Sahir & Shairi, Films of Sahir Ludhianvi Options

[swarapriya]

Sahir & Shairi

Films of Shair Ludhianvi

Main Pal Do Pal Ka Shair Hoon
Pal Do Pal Meri Kahaani Hai
Pal Do Pal Meri Hasti Hai
Pal Do Pal Meri Jawaani Hai

….

Kal Aur Aayenge Naghmon Ki
Khilti Kaliyaan Chun Ne Waale
Mujh Se Behattar Kahne Waale
Tum Se Behattar Sun Ne Waale


The poet who wrote these words, Sahir Ludhianvi, in reality would be remembered for ever as long as people who love literature and especially poems like this exist. It is the greatness of his humility that he speaks of other poets who write better than him will come sometime tomorrow. That is a definite possibility. But for now, he probably is the greatest of those we know.

Abdul Hayee, better known as Sahir Ludhianvi, was born in 1921 into an aristocratic Muslim family in Ludhiana, Punjab. But he spent much of his childhood in poverty. This transition from worldly comforts to a meager existence took place when he was still very young. At 13, his father took a second wife. His mother left Sahir’s father in protest of his decision to marry again, taking Sahir with her. For the rest of his childhood Sahir lived in constant fear because his father has vowed to kill him to spite his mother.

With hard work Sahir managed to survive and was admitted to a college only to be dismissed for bad behavior because he disobeyed the principal’s rules by sitting on the lawn with a female student. He enrolled in another college and fell in love with one of his college students, named Amrita Pritam, who responded by reciprocating his love. Sahir found himself expelled from the college for the second time because of his writings in the college magazine that the school authorities found to be disruptive. His hopes of marrying Amrita, who was a Sikh by her faith, came to an abrupt end because her father was against his daughter marrying a Muslim. Frustrated and dejected, Sahir decided to give up college and move to Lahore. This was in 1943.

It took two years for Sahir to find a publisher to publish his book “Talkhiyaan”, a collection of poems Sahir has been writing for the last several years. These poems, written from the depths of his heart receive attention, making his name immediately recognizable. This led him to employment. Sahir worked as a magazine editor and his writings and the magazine became popular. Eventually he was able to simultaneously edit as many as four different magazines. His writings adorned all of them. Readers loved Sahir’s beautifully thought out poems, which in turn increased his popularity, thus leading to the popularity of the magazines.

At this time Sahir become a member of the Progressive Writers’ Association (PWA). Immensely influenced by the organization’s communist ideology, he started publishing writings against the repressive government in the magazines he was editing. It was 1949. India and Pakistan have been two separate and independent countries for nearly two years. Incensed by Sahir’s writings, branding them to be inflammatory, in 1949 the Government of Pakistan issued a warrant for his arrest. Sahir managed to flee to Delhi. From Delhi he eventually moved to Bombay in search of work. Based on his credentials as a writer, it did not take long for Sahir to land a job writing lyrics for movies. First movie he wrote lyrics for was, “Azad Ki Raah Par”, released in 1949.

In 1949, Sahir was just 28 years old. In that short span of life, he underwent more ups and downs than many people experience in a lifetime. These experiences undoubtedly left a mark on Sahir, turning him into the type of writer he was. His lyrics and poetry had such moving intensity, leaving an indelible mark on those who read or heard his work. He wrote with purity, depth, sadness and hope about declining societal values, the senselessness of the political machine and the havoc to countless lives brought on by war. His command of the written word was so complete that his readers felt as though he was addressing their individual hearts.

His first lyrics written for the film “Azad Ki Raah Par (1949)” failed to make any impression. The movie was a flop and the songs also did not do well. The very next year, in 1950, Sahir had an opportunity to work with the music director S.D. Burman in the film “Afsar”. His success with the film secured work for him on three different films in 1951, all with the great Burmanda: “Naujawan”, “Baazi”, and “Sazaa”. Songs from these films became huge hits, especially from “Baazi”. After this series of successes there was no looking back for Sahir. The Burmanda-Sahir collaboration resulted in several beautiful songs. They worked together on 15 films and their collaboration reached a peak with “Pyaasa”. Sadly this was the last time the duo would work together.

In nearly 30 years of film work, Sahir worked on about 80 films. Songs from most of these films exhibit his literary skills and most of them are still popular today. His most significant work came in Guru Dutt’s “Pyaasa (1957)”. The very next year his work for “Phir Subah Hogi” solidified his position as being unparalleled when it came to writing about the hypocrisies and declining values of society.

While Sahir’s professional life flourished, his love life, sadly, continued to involve heartache. His love for singer Sudha Malhotra, who was Hindu, never materialized because of their different religions.

By 1970’s Sahir’s work output declined. During this period, most of his songs were written for Chopra Brothers’ films, especially Yash Chopra. But even with only a few assignments he had, Sahir always wrote from his heart. Yash Chopra’s “Kabhi Kabhie” made in 1976 is a glittering example of this.

Sahir passed away when he was only 59 years old after a massive heart attack during a card game.

Sahir won the Filmfare award twice as the best lyricist, in 1964 for “Taj Mahal” and in 1976 for “Kabhi Kabhie”. He was also awarded Padmashri by the Government of India.

In the next few months I would like to share with you Sahir’s great poetry through the songs from the films he wrote for. First, let is look at his filmography …

This post has been edited by swarapriya: Apr 16 2010, 10:24 AM

[swarapriya]

Taxi Driver (1954)

Here is another of Dev’s movie that was a trend setter because of not only a different way of characterizing the principals in the movie but also making Mumbai part of the proceedings. The city was as important as the character of the taxi driver played by Dev.

Here are some of the highlights of making of this movie …

The entire Anand clan was involved in the movie making. Dev of course was the producer and the hero. The director was Chetan, Dev’s older brother. The story and the screenplay were written by Uma Anand, Chetan’s wife and Vijay, Dev’s younger brother. This was Vijay’s first screenplay. The heroine of the movie, Kalpana Kartik, who was introduced in Dev’s earlier movie “Baazi” in 1951, became Dev’s wife while shooting this movie. He married her during the middle of a night while taking a shooting break. In an interview much later, Vijay who became a celebrated director and fine actor himself, says that he was never able come close to coming up with another script like “Taxi Driver”.

The movie introduced a new woman, Sheila Ramani to the screen. She played a club dancer, She and Kalpana shared the screen almost equal amount of times even though they were never together in any scene.

The movie was brilliantly photographed by V. Ratra. Mumbai never looked this good in the brilliance of black and white, in lights and shades, in clear sunlights and in smoke filled pubs.

During the dance numbers Sheila Ramani performed in the movie, a original jazz band was hired. This consisted of the husband and wife team of Vernon and Betty Corke and their two sons Noel and Alan. The foursome turned in cameo performances. The Corkes never got their due and eventually migrated to Australia seeking greener pastures.

The hit team of Burmanda and Sahir Saab continue to churn out one after another memorable hits. This movie was no exception. Every song is an utter delight. The standout song of the movie is “Jaaye Toh Jaaye Kahaan”. It is a dual song, sung separately by both Lata and Talat. Both songs are equally good. But my favorite is Talat’s version. An absolutely wonderful song. Talat Saab worked in only a few films for Burmanda but whenever they came together the results have been nothing less than extraordinary.

I am uploading all of the songs from an original soundtrack album in the first post. In the second post, I am including some specials. Now for a description of the songs in the first post and the songs themselves …