Sahir Ludhianvi was one of those rare poets whodi di not mold his poetry to the dictates of the Hindi film music medium. In fact the medium had to come to the terms of his poetry. As such, whether it was his songs of rebellion, or sheer comedy, a qawwali or a mujra or a song of romance, he would rather use an Urdu word as easily as any other would have used a Hindustani word. It was also not necessary that the word he would use would be an easy one, at least for a common listener to understand. But if that was word that only could convey his feeling, he would use that word, with all disregards for the pressures or traditions
Sahir Ludhianvi’s 19 films association with Ravi spanned almost a decade and half, and as such did span over a very wide range of situations and film subjects. It is perhaps this aspect has this relationship a very special chapter not only in the oeuvre of either Sahir or Ravi but also in the annals of Hindi film music.
Ravi (Shankar Shrama) – 3 March 1926 | 7 March 2012 – was as unassuming as simple were his compositions. He developed a very lasting relationship with almost everyone he had occasion to be associated professionally. For example, he went onto compose music for Devendra Goel’s banner right from his maiden film Vachan (1955) to Aadmi Sadak Ka (1997); with almost all production houses of South who were into making of Hindi films, with several hits like Grihasthi, Nazarana, Gharana, Khandan etc. One such major, long, and very fruitful relationship was with B R Films where Sahir Ludhianvi was also strong link of the bond. Ravi has had as many as 21 films with the lyricist Rajendra Krishna, 15 films with Shakil Badayuni besides 19 films with Sahir Ludhianvi.
Because of the simplicity of his compositions, there was school of critics who would not place Ravi at par with some of the other major top-ranking music directors of that time. But the fact remains that Mohammad Rafi got his first ever Filmfare award for Ravi’s Chaudahavi Ka Chand Ho, Mahendra Kapoor for Chalo Ek Bar Phir Se Ajanabi BanJaaye Ham Dono, to be followed with Neele Gaagan Ke Tale Dharati Ka Pyar Pale. Even female stalwart playback singers, Lata Mangeshkar also has one Filmfare for Ravi’s Tum Hi Mere Mandir, Tum Ji Meri Puja and Asha Bhosle fro GariboN Ki Suno. Even an experiment like Salama Agha also had one for Ravi’s Dil Ke ArmaaN AansooN Mein Dhal Gaye. That is more than enough of proof of popular appeal of Ravi’s compositions.
For our present episode, we have remained away from Sahir Ludianvi – Ravi combination’s very popular songs. As such, all the songs of BR Films very successful films, Gumrah (1963), Waqt (1965) and Haaraz (1967) have been filtered out here. We have also left our the popular songs of BR Films’ Aadmi Aur Insaan (1969) and Dhundh (1973).. Also filtered out, on the same criterion, are the songs from Kajal (1965) and Neel Kamal )1069).
It also needs to be noted that Amaanat (1977) – Dur Rah Kar Karo Na Baat Qarib Aa Jao and Chingari )1989), for some or other external factors, were released much later then the actual period of their production
On this note, let us take up Sahir Ludhianvi’s Romantic songs from his 19 films association with Ravi –
Itni Hasin Itni JawaN Eaat Kya Karein, Jage Hai Kuchh Ajib Se Jazbat Kya Karein – Aaj Aur Kal (1963) – Mohammad Rafi
pedoN ke bajoomein lachakati hai chandani
bechain ho rahe hai khayalaat kya karein
sanso mein ghul rahi hai kisi sans ki mahak
…. ….. …… ……. ……………
daman ko chhu raha hai koi hath kya karein
……… … ………. . ………..
shayad tumhare aane se ye bhed khul sake
hairan hai ki aaj nai bat kya kare
Rangin Fiza hai, …. ….. …. Aaja Ke Mera Pyar Tujhe Dhundh Raha Hai …. Ye Kiski Sadaa Hai, Ye Kaun Mujhe Apni Taraf KhiNch Raha Hai …. – Bahu Beti (1965) – Mahendra Kapoor, Asha Bhosle
teri bhi hai ye meri hai, aawaz nahiN hai
…… …. …. …… ….. aye jan-e-tamanna
ye koi raz nahi hai
tu mujhse juda hoke bhi
kab mujhse juda hai
dil dil se mila hai
tum mujhko bulate ho to tala nahiN jata
tum mujhko bulate ho to tala nahiN jata
apne ko kisi tarah sambhala nahiN jata
julfo ka mujhse hosh na aachal ka pata hai
ye kaisa nasha hai
dunia ko bhula kar meri bahoN mein chali aa
…. ……. …… ….. …… ………
jajbat ki befikar panaho mein chali aa
kahte haiN jise ishq wo jine ki ada hai
achha na bura hai
Milti Hai Zindagi Mein Mohabbat Kabhi-Kabhi, Hoti Hai DilbaroN Ki Inaayat Kabhi-Kabhi – Aakhein (1968) – Lata Mangeshkar
sharma ke munh na pher, nazar ke sawaal par
………… ………. ….. …………
laati hai aise mod pe, kismat kabhi-kabhi
…. …. … …… ……… …
khulte nahi hai roz dariche bahar ke
… ……. …. ……….. ……..
aati hai jaaneman ye qayamat kabhi-kabhi
tanha na kat sakeinge javani ke raste
…. ….. ….. . . …….. .
pesh aayegi kisi ki zarurat kabhi-kabhi
… … … … … … ..
phir kho na jaaye ham kahiN duniya ki bhid mein
…. … …. ….. ……..
milti hai paas aane ki mohalat kabhi-kabhi
….. …. … ….. . … ..
Sama Ye Rut Ye Nazare, Dil Mera Machalne Laga, Jaan-e-wafa, Aye Dilruba, Aise Mein Aa Meri BaahoN mein Aa, Rok Le NigahoN Ke Ishare, Tan Mera Pighalne Laga, Main HuN Teri, Tu Hai Mera, Aa Mere Dil Ki PanahoN Mein Aa – Do Kaliyaan (1968) – Mohammad Rafi, Lata Mangeshkar
shame pe mere, gira de julfe
aankho pe mere, bichha de julfe
aisa jaga de pyar ka jaadu
sare jahan pe chhaye nasha
rok le nigaho ke ishare, tan mera pighalne laga
Ijaazat Ho To Puchhe Aap Hi Se Ke Hum Milkar Bhi Hai Kyun Ajnabi Se Mile Hum Tum Aise YuhiN Naa Samajho Koi Milta Nahi YuNhi Kisi Se – Aadmi Aur Insaan (1969) – Asha Bhosle, Mahendra Kapoor
hazaaroN shaukh kurbaaN us par
jo tumne keh diya hai saadgi se
ajab sa lag raha hai tumse kahkar
ye baatein hum naa kahte the kisi se
meri manzil ki raahine jagmaga do
mohabbat ki sunheri roshani se
safar ki intaha hone naa paaye
sada ka sath lele zindagi se
Jane KyuN Bar Bar Bar Mera Dil Mujhe Kahe Us Se Mil – Paisa Yaa Pyar (1969) – Asha Bhosle
jisse milte nahiN bilkul hi khayalat tere
kyu pareshan hai uske liye zazbat tere
jab bhi wo mujhse mila usne sataya mujhe
mujhko bura to laga phir bhi wo bhaya mujhe
jo tere husn ki tauhin kare us se na mil
jo kisi dusri saztaz pe mare us se na mil
mujhko to jo bhi dekhe raho me aahe bhare
mai kyu kisi pe maru mujhpe zamana mare
ho sake to koi sangin saza do usko
tere kabil nahi wo dil se bhula de usko
usko bhulau kaise itna bata do mujhko
uska irada kya hai kuch to bata do mujhe
Taaro Ki ChhaoN Mein SapnoN Ke Gaon Meon PariyoM Ke Sang Tumhein Jana Hai. So Jao Chain Se Is Kali Rain Se Aage Jo Des Hai Suhana Hai – Samaj Ko Badal Dalo (1970) – Mohammad Rafi, Lata Mangeshkar
gagan tale pawan chale thandi suhani
dhimi dhimi laye mein kahe man ki kahani
aayi rey aayi rey aayi hindol le ke nindiya ki rani
so jao, so jao, so jao
taaro ki chhao me sapno ke gaon me
pariyo ke sang tumhe jana hai
bhaNve teri pita jaisi maa jaisi ankhiyaN
gajab kare jiya hare dhunde kankiya
aayi rey aayi rey
aayi hai tumhe lene phulo ki sakhiya
so jao, so jao, so jao
taaroN ki chhaoN mein sapnoN ke gaon mein
pariyo ke sang tumhein jana hai
khili rahein saji rahein yuN hi ye kyari
hasi khushi jiyo sabhi maa tum pe vari
….. ….. ….. …….. ….
….. … …. ……….. …….. …
aayi rey, aayi rey
aayi rey chanda ke rath ki sawari
Is Dharti Is Khule Gagan Ka Kya Kahna Madmati Madbhari Pawan Ka Kya Kahana, phuloN Bhare Ye Gulsan Hare Magan Hua Tan Man Kya Kahna – Ganaga Tera Paani Amrit (1971) – Mohammad Rafi, Lata Mangeshkar
gawalanoN ka roop ghunghatoN ki aad mein
panchhiyoN ka pyar bairiyoN ki jaad mein
basuri ki dhun khetiyoN ke par se
panghatoN ki nar dole is pukar se
dhadkan badhe nasha sa chade
thirak uthe gagan kya kahna
chappuoN ke rag kah rahe hai pyar se
…… …. …. … … …
jud gaye hai aaj kastiyoN ke tar se
ja raha hai jane kaun kisi ki chah mein
bas raha hai kaon jane kis nigah mein
bas gayi hai nigahein jab kahi tum aaye ho
kya meri pukar sunke bhi paraye ho
…. ….. ….. ….. ….. … …….. …
…… ……….. ….. …… …….. . …
itna intzar roj kar na paungi
rok lungi aaj ya main sath jauNgi
duri ghati to ye duvidha hate to
fir mere sajan kya kahna
Jubna Se Chunariya Khisak Gayi Re, Dunia Ki Najariya Bahak Gayi Re – Dhundh (1973) – Asha Bhosle, Manna Dey
najuk tan or uspe jawani
haye patli kamariyaN
haye re haye re patli kamariyaN
lachak gayi re
balkhati julfein jo dunia ne dekhi
dal fasi gale mein latak gayi re
gusse mein inke ye tewar to dekho
jaise badal mein bijli
haye re haye jaise badal mein bijli
kadak gayi re
Meri Chahat Rahegi HameshaN JawaN, Jism Dhalne Se Jajhbat Dhalte Nahi Maut Aane Se Bhi Pyar Marta NahiN, Dam Nikalne Se ArmaNn Nikalte NahiN – Mehmaan (1975) – Mohammad Rafi
lakh toofan ho hum na ghabrayenge
tu na aayegi milne to hum aayenge
jaan par khelne se jhijhakte hai jo
wo mohabbat ki raho pe chalte nahi
jaan par khelne se jhijhakte hai jo
wo mohabbat ki raho pe chalte nahi
humne choda na chodenge daman tera
jisko apna liya usko apna liya
ho sake to hame umar bhar aazma
mausmo ki tarah hum badalte nahi
tu mile na mile par salamat rahe
dur hi ki sahi tujhse nissbat rahe
zindagi bhar teri mujhko hasrat rahe
hasrato ke bina khwab palte nahi
Cycle Pe HasinoN Ki Toli Dekhi To … Dekhi To Dekhi To Tabiyat YuN Boli, Aye Kash Ke Hum Cycle Hote Tn HathoN mein Handle Hote… Pairo Ke Tale PaiNdal Hote Dabti Uthi SaiNdal Hote Bhar Jati MuradoN Ki Jholi – Amaanat (1975) – Mohammad Rafi, Asha Bhosle, Manna Dey, Chorus
cycle pe jawano ki toli dekhi to
dekhi to dekhi to tabiyat yuN boli
ae kash ke hum sendal hote sode ki bhari botal hote
tab thik se tum dakhal hote sab jhagde abhi settle hote
pachta abe ke niyat kyuN doli pachta abe ke niyat kyu doli
sadko pe pared ye fashion ki ek shakal hai invitation ki
jat kuch bhi banao nation ki tum jaan ho us genration ki
jo dil pe chalati hai goli jo dil pe chalati hai goli
kya bat hai education ki halat hai ye civilization ki
kuch sharam karo position ki yu humse jo conversation ki
kar waoge khopadiya kholi kar waoge khopadiya kholi
kuchh naaz ada ke rule bane romaance ke kuchh school bane
tapori hain hum kyuN tool bane dil de ke tumHein kyun fool bane
is neend humein samjho goli is neend humein samjho goli
Dil Mein Kisi Ke Pyaar Kaa Jaltaa Huaa Deeya, Duniyaa Ki AandhiyoN Se Bhalaa Ye Bujhegaa Kya – Ek Mahal Ho SapnoN Ka (1975) – Kishore Kumar
saanso ki aanch paa ke bhadakta rahega ye
sine mein dil ke saath dhadakta rahega ye
The Lata Mangeshkar version:
wo naqsh kya hua jo mitae mit gaya
wo dard kyaa huaa jo dabaaye se dab gayaa
dil mein kisi ke pyaar kaa jaltaa huaa deeya
ye jindagi bhi kyaa hain amaanat unhi ki hain
ye shaayari bhi kyaa hain inaayat unhi ki hain
inaayat unhi ki hain
ab wo karam kare ke sitam unka faislaa
hum ne to dil mein pyaar kaa shola jagaa liyaa
Har Vaqt Tere Husn Ka Hota Hai Samaa Aur … Har Waqt Mujhe Chahiye Andaj-e- BayaN Aur – Chingaari (1989) – Mahendra Kapoor
phulo sa kabhi naram hai sholo sa kabhi garam
mastana ada mein kabhi shokhi hai kabhi sharam
har subah guma aur hai har raat guma aur
har waqt tere husn ka hota hai samaa aur
bharne nahiN pati tere jalvo se nigahein
thakne nahiN pati tujhe lipta ke ye baahein
chhu lene se hota hai tera jism jawaan aur
+ + +
Basically, Sahir Ludhianvi was rebel at the heart. But his poetry had several other dimensions at his core, than the rebellion. We have closely looked at one such dimension of romance, from several different perspectives, during our present memoir. And yet –
ko_ii bhii us kaa raaz na jaane
ek haqeeqat laaKh fasaane
ek hii jalawaa shaam sawere
bhes badal kar saamane aaye
All the episodes of Sahir Ludhianvi’s sogs of romance with different music directors can be accessed /downloaded as one file by clicking @ Sahir’s songs of romance – Sahir Ludhianvi Centenary.
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 -– 
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 
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.
The poet in Sahir Ludhianvi never allowed his lyricist exterior to compromise with the poetry not being given status equal to music. Lyrics for film song normally require very easy words and the meaning for the lay listener to easily align with song. Sahir’s lyrics invariably had perianised urdu touch., That would be just the first hurdle. His poetry was always steeped in the bitter reality of world. The combination ought to be too formidable for lyricist to even stay put in the commercial world of Hindi film music. However, Sahir Laudhianvi could always get a music director who was able to give the structure of his poetical lyrics the wings of music. The end result was Sahir Ludhianvi’s highly successful journey as a Hindi film lyricist during the era which had stiff competition from lyricist of all hues with almost comparable literary competence.
Roshan (Lal Nagrath) -14 July 1917 – 16 November 1967 – was one such music director who had inherent command over the melody. Roshan’s career took off with success of his second film, Malhar (1950). He scored several popular and lasting scores during the ‘50s, and as such, was indeed recognised as a music director with lot of potential. Bu that latent energy had still not reached the stage of escape velocity that could take his career into the orbit of meritorious, versatile and commercially successful as well, music director.it was at that of his career that he was associated with Sahir Ludhianvi in 1960, with Babar and Barsaat Ki Raat. One was a period film, and the other was a sheer romance social. Sahir Ludhianvi also had seen break off with S D Burman after a hugely successful run in the ‘50s till Pyaasa (9157). The association with Roshan in 1960 also proved to be a booster dose to the till now successful run of his career. In the span of seven consecutive years, they did eight films together, with the exception of one (Chitralekha, 1964) all being, more or less, Muslim culture theme ones.
Sahir Laudhianvi’s poems of romance differed with those of that weave the soft, caring feelings of love. Sahir’s basic core being that of a rebel and humanist, his romanticism naturally reflected the shades of his basic nature and concerns.
Sahir and Laxmikant-Pyarelal teamed for the first time in Izzat (1968 – the only film which Jaylalitha has done in Hindi – then worked together for some big films like Dastan (1972) – a BR banner film and Daag (1973), the first ever film by Yash Chopra as independent director under his banner Yash Raj. Jaagriti (1977) does not have any song that can be classified as romantic.
Prem Dhawan. He had read Sahir’s poetic works too and had had occasions to hear him personally in some of the special meets. The like-mindedness of both the persons had brought them s0 much near that when Ramesh Saigal offered Phir Subah Hogi (1958) to Sahir, Sahir suggested, almost to the level of insistence, to take Khayyam as music director. Critically acclaimed music of Phir Subah Hogi also put Khayyam into the then big league of music directors.
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.
Of the 122 films for which Sahir Ludhianvi penned lyrics, in a career spanning from 1948 to 1989, the decades of 50s and 60s account for 84 films – 44 films during 1950 to 1959 and 44 films during 1960 to 1979 – which statistically works out to a huge 69%. By the turn of ‘60s GenNext music directors were in the process of taking over the baton from music directors of the earlier generation. The character and importance of Hindi film songs too was undergoing a major shift. In such a transforming scenario of the decade of 1970 to 1979, Sahir Ludhianvi remained active and relevant, by penning songs for 26 films (~21%). His quantitative work during 1980 to 1989 did seem to have thinning out – 8 films (~6+%).
R D Burman, (June 27, 1939 – January 4, 1994) had yet not joined as assistant to his father in Pyasa (1957), the last film, that Sahir and S D Burman did together. However, RD was always part of SDB team, as an understudy of the father. However, when R D Burman teamed with Sahir Ludhianvi in 1973, R D Burman was firmly in his saddle with his own distinct style of rhythm composition, coupled with highly imaginative orchestration.
Sahir Ludhianvi was one lyricist who would not hesitate to take up cudgel with anyone when the matter was the pride of lyrics. He firmly believed in, and even demanded for, the primacy of lyrics, in comparison with a music composition of the song or the delivery of the song by way of singing by a singer. He was the only lyricist in those time, who demanded, and got, royalty for his lyrics. His fight for accepting royalty almost equal to Lata Mangeshkar is already a story laced with several colours in the annals of Hindi film music history. Many of his relationships broke down over this issue – the cases of those with Jaidev or S D Burman are the more known ones. It also remains an almost accepted fact that his association with a production banner or the music director turned out to be the most bankable instrument, as can be seen in the cases of Jaidev or N Dutta, whose careers could never reach the full potentials after their association with Sahir had ended.
Madan Mohan (B: 25—6-1924 | D: 14-7-1975) was another music director who did justice to the poetry of Sahir Ludhianvi, as can be seen in just one example of radiff
Sahir Ludhianvi is regarded as a poet whose poetry typically did not have the joy or colour in the traditional sense of a poem. His poems did follow the broad traditions of Urdu Nazm, or that of a Hind film song. If his poetry tended to ring a note of reality, his films songs sounded a very distinct note, that set Sahir’s film songs into a very different orbit. Here is a case in point:
The world is too small? or Is it? 