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Centenary Celebrations

Sahir’s Songs of Romance : 18 Films Association with S D Burman

The much-needed nourishing touch that seeded-in-1948- career of poet-lyricist, Sahir Ludhianvi would have dreamt, and the equally much needed escape velocity providing boost that S D Burman’s seeming to be steadying career required came in the form of Thandi Hawaein Lahera Ke Aaye (Naujawan, 1951 – Lata Mangeshkar), boosted further by Tadbeer Se Bigadi Hui and Suno Gajar Kya Gaye (Baazi, 1951- Geeta Dutt) and Tum Na Jaane Kis Jahaan Mein Kho Gaye (Sazaa, 1951 – Lata Mangeshkar) in the same year. What followed was a seven-year phase that this unique combination of two extremely talented and perhaps equally strong-willed personalities of the golden era of the Hindi film industry gave us music that we all so fondly remember in one of the most remembered 18 films association of a music director who believed in primacy of melody and a lyricist who sore by the importance of lyrics to make a film song meaningful.

S D Burman (10 October 1901 | 31 October 1975) was known to refuse films where the filmmaker wanted ‘hit’ songs, he would firms stand by his motto, “I compose only good songs”. S. D. Burman won only a few ’popular’ awards – because he never cultivated them – but his greatest triumph lay in the fact that his choosiness made every score count. There was a time in Bombay when the lyrics were set to tune by the music directors. S D Burman changed that theory. The tune first, the lyrics later. How S D Burman and Sahir Ludhianvi would have worked together with their totally contrasting approach on this aspect is not known, there is no denying the fact that their 18 films association remains a golden chapter in the history of Hindi film music.

Starting from first film with S D Burman Naujawan (1951) to 18th and the last film, Pyasa (1957), with him, Sahir Ludhianvi penned songs for 16 films with other music directors.  In comparison to this, in the same period, S D Burman did only nine films with five other lyricists.

I have selected one, relatively less heard, song from each of the 18 films that S D Burman and Sahir Ludhianvi worked together, except Radha Krishna (1954) which was a devotional theme film and Taxi Driver (1954), Devdaas (1955), House No. 44 (1955), Munimji (1955), Funtoosh (1956), Pyasa (1957), because the songs from these films are so well known.

Dekh Ke Akeli Mohe Barkha Sataye, Gaalo Ko Chume Kabhi Chhittein Udaye Re, Tip Tip Tip ……. ….. – Baazi (1951) – Geeta Dutt

chali naa jaye chal lachaku jaise dal
saadi bhigi, choli bhigi, bhige gore gal

lute har shingar paapi jal ki dhar
khuli sadak pe lut gayi logo main albeli naar

paanv phislata jaye tan hichkole khaye
aise mein jo hath pakad le mann uska ho jaye
bas ho jaye

aise me jo hath pakad le mann uska ho jaye

Are Kahaan Leke Jaihho Ram… O Zulmi Naina… …. ….  …  Dekho Arre Dekhoji Kuchh Bhi Kar Lo Jeet Hamari Hai – Naujawan (1951) – Lata Mangeshkar, Kishore Kumar

o zulmi nainaa waalon
tum daaman laakh bachaa lo
hamse bachnaa hai mushqil
ye nainon ko samjhaa lo
jahaan chaloge sang chalenge
ban kar tumhri chhaayaa

tum aisi qismat laaye
ke ham jaison ko paayaa
aur ham wo qismat waale
ke tumne khud bulwaayaa
arre kyaa daataa ki den hai dekho
raah mein heeraa paayaa

o nainon ke matawaale
dheere-dheere ye man
huaa teraa sajan
din aaye milan waale
….   ……   ….. …

….   ….. ….  ….. ….
jeet kahaan ki haar kahaan ki
dil khoyaa dil paayaa

Chori Chori Meri Gali Aana Hai Bura, Aayeja, Aake Bina Baat Kiye Jaana Hai Bura, Aayeja– – Jaal (1952) – Lata Mangeshkar

achchhe nahi yeh ishaare, pedon tale chhup chhupaake
aao na do baatein kar le, najaron se najarein milaake
din hai pyaar ke mauj bahaar ke
dekho bhole bhaale, ji ko tarsaana hai bura

dil aa gaya hai toh pyare badnaam hone ka darr kya
ishq aur wafa ki gali mein, duniya ki ghum ka gujar kya

din hai pyaar ke mauj bahaar ke
dekho bhole bhaale ji ko tarsaana hai bura

Preet Sataye Teri Yaad Na Jaaye…. Dil Deke Gam Le Liya – Lal Kunwar (1952) – Suraiya

jahar bhari ye kaisi baji shahnaai
thes jiya pe lagi aankh bhar aayi
aa re balam tere gam ki duhai

ruthe nasiboN ko kaise manayein
chhota sa dil aur lakho balayein
ghut ke gam se kahiN mar hi naa jaye

MaiN Pankh Lagake Ud JauN, Aur Phir Naa Palat Ke AauN – Armaan (1953 – Asha Bhosle

lehroN mein jhuluN, taroN ko chhu luN, lehroN mein jhuluN
ambar ki chhati se lag kar sapnoN mein kho jauN
anjani raho mein chhup kar anjani ho jauN
aur khud bhi khoj naa pauN

lehroN mein jhuluN, taroN ko chhu luN, lehroN mein jhuluN
badali banakar ban ban ghumuN bijli ban muskauN
jharnoN ki jhalar mein baithi geet suhane gaauN
duniya ko najar na aauN

Hamare Munder Bola Kaga Sakhi Ri, Bichhde Balam Ghar Aayengein – Babla (1953) – Rajkumari

ghunghat mein sansein lahakegi
mori suni ratiyaN mahakegi
sakhi birha ke gam sabhi bhulenge
hum sunke unke kadam ko

jab wo aangan mein aayengein
more sapne sach ho jayenge
leke man mein umang maiN
to khelungi rang piya pyare ke sang

jab un bahoN mein jhulungi
maiN jag ke sudh budh bhulungi
aaj main huN magan
mera man hai magan
leke jivan ka dhang

Lag Gayi Ankhiyaan Tum Se Mori. O More Saajan Tum Se Mori Akhiyaan – Jeevan Jyoyi (1953) – Geeta Dutt, Mohammad Rafi

sharm kho hi gayi laaj kho hi gayi
main to duniyaa se hi aaj kho hi gayi
ahaa haa haa ye kahaani nayi sun lo
saari duniyaa se hi main to kho gayi
par kisliye, o lag gayi ankhiyaan

aaj meri nazar ko chamak mil gayi
dil ko ik mithi mithi kasak mil gayi

man ke taaro mein laharaayi masti ki dhun
anaginat paayalein baj uthi chhun chhunan chhun chhunan
o more baalam o mere sanam
o sanam tumpe mori lag gayi ankhiyaan

Jaam Thaam Le, Jaam Thaam Le, Sochte Hi Sochte Na Bite Saari Raat – Shahenshah (1953) – Shamshad Begum

saj ke aayi hai shishe ki pari
dhundh ke laayi hai diloN ki khushi
jannat se kudarat ne bheja tere liye inam

,,,,  ,,,,, ,,,   ,,,,   ,,,,, ,,, 

dunia ke har dukh ka daru ek sunahari jam

subah dur hai rat ki qasam
dil ki maan le mere sanam
masti ki in ghadiyoN mein kya soch samajh ka kam

,,,,  ,,,,, ,,,   ,,,,   ,,,,, ,,, 

zulfoN ke saye mein nadaN kar bhi le aaram

Gori Ke NainoN Mein Nindiya Bhari, Aa Ja Ri Sapno Ki Nilam Pari, ….. . Arre O Mere JakhamoN Ki Fitkari, Aa Bhi Jaa KyoN Der Itni Kari – Angarey (1954) – Shamshad Begum, Kishore Kumar

o nilam pari ruth jaungi maiN, kiya toh naa aaungi maNi
khamosh rahne mein hai behtari
aati huN, aati huN, dam lo ghadi,

aa bhi ja kyoN der itni kari

too hur hai aur maNi langur, too hur hai aur maiN langur huN
ulfat ke hathoN se majabur huN
gussa naa kar, naa kar, gussa naa kar
o meri besuri, o meri besuri, aa bhi ja kyoN der itni kari

Dil Nahi To Na Sahi Aankh To Milao Ji, Sawan Ki Raat Hai – Society (1955) – Asha Bhosle, chorus

us taraf gagan pe kale badaloN ka shor hai
badaloN ka shor hai
is taraf diloN mein mast dhadkanoN ka dour hai
dhadkanoN ka dour hai
ruthane ki rut gai ab to maan jao ji

kachhi kachhi bundiyon ki ras bhari fuhar mein
ras bhari fuhar mein
aur hi maja hai do dilo ki jeet haar mein
do dilo ki jeet haar mein
jindagi ki har khushi daav par lagao ji

kho na jaye ye sama is samay mein kaam lo
..  ….. …..   ….   ….   ….  …  ….   .  .  .
jisse mil gaya ho dil uska hanth tham lo
.. … ..  .  .  .  .  .
mast hoke do ghadi khud ko bhul jao ji

Till we get another opportunity to revisit Sahir Ludhianvi – S D Burman association, we move on to another 18 films association, that with N Dutta in our next episode.

By ASHOK M VAISHNAV

In July 2011, I opted to retire from my active career as a practicing management professional. In the 38 years that I pursued this career, I had opportunity to work in diverse capacities, in small-to-medium-to-large engineering companies. Whether I was setting up Greenfield projects or Brownfield projects, nurturing the new start-ups or accelerating the stabilized unit to a next phase growth, I had many more occasions to take the paths uncharted. The life then was so challenging!
One of the biggest casualty in that phase was my disregards towards my hobbies - Be with The Family, Enjoy Music form Films of 1940s to mid-1970s period, write on whatever I liked to read, pursue amateur photography and indulge in solving the chess problems.
So I commenced my Second Innings to focus on this area of my life as the primary occupation.
At the end of four years, I am now quite a regular blogger. I have been able to build a few very strong pen-relationships.
I maintain contact with 38-years of my First Innings as freelance trainer and process facilitator.
And yet,
The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

5 replies on “Sahir’s Songs of Romance : 18 Films Association with S D Burman”

Thank you so much for your appreciation AKji.

I have planned the present series to run for one year only and would like to end it in March 2022.
Since Sahir’s association with SDB, N Dutta and Ravi spans over 18/19 films each , I have remained extra selective in my choice of the songs such that each one of the association can be conclude in one episode. Hence, I have planned not to take up their very popular and / or oft-discussed films / songs.

That, BTW, also gives me some scope to revisit these associations in the later years too.

Thank you for this lovely post! These are indeed mostly songs and films that are unfamiliar to me, although I had looked up “Naujawan” just earlier today because Madhulika also posted a lovely song from it. Amazing to think that Ludhianvi managed to write lyrics to the songs after they had already been tuned.

By the way: do you know the word for the type of street performance depicted in the song from “Jeevan Jyoti”? I have seen this type of thing in several films, but am not certain what it is called.

Thanks so much Shelomit, for your appreciation.

I did not know thw particular nam eof the dance depited in Jeevan Jyoti song However, Goode search has given me answers;
In Rajasthan folk dance form this is known “Kachhi Ghodi) (dummy horse) dance.

In Tamil Nadu this performed as Poikkal kudhirai . This dance can also be seen in Insaniyat (1955), produced by S S Vasan,

Bansuriya Bole Madhur Rus Ghole

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