Sahir Ludhianvi: Silver Memories, Romantic Sahir Options Rating

[bawlachintu]

Saja dene ka niral tarika:

Hum moond ke palkon ko is dil ko saja den to?????????



Sochon doston: socho
A thoughtful romantic song with depth!

Sahir aur Sachin Dev Burman ka kamal

Sc-Rolling back the Afsana-e-Sahir. Is gaane pe masala idhar hai
http://www.hamaraforums.com/index.php?s=&a...st&p=260733

[mmuk2004]

Saja dene ka niral tarika:

Hum moond ke palkon ko is dil ko saja den to?????????



Sochon doston: socho
A thoughtful romantic song with depth!

Sahir aur Sachin Dev Burman ka kamal

Aakhri kamaal unfortunately...

Thanks Ash for the list. Will go back to some of them in just a bit. Yes, I think we need to bully Nasir into sharing their thoughts here... Just realised you meant Anupama...absolutely need to keep the pressure on her

CM, what a great album it is! And yes, practically all the songs are special in it. Am listening to them right now. Will get back with my chavannis on the songs def by tomorrow...

[mmuk2004]

Gumrah (1963)

The siren call of illicit desires… songs are so crucial a part of Hindi cinema, they complete and sometimes contradict the film in so many ways, often going beyond the limitations imposed by the story or the structure of the film itself.

Take a film like Gumraah for example; the title itself weighs heavily on the side of the conservative stand. The story had director BR Chopra venturing on difficult terrain especially in mainstream cinema. Infidelity, extra-marital affairs especially involving the woman, are certainly still taboo subjects in Indian Cinema. Naturally the story is bowdlerized to fit the sentiments of the mainstream audience even though it was touted as a "daring" film in its time. A young Mala Sinha and Sunil Dutt fall in love but before they can get married, Mala Sinha's sister dies and she is compelled to marry her much older brother-in-law Ashok Kumar to look after her young niece and nephew. She is the errant wife who clandestinely meets her lover but in the end she chooses to be "responsible" and remain with her husband and kids. However most of the actual plot of the film is really concerned with the scheming blackmailer (Shashikala, if I remember correctly), thus getting sympathy for the beleaguered heroine in this fashion and really it takes away the focus from the issue of infidelity…

Interestingly, Silsila(1981), that was made by brother Yash Chopra, and got a tremendous amount of flak from all quarters, logically extends what Gumraah set out to explore. In spite of the stilted acting from all quarters and the over-profiled stars and their private lives, the film was bold for its time. Remember the reason for Amitabh marrying Jaya is because Jaya is pregnant with Shashi’s (Amitabh’s brother) child. So Jaya’s character does not fit the typical mould of the pati-vrata naari . She had loved Shashi Kapoor before and later on tells Amitabh that Shashi was her past and Amitabh is her present. The way Yash Chopra dealt with infidelity in marriage is also very interesting. Hindi songs came to his rescue again when he needs to show physical passion and infidelity. Check out the vid of “Ye Kahan Aa gaye hum” where there are fleeting shots of Amitabh and Rekha in bed which could definitely not be shown otherwise without making the subject too controversial. However Yash Chopra does show them eloping and the film does suggest how passion can easily feel sordid (even to the lovers) when it does not have social sanction, witness the discomfort that Rekha and Amitabh feel when they attend a close friend’s wedding having left their respective spouses behind.

But that was the eighties and Silsila finally sank unable to handle its overblown starcast, emotions and ending… to come back to the sixties and Gumraah once again, infidelity is touched upon but sparingly. The film does acknowledge it as issue which is saying a lot in commercial Hindi films where characters, especially those of women are fairly flat and they are definitely made to uphold the burden of morality. Gumraah someone who has lost one’s way…with a title such as this the ending does not come as much of a surprise, however the film does have some surprises up its sleeve viz. Ashok Kumar’s acting (he got the national award for it) and Sahir’s passionate poetry. To finally come to the point amid my circumlocutions…Sahir’s verses rise above the shackles imposed by the film and its fairly predictable conclusion…

[mmuk2004]

"Gumrah", the lost ones who are brought back within the fold of society…and verses penned by Sahir, undermining the logic of that story…

In hawaon mein in fizaaon mein tujhko mera pyar pukare
Aaja aaja re tujh ko mera pyar pukare
Ruk na paun main khinchti aaun …tujhko mera pyar pukare

Laut rahi hain meri sadayen deewaron se sar takra ke
Haath pakad kar chalne wale ho gaye rukhsat haat chuda ke
Unko kuch bhi yaad nahin hai ab koi sau baar pukaare…
Aaja aaja re tujhko mera pyar pukare…

Ilm nahin tha itni jaldi khatm fasane ho jayenge
Tum begane ban jaoge hum deewane ho jayenge
Kal baahon ka haar mila tha aaj ashkon ka haar pukaare
Aaja aaja re tujhko mera pyar pukare

Loot ke mere dil ki duniya pyaar ke jhoole jhoolne waale(2)
Patthar ban kar yun chup kyun hai kuch to keh o bhoolnewale
Ek purani yaad bulaaye ek toota ikraar pukaree
Aaja aaja re…

In hawaon mein in fizaon mein tujhko mera pyar pukare…it is a lover’s passionate cry and receives the woman’s equally passionate response “ruk na paaun main/khinchti aaun main …” the intensity and the passionate images that the song evokes are way beyond the scope of the film which could not even hint at sexual infidelity. If I remember correctly, it has Mala Sinha primly committing the ultimate digression of going over to Sunil Dutt’s house to watch him paint without her husband’s knowledge.

Laut rahin hain meri sadayen deewaron se sar takra ke …the film adds faintly negative tones to Sunil Dutt’s character, he is the aggressor who can potentially break up a marriage. However, in the song, he is the betrayed one and the lovers are the ones whose world has been shattered. “Samaaj” as “deewar”, or phrases such as “tum begane ban jaoge hum dewane ho jayenge” or “loot ke mere dil ki duniya” are all part of the vocabulary of a love story or a passionate romance, in the social drama of “Gumraah” they have no place…


Aap aaye to khayale dile nashaad aaya(2)
Kitne bhoole hue zakhmon ka pata yaad aaya
Nashaad:unhappy

Aap ke lab pe kabhi apna bhi naam aaya tha
Sokh nazron se mohabbat ka salaam aaya tha
Umr bhar saath nibhane ka payaam aaya tha
Aap ko dekh ke wo ehde wafa yaad aaya
Kitne bhoole hue zakhmon ka pata yaad aaya

Rooh mein jal uthe bujhti hui yaadon ke diye
Kaise deewane the hum aap ko pane ke liye
Yun to kuch kam nahin jo aap ne ehsaan kiye
Par jo maange se na paya wo sila yaad aaya
Kitne bhoole hue zakhmon ka pata yaad aaya

Aaj wo baat nahin phir bhi koi baat to hai
Mere hisse mein ye halki si mulaqaat to hai
Gair ka hoke bhi ye husn mere saath to hai
Haye kis waqt mujhe tab ka gila yaad aaya
Kitne bhoole hue zakhmon ka pata yaad aaya

When you came, I remembered my unhappy heart… “Aap aaye” that is the digression that Mala Sinha commits in the movie, she brings back to the lover the consciousness of his forgotten, unhappy heart. And in this song too… “zakm” “ehde wafa” “gila” “gair”(the husband in this case) they are all words that give a certain sanctity to their “illicit” “gumraah” desires… The lover is grateful enough, he says for the favors she has granted him, but…what he had asked for and did not get is what him haunts him…
Intemperance… in terms of the social drama, it is articulated as tragedy in the context of the song.

Penned by the volatile, rebellious Sahir who always found himself in love in the wrong situations, the songs are all presented from the lovers’ point of view; here social concerns don’t function the way they do in the movie. Check out this song from the movie for example; what a superb beginning,

Chalo ek baar phir se ajnabi ban jayen hum dono(2)

Na main tumse koi ummeed rakhoon dil navaazi ki
Na tum meri taraf dekho galat andaaz nazaron se
Na mere dil ki dhadkan ladkhadaye meri baton mein
Na zahir ho tumhari kashmakash ka raaz nazron se
Chalo ek baar phir se…
Dil-nazaavi: soothing the mind

“Chalo ek baar phir se ajnabi ban jayen hum dono”…Let us become strangers one more time, the lover suggesting bitterly to his girlfriend that they turn back the clock, that they become strangers one more time…

And then follow a series of situations that are stated in the negative…the lover is stating that once that happens (their becoming strangers), the following will not happen:
He will not expect her to soothe his mind
She will not look at him…what a superb phrase used in the context of the erring lovers… “galat andaz nazron se”
His heart will not trip amid his conversations
Her eyes will not reveal the secret of her tumultuous (emotions)
Through these negatives in fact the lover defiantly reveals the present state of the lovers…

Tumhe bhi koi uljhan rokti hai pesh kadmi se
Mujhe bhi log kehte hain ki ye jalwe paraye hai
Mere hamraah bhi rusvaiyan hain mere maazi ki
Tumhari saath bhi guzri hui raaton ke saaye hain
Chalo ek baar phir se…
Rusvaiyan: infamous/dishonoured/disgraced
Maazi: past

In the second stanza the lover is more aware of the social constraints…He knows she is inhibited by some considerations, he is also constrained by social opinion. He has to contend with the “disgraces” of his past and memories of shared passion with her…

Taaruf rog ho haaye to usko bhoolna achha (introduction?)
Taaluk bojh ban jaye to use todana achha
Wo afsaane jise anjaam tak laana na ho mumkin
Use ek khoobsurat mod de ke chodna achha
Chalo ek baar phir se…

The compromise he suggests in the last stanza is underlined with bitterness. If an introduction/knowledge becomes an illness, it is better to forget it. If a relationship becomes a burden, it is best to break it…Stories that cannot reach their logical conclusion should be given a beautiful twist and abandoned... The last stanza contends with the negative images such as “rog” and “bojh” in which their relationship might be viewed hence the compromise he suggests, “Wo afsane jise anjaam tak laana na ho mumkin/Use ek khoobsurat mod de ke chodna achha”

Sahir as the eternally rejected lover-poet has given a "khoobsurat mod" to those incomplete stories and relationships in the form of his songs that have far outlived the films themselves.

For the life of me I cannot locate the full "Chalo ek Baar" that has the crucial third stanza. It is a common enough song, if someone will kindly do the honors...

[Talaikya]

Coming up shortly... and here it is. Consider it a very small but heartfelt thank you for this wonderful thread


DVD rip 4:28 mins @ 128

This post has been edited by Talaikya: Jul 31 2006, 04:43 AM

[bawlachintu]

Gumrah, a real alag-hatke story. Love-triangle....na na
its a triangle of different sort. BR Chopra's ambitious project executed brilliantly.

Highlight of the film is effort made by Ashok Kumar to bring her
wife back from Bhatke-hue-kadam(affinity with Sunil Dutt-who sings
'chalo ek baar fir se ajnabi ban jayen hum dono' throughout the film). A song characteristic of good
use of violin-choir.

Ye nazm hai ghazal nahin. Ghazal experts please explain the difference between Nazm and ghazal.

[cinemaniac2]

great Madhavi-keep it up-we need more like u

but

yunh to kuch kam nahin jo
aapne ehsan kiye

par jo mange se na paya
woh sila yaad aaya

one more pls-the last one

raah mein bichi hui hai meri har nazar
main tadap raha hoon aur tu hai bekhabar

[ashgupta3]

Penned by the volatile, rebellious Sahir who always found himself in love in the wrong situations

I have my own view as to y that happened, and will write it some other time

She will not look at him…what a superb phrase used in the context of the erring lovers… “galat andaz nazron se”

The sheer beauty of this whole stanza is breathless, I rank this one much higher than the 3rd stanza, which is generally considered more popular.

Sahir as the eternally rejected lover-poet has given a "khoobsurat mod" to those incomplete stories and relationships in the form of his songs that have far outlived the films themselves.

WOW what a remarkable way to honour his work Did u think of it just now, or is it a long processed thought? I have to say reading ur description of the songs seems as poetic as the songs themselves

[cinemaniac2]

non related

there is a dmuk -usually posts in KK forums

any relation ?

[ashgupta3]

Just posting lyric of a song so that this thread move a bit

Movie : Bahu Begam, Asha, Roshan

Nikle they kahan jaane ke liye, pahunche hain kahan maaloom nahi
ab apne bhatakte kadmon ko, manzil ka nishaan maaloom nahi

Humne bhi kabhi is gulshan mei, ek khwaab-e-bahara dekha tha
kab phool jhade, kab gurd udi, kab aayi khizaan maaloom nahi

Dil shola-e-gum se khaak hua, ya aag lagi armaano mei
kya cheez jali kyon seene se, utha hai dhuaan maaloom nahi

Barbaad wafa ka afsana, hum kis se kahen aur kaise kahen
khamosh hain lub aur duniya ko, ashkon ki zubaan maaloom nahi

[mmuk2004]

but

yunh to kuch kam nahin jo
aapne ehsan kiye

par jo mange se na paya
woh sila yaad aaya

one more pls-the last one

raah mein bichi hui hai meri har nazar
main tadap raha hoon aur tu hai bekhabar

Ye hawa ye hawa ye hawa
Ye fiza ye fiza ye fiza
Hai udas jaise mera dil
Mera dil, mera dil mera dil
Aa bhi ja, aa bhi ja, aa bhi ja

Aa ki ab to chandni bhi zard ho chali
Dhadkanon ki narm aanch sard ho chali
Dhal chali hai raat aa ke mil
Aa bhi ja aa bhi ja

Rah mein bichi hui hai meri har nazar
Main tadap raha hun aur too hai bekhabar
Ruk rahi hai saans aa ke mil
Aa bhi ja, aa bhi ja, aa bhi ja
Hai udas jaise mera dil

The obsessive repetition, pounding at the girl's defenses, reveals the lover's urgency. The lover does not hold back or dress up his emotions, he is calling out urgently for her to meet him, "main tadap rahan hoon aur tu hai bekhabar", his very life depends on her response "Ruk rahi hai saans aa ke mil". Beautifully sung by MK, a perfect blend where the heightened pitch of the singer merges with the rhythm and content of the song....

there is a dmuk -usually posts in KK forums

any relation ?

Nopes ... Though I am sure we are in relative harmony in our appreciation of KK's songs...

[mmuk2004]

Penned by the volatile, rebellious Sahir who always found himself in love in the wrong situations

I have my own view as to y that happened, and will write it some other time

She will not look at him…what a superb phrase used in the context of the erring lovers… “galat andaz nazron se”

The sheer beauty of this whole stanza is breathless, I rank this one much higher than the 3rd stanza, which is generally considered more popular.

Sahir as the eternally rejected lover-poet has given a "khoobsurat mod" to those incomplete stories and relationships in the form of his songs that have far outlived the films themselves.

WOW what a remarkable way to honour his work Did u think of it just now, or is it a long processed thought? I have to say reading ur description of the songs seems as poetic as the songs themselves

Thanks Ash for the detailed response. Would really like to hear what your views are on Sahir's obsessions... By the way, I am sure you have read Kanchan Mehta's article on Amrita Pritam... Here is a quote from that article that I found very interesting:

I drew Imroz’s attention to Amrita’s relationships with other men mentioned in her writing. Was Amrita’s love for Sahir only a fancy? He shrugged and said, "Sahir was a seducer. He tempted and ensnared many eminent women". Amrita had a pure, deep and unflinching passion for Sahir. But, Sahir was only a weaver of dreams and could never go beyond that. He did not care for Amrita’s feelings for him. He never read her Sunheie (Message), originally composed for him.

Maybe a lover's bitter perception/criticism of a rival but inadvertantly reveals the tremendous attraction of that persona...

"Na mere dil ki dhadkan ladkhadaye meri baaton mein" ... that phrase is so immediate, palpable and emotive, and that stanza, you are right, literally leaves you breathless.

[mmuk2004]

Coming up shortly... and here it is. Consider it a very small but heartfelt thank you for this wonderful thread


DVD rip 4:28 mins @ 128

Thanks Tji for the prompt response ...

[mmuk2004]

Gumrah, a real alag-hatke story. Love-triangle....na na
its a triangle of different sort. BR Chopra's ambitious project executed brilliantly.

Highlight of the film is effort made by Ashok Kumar to bring her
wife back from Bhatke-hue-kadam(affinity with Sunil Dutt-who sings
'chalo ek baar fir se ajnabi ban jayen hum dono' throughout the film). A song characteristic of good
use of violin-choir.

Ye nazm hai ghazal nahin. Ghazal experts please explain the difference between Nazm and ghazal.

BC., I am pasting a useful article on this from the web:

Subject: What is Ghazal????
From: mzaidi@eden.rutgers.edu (LAHORI)
Date: 1996/11/12
Message-Id: <56aq3a$fki@er5.rutgers.edu>
Organization: Rutgers University
Newsgroups: alt.language.urdu.poetry

Hello all,

Its been a long time since i came on board ALUP last. Couple of things that i noticed, first the FAQ by Mr. Khursheed Ahmad is a commendable thing, secondly
the fruitlessness of it. Third, atleast there is something posted on urdu-
related subjects here and there. thats encouraging.

Mr. Abhay Avachat wrote a nice article on "film songs-ghazals or not". But
there are a couple of points that i would like to clarify here. Mr. Avachat
wrote that "Do NOT equate ghazal with 'ishqia shaa'iree', and that there is
no limit as to the subjects or language used in a ghazal." Both statements are
not quite true. Last year i had posted an article about "the forms of urdu
poetry", in which there were cmplete definitions and explanations of all the
recognized urdu poetrry forms. unfortunately i dont have that article saved.
But i would like to say something about the ghazal form in context of the above
statements made by MMr. Avachat......briefly.

"Ghazal" form was first used in Arabic language, in which it means "to talk to
women", more precisely, "love-talk with women". From there it was incorporated
into Persian language. In persian, ghazal's literary meaning is "the
characteristic mating call of a particular persian deer". Ghazal in Persian
retained its basic form and purpose of love-talk. Ghazal's essentials include
priase of one's beloved, his/her beauty, attitude, love, way of talking, gate,
etc, etc. Ghazal can not have adverse opinions about your beloved except his/
her indifference, "bay-wafai", "bay-ruKhee", etc. All this makes the subjects
of a ghazal very limited. In short, Ghazal is meant to be "ishqia shaa'iree",
and its subjects and language very limited.

But poets of the more modern persia, and then in Urdu, have incorporated a
wide variety of new subjects into ghazals, e.g. politics, education, etc, to
which Maulana Haali refers to "chooN chooN ka murabba". Ghalib said:

B'qadr-e-zauq naheeN zarf-e-tang-naa'ay ghazal
Kuchh aur chaahee'ay wUs'at m'ray bayaN kay liyay

which means, in a nutshell, that the parameters of ghazal are not expansive
enough for what I want to say.

so the conclusion here is that ghazal IS "ishqia shairee", atleast originally,
and that the subjects and language used is limited.

In the end, i would like to state the basic difference between "NAZM" and
ghazal, and that is that whereas a nazm can be a collection of couplets (or
it can have triplets, quatrains, or no rhyming at all), the couplets of a nazm
have to be on the same subject and one sher is related to the theme and subject
of the nazm, but a ghazal's shers are independent entities in themselves, they
do not have to be on the same subject or even related to any other sher in
any way. if and when two shers of a ghazal are related to each other and are
on the same subject, they have to be placed right next to each other, and are
called collectively a "QAT'AA".

hope this explanation helps a little bit in understanding of the ghazal form.
i welcome any comments, additions, etc on this article.

regards,

Raza Zaidi.
mzaidi@eden.rutgers.edu

[cinemaniac2]

BC-ur new avtaar- neither do u look like a bawla nor a chintu

u look like a experienced suave seducer.

and Mmuk-ur one side lat looks superb.

now back to business

Aaj Ki Raat Nahin shikwe shikayat ki raat
aaj har lamha mohabbat ke liye
reshmi.......
...........
...........
subah ne aaj na aane ki kasam khayi hai
aaj ki raat......



a top class suhaag raat song.

another SL classic