Sahir’s Songs of Romance : 18 Films Association with N Dutta

Sahir Ludhianvi, whether as a person (at least outwardly) or as a poet or as a lyricist, was known to the world for his bitterness (‘talkhi‘), his moodiness, his ego, his sharp tongue or his fierce belief for the equality of lyrics in the effect of any composition. might have made him intolerable. Maybe it was these inherent traits that came in the way to build a lasting relationship with equally strong-willed, outspoken and fiercely proud of his artistic skill (as a music director) O P Nayyar. But then, on the other hand, he had had a very long, fruitful and epochal relationship with equally (artistically) moody, choosy and fiercely accord supremacy of melody, S D Burman. As such, one would not be inclined to buy a very passing observation that Sahir Ludhianvi was more at ease with talented, but not so-strong personal traits music directors like Roshan or N Datta or Ravi. Of these relationships, Sahir Ludhianvi’s relationship seems to be quite different.

Whatever be the factors for N Datta (a.k.a. Dattaram Baburao Naik – B: 12 December 1927 – D: 30 December 1987) and Sahir Ludhianvi’s professional association, there cannot be any denying that it was special in more ways. After working for some time with Ghulam Haider, D Datta joined S D Burman as his assistant. It was during the making of Jaal (1952) that he met Raj Khosla, who immediately took him up as independent music director for his own maiden directorial film Milaap -– Ye BahroN Ka Sama – (1955). Though the film did not do well on the box office, G P Sippy’s Marine Drive – Ab Woh Karam Kare Ke Sitam Main Nashe Mein HuN – in the same year and then Sippy’s next film Chandrakanta – Maine Chand Aur SitaroN Ki Tamanaa Ki Thi (1956).

So, when B R Chopra launched Saadhana (1958), it was very natural that Sahir would recommend N Datta as his music director partner. N Datta, too, did rise to the challenge by blending simmering rebellion with judicious melody in Aurat Ne Janam Diya MardoN Ko and weaving in sheer romance in Sambhal Aye Dil Tadapne Aur Tadapaane Se Kya Hoga. Most of the keen observers almost unanimously agree that N Datta (in company with Sahir Ludhianvi) peaked for BR Chopra next, based on totally iconoclast subject of that time, film, Dhool Ka Phool (1959) with all hits like Tere Pyaar Ka Aasra Chahta UuN, Jhukti Ghata Gaati Hawa Sapne Jagaye, Daman Mein Dag Laga Baithe and Tu Hindu Banega Na Musalman Banega Insaan Ki Aulad Hai Insaan Banega.  For B R Chopra’s next venture Dahrmputra (1961), N Datta composed best-in-class romantic melodies Bhool Sakata Hai Bhala Kaun Ye Payari Aankhen (in Raag Bilawal) and Aaj Ki Raat Nahi Shqwe Aur Shiqayat Ke Liye as well as soft pensive pathos in Main Jab Bhi Akeli Hoti Hun.

When the time came for BR Chopra’s one more film, Gumrah (1963), N Datta suddenly developed cardiac trouble. He was jus 36 then. He did come out of that phase, but he had lost not only his place in B R Chopra camp, but also his own confidence. In order to maintain visibility, he started signing even B grade films. Sahir Ludhianvi, in fact supported him, even during this phase and did write lyrics for such films even when he had already scaled the front-line position by then. N Datta, in the company of Sahir Ludhianvi, could compose Talat Mahmood’s one of the all-time best Ashqon Ne Paya Hai Woh GeetoN Ne Diya Hai (Chandi Ki Deewar) in 1964 and then Ponchh Kar Ashq Apni AankoN Se (Naya Raasta) in 1970. Of course, N Datta also compsed several memorable songs in association with two other lyricists Jan Nissar Akhtar and Majrooh Sultanpuri in the same period. But the luck was not on his side.

N Datta’s exposure to Goan culture, can be very evidently seen in the use of Saxophone, Accordion or drum in the orchestration of his western-biased compositions. It is this genre of N Datta’s music which lends a special dimension to Sahir Ludhianvi – N Datta relationship. Sahir certainly has an extra mile to provide lyrics away from his traditional Urdu-heavy poetry even for the otherwise light-mood songs with other music directors.

My selection of the song for the present episode of Sahir Ludianvi’s 18 films association of Romantic Songs with N Datta has marked preference for such songs. In the process, I have also tended to give as wide as possible range of playback singers that N Datta has so comfortably used for his wide-ranging compositions, which have unfortunately received as much attention as their more famous songs already mentioned hereabove.

Bachnaa Zaraa Ye Zamaanaa Hai Buraa….. Kabhi Meri Gali Mein Na Aanaa – Milaap (1955) – Mohammad Rafi, Geeta Dutt, chorus

meri gali mein aane waale
ho jaate hain gham ke hawaale
in raahon se jo bhi guzre
soch samajh kar dil ko uchhaale
bade bade dil yahaan bane hain nishaanaa

chupke chupke nain ladaanaa
nain ladaa kar dil ko lubhaanaa
dil ko lubhaa kar paas bulaanaa
paas bulaakar khud ghabraanaa
ho teraa jawaab hi nahin waah
khud ghabraakar aankh churaana
aankh churaakar dil ko jalaana
dil ko jalaakar hosh bhulaanaa
hosh bhulaakar arre majnu banaanaa
in lailaaon kaa hai khel puraanaa

shokhi samjhein sharm-o-hayaa ko
daawat samjhien naaz adaa ko
in deewaanoo ka kyaa kahnaa
aap bulaayein apni kazaa ko
aur phir maange hamse harzaanaa

Mohabbat YooN Bhi Hoti Hai …. Tabeeyat YooN Bhi Aati Hai…Museebat YooN Bhi Hoti Hai – Marine Drive (1955) – Mohammad Rafi, Asha Bhosle

jo miltein hain to aapas mein
nigaahien tak nahin miltin
agar chalte hain to kadmoN ko
raahein tak nahin miltin
muhabbat pahli pahli ho
to haalat yoon hi hoti hai

kayi aise bhi majnu hain
jo aahein bharte rahte hain
koyi chaahe na chaahe
aap yoon hi marte rahte hain
samajhte hain ke lailaaon mein
shohrat yoon bhi hoti hai

jahaan dekhi bhali soorat
machal jaate hain deewaane
waah
uthakar munh
pahunch jaate hain sar par jootiyaan khaane
sharaarat hi sharaarat mein
hazaamat yoon bhi hoti hai

Mujhko Laga Hai Sal SolvaaN Haaye NahiN Chhedanaa – Chandrakanta (1956) – Shamshad Begum

main wo daali hoon ke jo
chhoone se kumhlaati hai
aisi nazroN se tabeeyat meri
ghabraati hai
chhedkhaani mujhe
gairoN ki kahaaN bhaati hai
main to aayina bhi dekhooN to
hayaa aati hai

haatha paayi na karo
jaao ji rastaa chhodo
apne jaisi kisi se
sharm se naata jodo
main hoon bholi
mujhe kya ilm chaahat kya hai
.. … …  …..
ishq kehte hai kise
aur mohabbat kya hai

O Gumba Rumba Gumba Rumba Gelo …. Kal Ki Baat Kal Tak Chhodo Aaj Maaza Le Lo – Lighthouse (1958) – Mohammad Rafi, Suman Kalyanpur

tujhe kasam hai
.. ….. ….. …  .
kyaaa
jahaan ka gham hai
dilwaalon ke iss mele mein
mauj mana lo yaaron
custom wustom culture wulture
sab ko goli maaro
dilwaalon ke iss mele mein
mauj mana lo yaaron
…. ….. ….   …..
muft mile jab dil ki gudiya
phir takhleef kyon jhelo

nazaaren hain jawaan
tu gum ho kahaan
khilen khilen murja na jaaye
ye phoolon ke chehre
in phoolon ko goonth ke pahno
sar par baandho sehre
…  ….  …  …..  ….
duniyaa tum se khel rahi hai
tum duniyaa se khelo
majaa le lo

Aise Waise ThikaanoN Pe Jaana Buraa Hai …. Bachh Ke Rehna Meri Jaan Zamaana Bura Hai, … …  Dil Lagaana Bura Hai – Saadhana (1958) – Lata Mangeshkar

Saakhi

jo hum mein hai wo matwaali ada
sab mein nahin hoti
mohabbat sab mein hoti hai
wafa sab mein nahin hoti

—

zulf lehraaye to
zanjeer bhi bann jaati hai
aankh sharmaaye to
ek teer bhi bann jaati hai
dil lubhaane ko jo
dildaar bana karte hain
dil chura kar wahi
talwaar bana karte hain
ye wo mehfil hai jahaan
pyaar bhi lut jaata hai
dil to kya cheez hai
ghar baar bhi lut jaata hai
… ….. …..
isiliye to kehti hoon
aise waise thikaanoN
pe jana bura hai

tak’ke hanste hain to
mastaana bana dete hain
aur
hans ke takkte hain to
deewaana bana dete hain
koi naghme mein koi
Saaz mein kho jaata hai
inse jo bachta hai
wo naaz mein kho jaata hai
yoon to gardan se lipat jaati hain baahen inki
…… ….. ….. ….
dil nahin jeb pe hoti hain nigaahen inki
isi liye to kehti hoon
aise waise thikaanoN
pe jana bura hai

hum sitam dhaate hain
bedaad kiya karte hain
dil liya karte hain
aur dard diya karte hain
dard lena ho to aa
mehfil meri aabaad karo
warna jaao ji
kisi aur ka ghar yaad karo
aaj jaaoge to kal laut ke phir aaoge
…. ….. ….. ….. …..
hum sa maashooq na duniya mein kahin paaoge
isiliye to kehti hoon
aise waise thikaanon
pe jaana bura hai

Jaate Jaate Ishaaron Se Maar Gayi Re, Main To Aise LafaNgoN Se Haar Gayi Re – Bhai Bahen (1959) – Mohammad Rafi, Geeta Dutt

ban sanwar kar tu jis dam chaley
ho dekhne waala dil ko maley
ban sanwar kar tu jis dam chaley
haaye dekhne waala dil ko maley
chhod peechha
arre man jaley ho

pad kisi doosri ke galey

saare nakhre hain jaadu bharey
haaye koi kaise na tujh pe marey
gaaliyaan doongi hatt ja parey ho
mujhko kya tu jiye ya mare haaye

kyun jalaati hai itna mujhe
haaye
hai kisi ki to ban’na tujhe
chor le jaaye chaahe mujhe ho
paas aane na doongi tujhe haaye

Tere Sheheron Se Raja Hamein Ban Hi Bhaley, Wahaan Chain Se To Sote The …  Sitaaron Ke Taley – Naach Ghar (1959) – Mohammad Rafi, Lata Mangeshkar

tujhko bhi dekh liya
sheher bhi teraa dekha
jagmagaahat ki har ik teh mein andhera dekha
aish kartein hain tere sheher mein
daulatwaale
aur faankon ke sitam sehte hain mehnatwaale
tere shehron mein zubaan jhoothi hain
dil khotein hain
buildinge oonchi hain
insaan bahot chhote hain

shor itna hain ke dil ki bhi sadaa kho jaaye
bheed aisi hain ke khud apna pataa kho jaaye
ishq waalon ko yahaan rasm e  wafaa yaad nahin
husn ko husn ki sharm aur hayaa yaad nahin
jism se ruh ka hain bair tere shehron mein
nazar aaten hain sabhi gair tere shehron mein

Rimjhim Rimjhim Saawan Barse .. Tumhre Milan Ko Jiyaraa Tarse Chham Chham Chham Chham Paayal Chhanke, Bol Sajan Kaise Nikloon Ghar Se – Dilli Ka Dada (1962) – Manna Dey, Asha Bhosle

chanchal sheetal pawan jhakhore
vyaakul man mein agan lagaayen
garaj garaj kar kaare badarwa
deh ki soyee peer jagaayen
nain hatat naahin tumhri dagar se

tumhre milan ko jiyaraa tarse

morey anganwa laaj ka pehra
band kiwadiya khol naa paaoon
geeli lakadiyaa ban ban sulgoon
mukh se kuchh bhi bol na paaoon
mar mar jaaun jag ke darr se

bol sajan kaise nikloon ghar se

Aye Mere Meharbaan Ab Na Le Imtihaan, Hum Bhi Tere Huye Dil Bhi Tera Huaa Ab Hamein Aazmaana Hai Kya – Sachche Moti (1962) – Suman Kalyanpur, Mahendra Kapoor

shaam ke saaye dhalne lagey
dard karwat badalney lagey
jab chali thhandi thhandi hawaa
dil ke armaan machalne lagey
saans ghutney lagi
aas chhutney lagi
is qadar bhi sataanaa hai kya

jab pukaaro chaley aayenge
dil ki dhadkan mein lehraayenge
hum kisi haal mein bhi rahen
door tum se na reh paayenge
tum bulaati raho
jee lubhaati raho
to khushi ka thhikaanaa hai kya

tum ruko to zamaanaa rukey
tum chalo to chaley zindagi
tum jo hum se miley
mit gaye sab giley
ab hamein aur paanaa hai kya

Laage To Se Naina Laage Laage… Daras Bina Na PauN Chain.., JaagooN Saari Rain – Chandi Ki Deewar (1964) – Talat Mahmood, Asha Bhosle

jab se lagi
lagan tihaari
bhool gayi sudh budh saari
kal naa pade din ho ke rain

man mein basi
peer anjaani
tan mein jagi agan suhaani
gayo re more jiyaraa ka chain

Chunar Mori Kori Kori Kori, Umar Mori Baali Baali Baali Dheere Rang Daaro Karo Na Joraa Jori… ,  Baras Bhar  Beete Tab Aaye Kahin Hori, Jhijak Nahin Hamse Nikat Aajaa Gori  – Naya Raasta (1971) – Mohammad Rafi, Asha Bhosle

dheere dheere pichkaari maaro
nahin maaro bedardi se kas ke
dekho dekho bainyya na kheencho
mori resham ki choli na masske
mohe tumri kasam
mohe laage sharam
maano maano araz maano mori
chunar mori kori

bheegi bheegi chunri se jhaanke
torey matwaale angon ka jaadoo
aaja meri baanhon mein chhup jaa
gori ghabra ke yoon na simat tu
miley tan se jo tan
bujhye tan ki agan
kahen ham bhi ki aayi hai hori

Aaj Socha Hai Khayaalon Mein Bulaa Kar Tum Ko, Pyaar Ke Naam Pe Thodi Si Shikaayat Kar Lein – Chehre Pe Chehra (1981) – Sulakshana Pandit, Mohammad Rafi

aise bichhade ho ke jaise kabhi milna hi nahin
aise bhoole ho ki jaise  kabhi jaana hi na thha
ajnabhi ban ke agar yoon hi sitam dhaana thha
paas aana hi na thha  paas bulaana hi na thha

ranjishien bhi wahiN palti hain
jahaaN pyaar paley
pyaar hi jis se nahiN
us se gilaa kya hoga
meri ummeed hai tu
teri tammanna main hooN
aur chaahat ki duaaoN ka sila kya hoga
ranjishein bhool ke
khwaaboN ko haqeeqat kar lein

aaj socha tha kya kahoon main tumhein

kya samjha hai kya maana hai
meri chaahat ne tumhen
apna khudaa maana hai
apna hissa hi tumhe maine sadaa maana hai
jaan ko kis ne bhalaa tan se judaa maana hai
jaan aur tan se
jaan aur tan se naya ahd-e-mohabbat kar lein

Sahir Ludhianvi and N Dattaa’s 18 film association has one un-released fil, Picnic- one of the many shelved because Guru Dutt had committed before it could be completed.. A couple of songs are available on YT. Here is one romantic song, which is penned by Majrooh Sultanpuri, but needs a mention here because the tune is so similar to Aaj Ki Raat NahiN Shiqve Shiqayat Ke Liye (Dharmputra, 1961)

Kitna Rangeen Hai Ye Chand Sitaron Ka Sama – Picnic UNR

So this is where we end Sahir Ludinavi and N Datta’s 18 film association which began with N Datta’s maiden film as independent music director, Baalo (1951, a Punjabi film),  and ended with N Datta’s last film Chehre Pe Chehra (1981), and thus, has spanned over no less than 30 years.

We will next take up last episode of the present serries of Sahir Ludhianvi’s Romantic Songs, which also is a long 19 films association of Sahir Ludhianvi and Ravi

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