of craft and thought-content of the ghazal caught the audience unawares. There among the audience was A.R. Kardar, the famous motion picture producer and director. He was so impressed that he invited the young poet to see him after the mushaira. This was how Majrooh was signed for the unforgettable Kardar film, ‘Shahjahan’. Naushad set his lyrics to tune and K.L.Saigal sang them.

Majrooh saab penned eight out of ten lyrics for ‘Shahjahan’, and needless to say all of them were super hits. But before he could react to the large-scale, appeal created by these lines, he fell ill. The harsh Bombay weather made him leave the city and return to his hometown in the North.

Success eludes the talented poet and he gets arrested for his provocative writing: It was now 1947. The film industry remained idle for six months in the aftermath of the partition. However, as some semblance of sanity and peace returned to the nation, the film industry also started taking stock of its affairs. Sultanpuri came back to Bombay and, on the recommendation of Naushad, was contacted by director Mehboob Khan for the Dilip Kumar-Nargis-Raj Kapoor starrer, ‘Andaz’.


The year in Jail

The Iyrics of ‘Andaz’ are now history. But, again, Sultanpuri failed to cash in on this hit film. For, by this time his political activities as a communist and his literary pursuit as a member of the Progressive Writers Association (PWA) had convinced the Korari Desai government that this was one writer to be taken care of. An arrest warrant was issued and Majrooh saab went underground and remained so for a year. But he could not resist participating in a function protesting the arrest of Sajjad Zahir for his alleged involvement in the so-called Rawalpindi conspiracy. Sultanpuri recited a few of his fiery ghazals and, while coming down from the dais, was apprehended by the police. After that he spent a year in the Byculla jail.

After his release from jail, Kamal Amrohi asked him to write for his film ‘Daayra’. Then came his association with Guru Dutt and O.P. Nayyar. With O.P. Nayyar the rapport between the composer and lyricist were complete. It was also during this period that Asha Bhosle had her best to offer to the film industry as a singer. Songs like ‘Yeh hai reshmi zulfon ka andhera na ghabraiye’ and ‘Jaiye aap kahan jaenge, yeh nazar laut ke phir aayegi’ from ‘Mere Sanam’ and songs from several other films where Nayyar and Majrooh saab collaborated were a rage. This was also the time when the lyricist contributed at least 20 new words or sets of words hitherto unheard of in the film-lyrics vocabulary. These were words typical of the Urdu culture.

His other innovation in film-lyrics was what came to be known in film music circles as ‘romantic comedy duets’. In one of the usual filmi parties, S.D.Burman was discussing with him the futility of investing precious time in composing tunes for duets, which seemed to have lost the ear of cine-goers. Sultanpuri, by now had established his reputation as a person who did not mince words. He plainly told Burman that it was the fault of the Lyricists rather than the music directors if duets were losing popularity. In his typical challenging way, he promised that he would write a duet soon and make it a success. Burman smiled and said, ‘Then why not write that duet for me?’ This was how S D Burman and Sultanpuri teamed up and, together, gave us such beautiful lyrics as heard in ‘Paying Guest’, ‘Nau do Gyaarah’, ‘Kala Paani’, to mention a few.

Sadly for the great man he has not found appreciation easy to come by. Majrooh saab has won only one Filmfare award. He won it for the song ‘Chahoonga main tujhe saanjh savere’ from the film ‘Dosti’ in 1964. He is also the only lyricist to have been awarded the Dadasaheb Phalke award.

Majrooh Sultanpuri has worked with everybody

Probably, Majrooh has worked with more music directors than any other lyricist. Not a mean achievement for a lyricist, who has to cope up with the varying styles of different MDs. While, for other lyricists their writing style or ego came in their way of working with any Music Directors, Majrooh had no such problems. He was versatile and a thorough professional and above all a nice person, as vouched for by many of his colleagues.

Here is a partial list of music directors with whom Majrooh has worked with: Anand-Milind, Anil Biswas, Chitragupta, Khaiyaam, Kishore Kumar, Laxmikant-Pyarelal, Madan Mohan, N.Dutta, Naushad, O.P.Nayyar, R.D.Burman, Ravi, Roshan, S.D.Burman, and Salil Choudhury He has also worked with Anu Mallik, Bappi Lahiri, Basu Chakravarty, C.Ramachandra, Ghulam Mohd., Hemant Kumar, Husnlal-Bhagatram, Kalyanji-Anandji, Mukul Roy, Rajesh Roshan, S.Madan, Shanker-Jaikishan, Tushar Bhatia, Usha Khanna and Vasant Desai.

Many believe that he hasn’t been popular because he is not media savvy unlike his contemporary lyricists were or are. Even today one will never find Majrooh saab socializing with people from the film industry. His friends are books and books and more books, maybe also a few poets and writers. Majrooh saab is not just a film lyricist he is a poet to the core having written some outstanding poetry. His anthology titled, ‘Ghazal’, was published in 1959 and contained 33 ghazals created in the period from 1944 to 1953. They are still among the best-known Urdu ghazals, which had already earned the status of presenting a new idiom of progressive poetry.

The Best of Majrooh Sultanpuri
Song Movie
Babuji dhire chalna Aar Paar
Aankhon hi aankhon mein ishara ho gaya C.I.D.
Mana janab ne pukara nahi Paying Guest
Chahunga mein tujhe Dosti
Kabhi to milegi Aarti
Jaane kahan mera Mr. & Mrs. 55
Aankhon hi aankhon mein C.I.D.
Kabhi aar kabhi paar Aar Paar
Ab kya misal doo Aarti
Chod do aanchal Paying Guest
Udhar tum hasin ho Mr. & Mrs. 55
Baar baar ohe kya samjhye Aarti
Yaad aa gayi o nashili nigahen Manzil
Chori ho gayi raat Ishaara
Awards :
Award Contribution
Iqbal Samman Madhya Pradesh Government's highest literary award
Dada Sahab Phalke Award Government of India's highest award conferred on an artiste associated with films
Film Writers Association Award Indian Film Industry
Film Journalist Award Writing for Films
Uttar Pradesh Hindi-Urdu Sahitya Award Hindi and Urdu Literature
All India Journalist Award Writings

HIS LYRICIST IN THE MOVIES OF SUPER STAR RAJESH KHANNA :

10) Babu - 22-11-1985
9) Ram Tere Kitne Naam - 15-2-1985
8) Zamana - 1985
7) Dharam Kanta - 6-8-1982
6) Kudrat - 3-4-1981
5) Aanchal - 18-9-1980
4) Phir Wohi Raat - 15-8-1980
3) Janta Hawaldaar - 27-4-1979
2) Mere Jeevan Saathi - 1972
1) Baharon Ke Sapne - 1967

Indeevar

Birthplace: Jhansi, Uttar Pradesh

Profession: Poet, Bollywood Film song Lyricists

The man who penned the title track for the Rajesh Khanna – Sharmila Tagor hit, ‘Safar’, ‘Zindagi ka safar, Hai yeh kaisa safar Koi samjha nahi … Koi jaana nahi …’ is Indeevar. Unluckily enough, Indeevar didn’t get many opportunities like this to pen down these quality songs. His career span is spread over four decades with a quantum of chartbusters only. The very reason could be his compromise on quality on work for his survival in this Indian Music Industry.

Born in Jhansi, Madhya Pradesh as Shyamalal Bahu Rai, he came to the city of dreams, Mumbai with the clear intention of being a lyricist. He got his first assignment for the movie called ‘Double Face’ (1946). To be in the business, he took every assignments and grabbed every film that came his way and didn’t mind working for ‘B’ and ‘C’ grade projects. He got his first big break in the form of ‘Malhaar’ (1951). ‘Bade Armaan Se Rakha Hai Balam Teri Kasam’, a popular composition that retains a refreshing feel even today. But even this song couldn't ensure instant success.

He finally shot into the big league with Babubhai Mistry's musical extravaganza, Parasmani (1963), which also launched the career of music duo Laxmikant-Pyarelal. In subsequent years, Indeevar forged a strong bond with a select set of filmmakers and music directors, that resulted in a repertoire of music that was eminently hummable, subtly evocative and definitely unforgettable.

One of his most creative and fruitful alliances was with Manoj Kumar, who first signed him on for Upkar (1967). Indeevar and Kalyanji-Anandji injected the film with a fine blend of soulful emotion and patriotic euphoria through songs like ‘Kasme Vaade Pyaar Wafa’. Equally powerful were compositions like ‘Dulhan Chali, O Pehen Chali’ and ‘Koi Jab Tumhara Hriday Tod De’ from Purab Aur Paschim (1970). Earlier, in 1968, he had culled an awesome collection of soulful lyrics for Govind Saraiya's Saraswati Chandra.

Together with his long-standing partners, Kalyanji-Anandji he produced unforgettable numbers such as ‘Chhod De Saari Duniya Kisi Ke Liye’, ‘Chandan Sa Badan’ and ‘Main To Bhool Chali Babul Ka Des’.

Indevaar Mera Naam

In direct contrast to this classic score, the trio set an upbeat mood for Vijay Anand's musical hit, Johny Mera Naam (1970) with zany songs like ‘Nafrat Karne Walon Ke’ and ‘Pal Bhar Ke Liye Koi Hame Pyaar Kar Le’ and ‘O, O Mere Raja’.

Two of Indeevar's best-remembered films were made the same year. While Manmohan Desai's Sachcha Jhootha produced ‘Meri Pyaari Beheniya Banegi Dulhaniya’, which has since become a permanent fixture in every wedding band, Asit Sen's Safar had Indeevar's poetic juices churning out wonders like ‘Jeevan Se Bhari Teri Aankhen’ and ‘Jo Tumko Ho Pasand’. Throughout the 1970s, his winning combination with Kalyanji-Anandji grew stronger and continued all the way up to Qurbani's' (1980) ‘Hum Tumhe Chaahte Hain Aise’.

With the arrival of the disco beat and the Bhappi Lahiri wave, Indeevar put poetry on the backburner and stood up to the task of delivering mindless lyrics. There was a preset combination for all these Southern-style 'pots-n-pans' hits: Jeetendra, Sridevi, Jaya Pradha, Bhappi Lahiri and Indeevar. All the way from Himmatwalas' (1983) ‘Nainon Mein Sapna’ to Tohfa's nonsensical title song, Indeevar willfully accepted and adapted to the changing trends in film music.

All Time Hits of Anand Bakshi
Song - Track Movie
Tum Mile Dil Khile Criminal
Yeh Teri Aankhen Jhuki Jhuki Fareb
Jab Koi Baat Bigad Jaye Jurm
Jati hoon mein Karan Arjun
Laila O Laila Qurbani
Kya Dekhte hoo Qurbani
Aap Jaisa Koi Qurbani
Kya Khoob Lagti Ho Dharmatma
Awards:
Award Song - Movie
Filmfare Award - 1975 Dil Aisa Kisine - Amanush

HIS LYRICS WRITING IN THE MOVIES OF SUPER STAR RAJESH KHANNA :


1) Bandhan - (1970)
2) Safar (1970)
3) Sachcha Jhutha - (1970)
4) Chhoti Bahu (1971)
5) Aaj Ka Mla Ramavatar - (1984)
6) Maqsad - (1984)
7) Naya Kadam - 1984)
8) Master Ji - (1985)
9) Bewafai - (1985)
10) Aakhir Kyon - (1985)