By now in the present series, it is abundantly evident that Sahir Ludhianvi was easily able to blend his poetry with the demands of the situation-based lyrics of Hindi films. As a result, even what could best be described as ‘masala’ fillers situations, his songs retained the watermark of his style of poetry – use of simple but chaste Urdu lyrics from his broad range of vocabulary that his revolutionary thoughts and romantic emotions would call for. As such, he firmly believed that if his lyrics has enough power, the song will work.
O P (Om Prakash) Nayyar – B: 16 January 1926 | D: 28 January, 2007 – though not formally trained in music composed audacious variety of tunes with such rare texture of rhythm and melody that producers were forced to print his name above the names of the stars on the film publicity materials. He so uniquely blended the Punjabi spirit with western music, that in no time he had risen to the ‘rhythm king’ who was one of the highest paid music directors of his time. It is even said that many music directors were coerced by the producers to copy his style, in the hey days of O P Nayyar.
By the time, in 1957, when Sahir and O P Nayyar teamed up for the first time, both had had a rich – in terms of different shades poetry and rhythm-based melody, respectively – legacy, success, and of course the style of their own. However, Sahir Ludhianvi and O P Nayyar association is statistically speaking if Five Films Association, but one of the films, Tumsa NahiN Dekha, has only one song that they have created together because Sahir reportedly developed strong differences with the director Nassir Hussain, However, it was this song that not only powered the success of the film, but also gave Shammi Kapoor his identity and charisma.
Naya Daur, released earlier than Tumsa Nahin Dekha, had all songs on the top of the chart billing. If the O P Nayyar’s signature-to-become horse-beat duet Maang Ke Saath Tumhara or Punjabi folk tune based Ude Jab Jab Jab Zulfien Teri or Reshami Salwar Kurta Jaalidaar, or motivational Saathi Haath Badhana Saathi Re or Johnny Walker song Main Bomabai Ka Babu or all-time great Mohammad Rafi devotional song Aana Hai To Aa Raah Mein Kuchh Der NahiN Hai had contributed to the roaring success of the film, these songs also brought out hitherto probably hidden qualities of Sahir or O P Nayyar’s repertoire. I selected the only song that did not become a hit, perhaps because it was finally not included in the film, So, is the case with 12 O’clock, where I have finally chosen the song that perhaps can be considered as relatively less famous.
However, such wide range of subjects for the songs, perhaps catalysed the differences of each one’s highly individualistic nature and pride of their work to surface sooner than later. Sahir went on to become permanent member of BR banner, but O P Nayyar’s association with BR banner ended with this film.
With this prelude, here is my selection of Sahir Ludhianvi’s Romantic Songs in Five-film Association with O P Nayyar, with the films arranged in alphabetical order:
JahaN JahaN Khayal Jata Hai VahaN VahaN TumhiN Ko Pata Hai….. Ye Kab Hua Ye Kyun Hua Ye Kya Hua Mujhe – Bade Sarkaar (1957) – Mohammad Rafi, Geeta Dutt
zulfein hai ke reshami ghatayein hai
aankh hai ke manchali sadayein hai
hoth hai ke patiyaaN adhkhile gulab ki
jism ki hadein hai ya ke bastiyaN hai khwab ki
…. …… ….. ….. ….. …..
mera har singar hai tere liye
husn ki bahar hai tere liye
Jawani Jhumti Hai Dulhan Banke Ji Banthan Ke, Na Jane Kiske SapnoN Mein …. – Bade Sarkaar (1957) – Asha Bhosle
rut firi gulsan khile
ban gaye naye dil khile
lachke chal man deke taal
kahuN kya main haal kya hai
kaun ye mujhe bha gaya
kispe ji mera aagaya
na jane kiske sapnoN mein
dil ka saj kare mujhpe naj
vo ajib raaj kya hai
Jab Hum Tum DonoN Razi To Kya Karega Kazi, SaiyaN Humse Lada Le Ankhein Mele Ke Bazar Mein – Bade Sarkaar (1957) – Asha Bhosle
kyuN duniya ke pichhe bhage
kuchh nahiN duniya dil ke aage
… …… …… ….. …..
dekh nazara pakad ke hath humara
samajh le dil ka ishara jama le rang zara
le le koi is rut ki nishani le le koi is rut ki nishani
dekh ye ghadiyaN phir nahi aani
… …… …… ….. …..
chhod jhamaila balam kyuN phire akaila
laga hai rup ka maila jama le rang zara
man marzi se reh le pyare
kuchh sun le kuchh keh le pyare
… …… …… ….. …..
jiye jawani o mere dilbar jani
zara kar le man mani jama le rang zara
Ek Diwana Aate Jate Humse Chhed Kare, Sakhi Ri Wo Kya Mange, Jab Bhi Mere Pass Se Gujre Thandi Saans Bhare, Sakhi Ri Wo Kya Mange – Naya Daur (1957) – Asha Bhosle
din dekhe na raat wo
pakde mera hath wo
kabhi sharmauN main kabhi ghabrauN main
samjh na pauN main
teeloN ke us paar se
mujhe pukare pyar se
rashte mein ruk ruk
mud mud chhup chhup
dekhe mujhe tuk tuk haye
Yun To Hamane Laakh HasiN Dekhe Hai, Tumasaa NahNi Dekhaa – Tum Sa NahiN Dekha (1957) – Mohammad Rafi
tum bhi hasiN rut bhi hasiN
aaj ye dil bas mein nahiN
raaste khaamosh hai
dhadakanein madahosh hai
piye bin aaj hamein chadaa hai nashaa
tum na agar bologe sanam
mar to nahiN jaaegein ham
kyaa pari yaa hur ho
itani kyun magarur ho
maan ke to dekho kabhi kisikaa kahaa
Female version in Asha Bhosle’s voice
uf ye nazar uf ye ada
.. …. …. …. ….. …
kaun na ab hoga fida
zulfein hai ya badliyaN
aankhein hai ya bijliyaN
jane kis kiski aaegi kazaa
Dekh Idhar Ae Hasina June Ka Hai Mahina, Dal JhulfoN Ka Saya Aa Raha Hai Paseena Dekh Idhar Ae Hasina – 12 O’clock (1958) – Mohammad Rafi, Geeta Dutt
sun le kabhi dil ki sada o najani ji na jala
bimar-e-gam huN shafa mujhko de daman se apne hawa mujhko de
—- —- —- —– —– —– —–
hoye main huN madam marina aure fat fat fati na
dur se baat karna pas aana kabhi na, maiN huN madam marina
lakhoN hi jab aahein bharein tum hi kaho hum kya karein
kis kis ke dil ki khabar koi le kis kis ke gam ka asar koi le
mudat se huN barbad maiN shirni hai tu farhad main
ye na samjhana ki ghar jaunga, main teri chokat pe mar jaunga
SaiyyaN Teri AnkhiyoN Mein Dil Kho Gaya, Dil Kho Gaya Ji Mera Dil Kho Gaya – 12 O’clock (1958) – Shamshad Begum
haye re main kahe tujhe tak ke haNsi
tak ke haNsi to tere jal mein faNsi
nazarein churana mushkil ho gaya
dil kho gaya ji mera dil kho gaya
tir tune feinka aisa chalte huye
rah gayi main to hath malte huye
khud ko bachana mushkil ho gaya
dil kho gaya ji mera dil kho gaya
nindiya na aaye mohe kal na pade
jabse ye naina tere naino se lade
ratiyaN bitana mushkil ho gaya
dil kho gaya ji mera dil kho gaya
Pyaar Par Bas To Nahi Hai Mera Lekin Phir Bhi Tu Bata De Ke Tujhe Pyaar Karun Ya Na Karun – Sone Ki Chidiya (1958) – Talat Mahmood, Asha Bhosle
mere khwaabon ke jharokhon ko sajaane waali
tere khwaabon mein kahin mera guzar hai ke nahin
pooch kar apni nigaahon se bataa de mujhko
meri raaton ke muqaddar mein sahar hai ke nahin
kahin aisa na ho paaon mere tharra jaayein
aur teri marmari baanhon ka sahaara na mile
ashq bahte rahein khaamosh siyaah raaton mein
aur tere reshmi aanchal ka kinaaraa na mile
Solo Version – Asha Bhosle
tune khud apni nigahoN se jagaya tha jinhein
un tamannaoN ka ijhar karuN ya na karuN
tune jis dil ko bade pyar se apnaya tha
usko shikwoN ka gunahgar karuN ya na karuN
jis tamanna ke sahare pe thi jeene ki ummid
wo tamanna bhi pasiman hui jati hai
zindagi yuN to hameshaN se pareshaan si thi
ab to kuchh aur bhi viran hui jati hai
Sach Bataa Tu Mujh Pe Fidaa, Arre Kyun Huaa Aur Kaise Huaa; Maar Gayi Teri Baanki Adaa, Yun Huaa Aur Aise Huaa – Sone Ki Chidiya (1958) – Asha Bhosle, Talat Mahmood
naazaniN main hi nahi hai yahaan laakho hasin
mujhase hi tujhe pyaar kyun huaa
dil pe nazaroN kaa vaar kyun huaa
chand si surat teri, mohani murat teri
… …. …. ….. ….. … ….
teri dhun mujhe be-sabab nahiN
aur jalavoN mein ye gazab nahiN
shukariyaa, ae meharabaan
mil gaye mujhe do jahaan
… …. …. ….. ….. … ….
… …. …. ….. ….. … ….
besaharaa thi tum nahiN mujhe
aaj duniyaa kaa gam nahiN mujhe
On a broader scale Shahir Ludhianvi and O P Nayyar’s association 4 films 1 song-in-a-film may appear to be too short, but there is no iota of doubt that that has given us some of most everlasting romantic (as well as meaningful) melodies
Our journey of Sahir Ludhianvi’s Romantic songs will again change track and switch over Seven Film Associations with Laxmikant Pyarelal and Khayyam (2.0) in the next episode.
The world is too small? or Is it? 