*Jaya* thumbnail
19th Anniversary Thumbnail Sparkler Thumbnail Engager Level 1 Thumbnail
Posted: 19 years ago
#1


Born in Deena(Now in Pakistan) on 18th August, 1934. After partition he came to Delhi. Gulzar - aka Sampooran Singh began his film career as an assistant to Bimal Roy. He also worked with Hrishikesh Mukherjee in the beginning of his career. He started writing songs for films with Bimal da's Bandini. Mora Gora Ang Layee Le is supposed to be his first song. Although His first film to be released was Kabuli Wala, which also had some all time greats like Ganga aaye kahan se. Bandini and Kabuliwala were followed by Sannata, Biwi aur Makan, Do Dooni Chaar and most notable of all Khamoshi and various others during 60's. After getting recognition as a sensitive lyricist, he started writing scripts and stories for films. Then with Mere Apne in 1971, He turned Director. Since then he has given us lots of beautiful, serious and funny moments through his movies. He has written stories for around 60 films and directed 17 movies, each one a masterpiece. During 1987-1996 he went away from the seen as he did only 7 films as lyricist and 2 as director in the span of 10 years. During this period he did one of the most outstanding jobs for the small screen, the serial called Mirza Ghalib, a tribute to the legendary poet. Mirza Ghalib will remain one of the most memorable TV productions for its music, direction, dialouges and portrayel of MG by Naseeruddin Shah. 1996 saw Gulzar back in action, behind the camera for the making of Maachis, a candor document on terrorism in Punjab. The success of Maachis, got Gulzar back to the film industry. After Maachis, he teamed up with new breed of music directors like AR Rahman, Anu Malik, Jatin Lalit, Shankar-Ehsaan-Loy. The magic of Dil Se's music won him yet another Filmfare award. His recent venture HU TU TU received critical acclaim. His next directional venture would be a Bangla film. Gulzar is back with his pen and now writing lyrics for Sabab, Ek Din Achanak and Rimjhim with a couple of untitled films. He has recently completed a tele serial on Munshi Premchand's works titled Tehrir... Munshi Premchand ki, which is on air these days. Although films gave him a mass recognition, Poetry always remained his first love. His first poetry collection Ek Boond Chaand was published in 1962. Roopa - Harper Collins has recently published his new poetry book Triveni. A collection of Gulzar poems titled "Raat, Chaand aur Mein" was also released recently, covering poems related to only Raat and Chaand.Another peotry collection Raat Pashmine ki has recently been published in Pakistan. The Indian version of Raat Pashmine Ki is released later on Roopa-Harper. Mera Kuchh Samaan and Chhaiyya Chhaiyya are the two song collections of Gulzar. Last few years are the years of experimentation, where many young artists from different faculties worked with Gulzar and provided new expressions to his work. Some of the notable experiments include Kharaashein - a play by Salim Arif on Gulzar's short stories, Udaas Paani - an experimental music album by Abhishek Ray and, Gulzar's Poetry on Canvas by a young Painter Ajay Kumar Samir. Kharaashein has now been published in the form of a book on Radhakrishna Prakashan. Meghna Gulzar has recently come up with a biographical sketch of Gulzar saab in the form of a book titled "Because He Is...". Recently he penned the theme song "Lau se lau jalti rahe" for Olympic Torch Relay event at New Delhi.

Gulzar has won 5 National Awards and 17 Filmfare Trophies. For details check Katra-Katra Section on this site. He has been awarded the SAHITYA AKADEMY AWARD in 2003 for his collection of short stories "Dhuaan". FILMFARE has honoured him with a LifeTime Achievement Award for his contribution to Hindi Cinema in 2002.

Created

Last reply

Replies

117

Views

19.2k

Users

18

Frequent Posters

*Jaya* thumbnail
19th Anniversary Thumbnail Sparkler Thumbnail Engager Level 1 Thumbnail
Posted: 19 years ago
#2
The Songs has become something you consume instantly
Gulzar Tells Chatura Rao


Immaculate in his legendary white kurta pyjama and white jooties, he looks older than you expect.

But once Gulzar begins to address you in his well modulated voice, the impression of age magically disappears. You are enveloped instead by the presence of a legend - a man who began with SD Burman and decades later, has composed to A R Rahman's path breaking new age music; aman who has been honoured with seven national awards for his skills in screenplay, direction and lyrics; and has moved you with his films, Aandhi, Ijaazat,Mausam, Maachis...

The venue is a colourful wood-panelled room in Boskiana, his bungalow. The time of day, a dark, mansoon evening. The idea? To read more into his recent lyric release, the songs of a small, but interesting first film, Desh Deepak's Jahan Tum Le Chalo.

The film casts Nirmal Pandey and Sonali Kulkarni and music by Vishal Bhardwaj. Excerpts:

In the last couple of years, you've worked with Mani Ratnam on Dil Se on one hand, and with Desh Deepak, a newcomer, on the other. How do you select your films?

The subject is the major attraction. I dont care how big or small the scale of the film, as long as it has something unusual to say. Jahan Tum... seemed a clean film, and I liked Desh's approach.

I've worked on many 'firsts' : Ramesh Sippy's Andaaz, Prakash Jha's Hip Hip Hurray, Kalpana Lazmi's Ek Pal, Ramesh Sharma's New Delhi Times, Bhimsen's Gharonda,shekhar Kapoor's Masoom....

Speaking of Desh Deepak's 'first' then, the song 'Aththanni Si Zindagi' seems to stand out

The lyrics of the song complement its lilting melody and beat. The song is about life's spontanaeity.
But more lasting, I think, will be the song Jhooth Bolta Hai Roz Roz Aaina, sung by Lataji and then again by Rekha Bhardwaj. It has more depth.

You've teamed up with Vishal regularly since you first worked with him on the theme song of the serial, 'Daane Anaar Ke'. What is so special about his music?

I was responsible for giving him his first feature film break - we did Maachis together. He brought melody back into music when there was only beat. In Jahan Tum... too, it's his melody that holds you.

Dil Se was your first venture with AR Rehman. It was a succesful liaison - the album stands out from among the year's offerings. But did this kind of music undercut your lyrics?

Certainely not. The music and lyrics in all the songs make the journey together - neither overtakes the other. Rehman's music like Vishal's, will survive. It has both a classical and folk quality that are deeply attached to the soil. All the songs in Dil Se have a sufiana feel.
Rehman has broken the conventional format of the sng, bringing it closer to blank verse, free verse. (Pauses) I would like to work again with him.

Who is your favourite music director of all time?

R D Burman, of course. We joined the film industry together, he assisting S D Burman, and I, as assistant to Bimal Roy. We got our first break almost at the same time, worked and grew together.
There will never be anyone quite like him

You've Worked with several generations of music directors. How has the place of the lyric changed down the ages?

Well the standards of poetry have dropped along with the deterioration of values in today's world. The song has become some thing you consume instantly
I believe this instant quality in songs will pass.

Will music always be dear to the Indian Audience?

Music has a natural place in our lives. Right from the shlok you recite in your morning puja and the milkman who comes whistling on his cycle, to the fakir singing as he begs for alms and your mother humming around the kitchen...music fills our spaces naturally.
it will always be dear to us.
soulsoup thumbnail
19th Anniversary Thumbnail Dazzler Thumbnail Engager Level 1 Thumbnail
Posted: 19 years ago
#3
Way to go Jaya 👏 👏 👏
My all time favourite - Gulzar 😊
*Jaya* thumbnail
19th Anniversary Thumbnail Sparkler Thumbnail Engager Level 1 Thumbnail
Posted: 19 years ago
#4

Originally posted by: soulsoup

Way to go Jaya 👏 👏 👏
My all time favourite - Gulzar 😊

Same here... just can't stop loving his poems.. everytime to listen to them, you tend to find something new there...... Even today, whatever he writes is all so dreamy....

There are movies these days that do not work, but you can't just get over the lovely songs, from say 'Yahaan' - Naam adaa likhna was absolutely wonderful.. and surely Shantanu Moitra complemented Gulzar saab wonderfully...👏👏👏

soulsoup thumbnail
19th Anniversary Thumbnail Dazzler Thumbnail Engager Level 1 Thumbnail
Posted: 19 years ago
#5
The Songs has become something you consume instantly
Gulzar Tells Chatura Rao (http://www.gulzaronline.com/guliview.htm)


Immaculate in his legendary white kurta pyjama and white jooties, he looks older than you expect.

But once Gulzar begins to address you in his well modulated voice, the impression of age magically disappears. You are enveloped instead by the presence of a legend - a man who began with SD Burman and decades later, has composed to A R Rahman's path breaking new age music; aman who has been honoured with seven national awards for his skills in screenplay, direction and lyrics; and has moved you with his films, Aandhi, Ijaazat,Mausam, Maachis...

The venue is a colourful wood-panelled room in Boskiana, his bungalow. The time of day, a dark, mansoon evening. The idea? To read more into his recent lyric release, the songs of a small, but interesting first film, Desh Deepak's Jahan Tum Le Chalo.

The film casts Nirmal Pandey and Sonali Kulkarni and music by Vishal Bhardwaj. Excerpts:

In the last couple of years, you've worked with Mani Ratnam on Dil Se on one hand, and with Desh Deepak, a newcomer, on the other. How do you select your films?

The subject is the major attraction. I dont care how big or small the scale of the film, as long as it has something unusual to say. Jahan Tum... seemed a clean film, and I liked Desh's approach.

I've worked on many 'firsts' : Ramesh Sippy's Andaaz, Prakash Jha's Hip Hip Hurray, Kalpana Lazmi's Ek Pal, Ramesh Sharma's New Delhi Times, Bhimsen's Gharonda,shekhar Kapoor's Masoom....

Speaking of Desh Deepak's 'first' then, the song 'Aththanni Si Zindagi' seems to stand out

The lyrics of the song complement its lilting melody and beat. The song is about life's spontanaeity.
But more lasting, I think, will be the song Jhooth Bolta Hai Roz Roz Aaina, sung by Lataji and then again by Rekha Bhardwaj. It has more depth.

You've teamed up with Vishal regularly since you first worked with him on the theme song of the serial, 'Daane Anaar Ke'. What is so special about his music?

I was responsible for giving him his first feature film break - we did Maachis together. He brought melody back into music when there was only beat. In Jahan Tum... too, it's his melody that holds you.

Dil Se was your first venture with AR Rehman. It was a succesful liaison - the album stands out from among the year's offerings. But did this kind of music undercut your lyrics?

Certainely not. The music and lyrics in all the songs make the journey together - neither overtakes the other. Rehman's music like Vishal's, will survive. It has both a classical and folk quality that are deeply attached to the soil. All the songs in Dil Se have a sufiana feel.
Rehman has broken the conventional format of the sng, bringing it closer to blank verse, free verse. (Pauses) I would like to work again with him.

Who is your favourite music director of all time?

R D Burman, of course. We joined the film industry together, he assisting S D Burman, and I, as assistant to Bimal Roy. We got our first break almost at the same time, worked and grew together.
There will never be anyone quite like him

You've Worked with several generations of music directors. How has the place of the lyric changed down the ages?

Well the standards of poetry have dropped along with the deterioration of values in today's world. The song has become some thing you consume instantly
I believe this instant quality in songs will pass.

Will music always be dear to the Indian Audience?

Music has a natural place in our lives. Right from the shlok you recite in your morning puja and the milkman who comes whistling on his cycle, to the fakir singing as he begs for alms and your mother humming around the kitchen...music fills our spaces naturally.
it will always be dear to us.
*Jaya* thumbnail
19th Anniversary Thumbnail Sparkler Thumbnail Engager Level 1 Thumbnail
Posted: 19 years ago
#6

Here is an interesting and touching incident of Gulzar's life. Published as a stroy "Batwara" in his recent story publication "Ravi-Paar and other stories" by Rupa, this is a real story of his life.

All the Gulzar fans are grateful to him for giving permission to publish the stroy on this site.

Batwara (with the permission of the author)

Sometimes, life runs leaping like a wounded cheetah, and leaves its claw-marks here and there, If you connect these marks, you will see a strange pattern.

In 1984-85, a gentleman from Amritsar wrote a series of letters to me, claiming that I was the brother he had lost during the partition of India. His name was Iqbal singh and he was a professor at Khalsa College. After receiving a few letters, I wrote to him stating frankly that I was in Delhi with my parents during the partition and that I had lost neither a brother nor a sister. But despite that, Iqbal Singh continued to assert that I had either forgotten the events of my childhood or had never been informed about them. He believed that I was very young when I had been lost while crossing the border in a caravan. It was possible that the people who had rescued me had never told me the truth, or that I was so grateful to them that I refused to accept the truth. I has even informed him that I wasn't a little boy in 1947. I was around eleven years old. But Iqbal Singh wasn't willing to accept my version under any circumstances. I stopped answering his letters. After some time even his letters stopped arriving.

About a year later, I received a call from Sai Paranjpe, a film-maker in Bombay. She said that one Harbhajan Singh from Delhi wanted to come to Bombay to meet me. She didn't give me a reason, but rather unexpectedly, began to ask me some strange question about me past.
"Where were you during the partition?"
"In Delhi,"
I replied. "Why?"
"Just like that."
Sai speaks Urdu fluently and well, but she asked me in English, "And your parents?"
"In Delhi. I was with them. Why?"

She continued to talk to me for some time, but I felt that she was using English to cover-up something because she always talked to me in Urdu, though she called in Hindi. But after a while, she couldn't contain herself, and said, "Look here, Gulzar. It's like this. I am not supposed to tell you, but there is a gentleman in Delhi who claims that you are the son he had lost during the partition." That was a new story!

Nearly a month later, Amol Palekar, the famous actor in Bombay, called me said, "Mrs. Dandavate wants to talk to you. She is in Delhi." "Who is Mrs. Dandavate?" I asked. "The wife of the ex-Finance Minister in the Janata Government, Madhu Dandavate." "Why?" "I don't know. When and where can she call you?"

I had never had any dealings with either Mr. or Mrs. Dandavate. I had never met them. I was surprised. I gave Amol Palekar the telephone numbers of both my office and my home. The story had begun to take strange turns. I didn't know that it was a part of Sai's story. Amol is a good actor and he played his part well and did not reveal the real reason for his call. I am convinced, however, that he knew the story.

A Few days later, Pramila Dandavate called. She told me that one Sardar Harbhajan singh wanted to come to Bombay to meet me. He thought that I was the son he had lost during the partition. It was the month of November. I remember that. I told her that I would be in Delhi from January 10 onwards to attend the international film festival and would meet Sardar Harbhajan Singh. She shouldn't send him to Bombay. I then asked her who Sardar Harbhajan Singh was. She told me that during the Janata regime, he had been the minister for Civil supplies in Punjab.

I went to Delhi in January. I booked a room in Ashoka Hotel. Someone called from Sardar Harbhajan Singh's place to find our when he could meet me. By then I had figured out that he was a very trustworthy old man. The one who had called was his son. Courteously, I suggested, "I please, let him not trouble him self. If you can come here tomorrow afternoon, I'll go with you meet him as his house."

I was surprised to learn that both Sai and Amol Palekar were also in Delhi and that they knew about my appointment for the following day.

The person who came to pick me up the next day was Sardar Harbhajan Singh's eldest son. His name was Iqbal Singh. Punjabis do not grow old even at an advanced age. When I came face to face with Harbhajan singh, he got up to receive me with great affection. Like a son, I touched his feet, He introduced me to my 'mother'. "Son, she is your mother…….." I touched Ma's feet, too, like a son. His sons called him Darji. His second son, his daughters-in-law, grandchildren-were all present. His was a big, well-to-do, family. The house was large and spacious, Punjabis not only build big and open houses, they also have large and open hearts. After we had talked about all sorts of things, some snacks and drinks were served.

Then Darji told me when and how they had lost me. "The riots were terrible. Everything a around us was on fire-and rumours added fuel to the flames. But we refused to leave. The Zamindar was a Muslim and a friend of my father's. He was also grateful to us for favours in the past. Everyone in the qasbah knew that as long as he was around no one could even knock at our door, His son used to study with me in school (I think, he said the boy's name was Ayaz). But whenever caravans of refugees passed through our qasbah, we lost heart. We began to tremble with fear. The Zamindar came every morning and evening. And he never failed to comfort us and instill courage in our hearts. He treated my wife like his own daughter. But one day, when a caravan passed through cursing and shouting slogans, we spent the entire night standing on the roof-top to watch it- not only us, but the entire qasbah. I don't know why, but we felt as if it was the last caravan. We should leave with it. Nothing would survive after that. We betrayed the trust of our friend, the Zamindar, and left. "He used to tell us, 'come and live in my haveli. Lock up your house for a few days. No one will touch it'. But we pretended to be confident and brave, inwardly, however, we were terrified, to tell you the truth, sampooran kaka, our faith had been shattered, our roots had been shaken. All the caravans passed through our place, we had heard that if we entered Jammu via Mianwalli, we would get help from the army to go down the rest of the way. We left our house unlocked. The truth is that in our hearts we knew the time to leave our land had arrived. We decided to pick up our things and escape. With two grown -up sons, a daughter (eight or nine years old) and you. You were the youngest. We had to walk for two days to reach Mianwalli. We always found something to eat in the villages we passed through. There were riots everywhere. Gangs of rioters always came from outside, the caravan had grown very large by the time it reached Minwalli. People came from all direction to join it. Son, the presence of others, who had suffered like us, gave some strength. We reached Mianwalli at night. During our journey, we often lost sight of our children and called out to them in anguished despair. There were other like us, and there was always a lot of crying and screaming. " That night, I don't know how the rumour spread that the caravan at Mianwall was going to be attacked. That a large mob of Muslims was on its way - one could sense fear and terror in the silence. All of us left that very night." Then Darji said very quietly, " It was during that night that we lost both our youngest children. I don't know how. If we had known…. He left the sentence unfinished and fell silent. I don't clearly remember, but I think his sons and daughters in law got up and the others present shifted uncomfortably in their places.

Darji continued his narrative. "Once we got to Jammu, we waited for a long time. We searched one camp after another and watched every caravan that arrived. There were thousands of people. Some joined caravans going to Punjab, others went down the hills to places where they had relatives. We gave up hope and went to Punjab. We continued to search the camps there. All we could do was to search. The children were lost and we abandoned all hope. " About twenty or twenty two years later, a group of pilgrims were scheduled to go to Pakistan from Hindustan. I suddenly felt like making a journey to Gurudwara Punjab Sahib. I also wanted to see our old home, but my wife always broke down at the very thought. " We also couldn't overcome our sense of guilt at the fact that we hadn't trusted our Zamindar. Whenever we thought of him, we felt ashamed of ourselves. "Anyway, we finally decided to go. Hut before leaving, I wrote a letter to the Zamindar and another to his son. Ayaz. I even asked them to forgive us for having deceived them. I told them about the reasons for our hijrat. Sent the information about family and also told them about our lost children, Satya and Sampoorn. My hope was that even if ayaz didn't remember us. The Zamindar, ajzal, couldn't have forgotten us. I didn't post the letters here, because I thought I would post them once I got across the border. We were planning to be in Pakistan for twenty or twenty-five days, and I was sure that if chacha afzal wanted to meet us, he would send a reply. If he invited us, we would go, otherwise - what was the use of digging up old graves? What could be gained by doing that? Harbhajan singhji took a deep breath and continued. "Those letters remained in my pocket, Punniji- I, some how, lost heart. But the day I returned via karachi, I don't know that made me post the letters. "I waited for a reply, even though I didn't think I would receive one, and after a few months had gone by, I gave up all gope. "I got a reply after eight years."

"From afzal chacha?" I asked in surprise. He didn't reply. I asked again, "From ayaz?" He nodded and exclaimed sadly, "yes! In response to my letter. It was from his letter that I learnt that afzal chacha had passed away a few years after the partition. Ayaz had look after the land after afzal chacha,s death. Ayaz too died recently. It was when his papers were being examined that my letters were discovered. When one of the persons who had come to stay with the bereaved family read out the letter, someone information those who were gathered there that the girl mentioned in the letter was present in the house at the moment and had come to offer her condolences from Mianwalli. When she was questioned, she told them that her real name was Satya. She had been separated from her parents during the partition. Now she was called dilshad." Ma's eyes were still dry, but darji's voice was tearful. "I called upon Waheguru and left that very day. I met dilshed at Afzal chacha's house. And you know, she remembered everything. But she didn't remember her own house. I asked her how she had got lost? How she had got separated from us? She said, 'I got tried of walking. I was very sleep. I saw a tandoor in a courtyard and went to sleep next to it. When I woke up, I saw that no one was around . I would look for you all day and go back to the tandoor to sleep. When the owners of the house came back three days later, they woke me up. Husband and wife. They let me stay there in the hope that someone would come looking for me. But no one came. I stayed there like a servant. They fed me and gave me clothes. They looked after me well and then after many years, maybe either or nine years later, the master of the house married me. By the grace of Allah, I have two sons. One is in the Pakistani Air Force and the other has a job in a good firm in Karachi.'

Writers are in the habit of asking a few questions, which are not always necessary.' "Wasn't she surprised to see you? To meet you? Didn't she cry?". "No. she was surprised, but wasn't too upset," Darji replied. "In fact, whenever I think about her, I see her smiling repeatedly at us, as if I had gone there to tell her a story. She didn't seem to feel that we were her parents."

"And Sampooran? Wasn't he with her?" "No, she didn't even remember him." Ma, once again, repeated what she had said a few times earlier during her husband's narrative, "Punni (Sampooran), why don't you believe us? Why do you want to hide from us? You have even changed you name to Gulzar. Just as Satya's name was changed to Dilshad." After a pause, she continued, "Who gave you the name Gulzar? You name is Sampooran Singh." I asked Darji, "Who told you about me? How did it occur to you that I am your son?" "It's like this, son. When we found our daughter, by the grace of Waheguru, after thirty years, we began to hope that He would help us find our son too. Iqbal read an interview of yours in some paper and told us that you real name is Sampooran Singh and that you were born over there, in Pakistan. It was that which persuaded us to look for you. Yes, I forgot to tell you that my son was given the name Iqbal by Afzal Chacha." Ma said,

"Kaka, you continue to live where you want. It doesn't matter if you have converted to Islam, but please accept the fact you are my son, Punni," I repeated, once more, the history of my family and left them feeling hopeless. The story I have recorded happened about either years ago Now it's 1993. After either years now, I suddenly received a letter from Iqbal, along with a card for a Bhog ceremony announcing that Sardar Harbhajan Singhji had passed away. Ma, he said, wanted him to inform her youngest son.

I felt as if my own Darji had passed away.

soulsoup thumbnail
19th Anniversary Thumbnail Dazzler Thumbnail Engager Level 1 Thumbnail
Posted: 19 years ago
#7
A recent Interview (http://www.bollywood.com/archives/2006/03/celebrity_inter_2 9.html)

March 21, 2006

Celebrity Interview: Gulzar ...

By Subhash K. Jha, Indo-Asian News Service

Mumbai, (IANS) Well-known lyricist Gulzar says his award wining song "Kajra re" from "Bunty Aur Babli" is not devoid of poetry.

"I don't think the words 'Teri baaton mein kimaam ki khushboo hai, tera aana bhi to garmiyon ki loo hai' are frivolous. Poetry with a serious thought doesn't mean it has to be serious in mood," Gulzar told IANS in an interview.

He is now writing songs for editor Shirish Kunder's directorial debut "Jaan-E-Man" and wants to learn the language of mainstream cinema.

"I don't know how successful I will be, but I want to learn this mainstream language of cinema. I want to walk with Shirish to learn a new way of expressing myself."

Excerpts:

Q: You seem to be on a quest for new peaks to conquer.

A: Recently I returned from Chennai after a music sitting with Mani Ratnam and A.R. Rahman. We are working together again after "Dil Se" for Mani's "Guru". Again we'll try to attempt a different sound.

"Guru" has a serious layer below the surface, which I'll tap as a poet. Mani Ratnam is the only director who asks for abstract images. It's lovely to share my poetry with him. His Hindi is getting better. But I'm lagging behind. My Tamil should improve soon.

As a lyricist, I'd say my first turning point as an abstract lyricist was "Humne dekhi hai un aankhon ki mehekti khushboo" in "Khamoshi". Another turning point was Mani Ratnam's "Dil Se" where with "Chaiyyan chaiyyan" my sufiyana phase started. Now let's see...perhaps with "Guru" there will be another turning point. It's wonderful to work with a director who expresses scenes musically.

Q: "Guru" will star a big fan of yours, Vidya Balan?

A: She is a simple, sweet, innocent girl. She says whatever comes to her heart.

Q: How was it working with Shankar-Ehsaan-Loy in "Bunty Aur Babli"?

A: You know I have just written a song for the Commonwealth Games, which they have composed. I feel they have achieved a sensible synthesis of popularity and class in their music. This is the fourth time I have written a sports anthem.

Many years ago I had written a song for a sports event that Anand Shankar had composed. Then for national sports in Pune, I wrote a song that Hridaynath Mangeshkar had composed and Lata-ji had sung. Then I had collaborated with L. Subramaniam for a song celebrating the Olympian flame.

Now, this fourth one with Shankar-Ehsaan-Loy, which goes "Dilli chalen chalna hai chal chal dilli chalen". It could be used by any political party.

Q: Shankar-Ehsaan-Loy's "Kajra re" has become very popular.

A: Just because it is popular it doesn't mean it's devoid of poetry. I don't think the words "Teri baaton mein kimaam ki khushboo hai, tera aana bhi to garmiyon ki loo hai", is frivolous. Poetry with a serious thought doesn't mean it has to be serious in mood.

My "Goli maar bheje mein" in "Satya" had a serious thought expressed in the gangster's language. The lyrics have to express the language of the characters.

Q: You were nominated for three of your lyrics at this year's Filmfare awards.

A: That's quite something. People are wondering why I have suddenly become so prolific. Among the three nominated songs I think, "Dheere jalna" from "Paheli" is wonderfully composed by M.M. Kreem.

"Chup chup ke" from "Bunty Aur Babli" has the beauty of poetry along with a beautiful composition. And of course "Kajra re" sweeps the carpet from under our feet. It's tough to say which of these I like best. As tough as answering which is my favourite film?

Q: All three have a touch of eroticism to them.

A: I think I got the chance to go beyond physical love in "Chup chup ke". Love transcends physicality. You have to open those layers that occur beyond the physical. I think I got to do some very unusual poetry in "Bunty Aur Babli". I used English words as though they were Hindi.

The narrative and the musical patterns have changed. The words too have to change. You can't keep using the same words. I think it's time for me to get experimental with my lyrics. I have tried to do that in "Bunty Aur Babli".

Q: In "Paheli" you worked for the first time with M.M. Kreem.

A: He's very good. He should have been nominated for his music in "Paheli". Even a nomination is a gesture of victory. He hasn't been given enough to do in Hindi cinema, though he's very popular in the south.

I liked the idea of getting the Screen Award for "Dheere jalna" instead of "Kajra re". I thought the more popular song always wins. Unfortunately, I was unwell and I couldn't attend the function. I regret that.

"Dheere jalna" is a very difficult situation. I had to bring in the image of a burning candle to express the couple's anguish of having just limited time together. For this image I had to go back to the master, Mirza Ghalib, who said, "Shama har rang mein jalti hai sehar hone tak".

Q: Tell me more about your forthcoming work.

A: I am very excited about working with Pritam Chakraborty in my daughter Meghna's "Honeymoon" and with Vishal Bhardwaj again in "Othello". This again gives me a chance to do a very different kind of music. It's our third under-world story (after "Satya" and "Maqbool"). This time the location is around Meerut in Uttar Pradesh.

I've used the dialect in my lyrics. "Maqbool" never looked like "Macbeth" to me. I feel Vishal's "Othello" would be unrecognisable to Shakespeare. To me, it's an original underworld story. You will be shocked by the images.

Q: It's very strange to see you working with Sajid Nadiadwala in "Jaan-E-Man".

A: For me too. I don't know how successful I will be, but I want to learn this mainstream language of cinema. The images here are totally different from what I generally write. In real life, the director, Shirish Kunder, is a combination of an editor and director. The same is true of his vision in "Jaan-E-Man". The shots will surprise you. For a reaction shot, directors generally go for a close-up. He only changes the light. I want to walk with Shirish to learn a new way of expressing myself.

Q: Your directors are getting younger.

A: Yes, after Shaad Ali in "Saathiya" and "Bunty Aur Babli" it's Shirish. Shaad and I are going to work in his next again. He comes from a family of painting and poetry. Shaad understands poetry. You can see that in "Bunty Aur Babli".

Shaad knew the whole script in his head. He knew every gesture of the characters. I'd give him the credit for the lyrics in "Bunty Aur Babli". He knew his characters inside out. He briefed me well. I want to work with people who know what they want from me.

Posted by thematrix at March 21, 2006 07:49 PM


*Jaya* thumbnail
19th Anniversary Thumbnail Sparkler Thumbnail Engager Level 1 Thumbnail
Posted: 19 years ago
#8

< name=Linkcnt1>

Saampooran Singh Kalra, better known by the pen name of Gulzar, is a poet above all things. His style marks a sensitivity that is best reflected through his writing and treatment of films. He is one of those sensitive people whose work is laced with the lyrical but psychologically adept examination of human sensibilities.

Gulzar was born on August 18, 1936 in a small town of Deena (now in Pakistan). An eager participant in antakshari and keen learner of shairis, he was inclined towards literature and poetry right from his school days. Gulzar also used to listen to a lot of Hindustani music, especially stringed instruments, which would be practised in his neighbours' homes. He became even deeply engrossed in music when he started going to college, and would regularly attend concerts of artists like Ravi Shankar and Ali Akbar Khan.

Gulzar and his family were one of the many to have suffered the pangs of partition. The family moved to Amritsar in Indian Punjab but Gulzar, having dreams of being famous, came to Bombay to earn a living. In order to earn his daily bread, Gulzar started to work as a garage mechanic in Worli while writing poetry in his spare time. Gulzar, as any other dreamer who comes to Bombay for the first time, was bitten by the film bug. Making a modest beginning as an assistant to Bimal Roy, Hrishikesh Mukherjee and Hemant Kumar, he wrote his first song 'Mora Gora Ang Lai Le..' for Bimal Roy's film Bandini. Bimal Roy, always one to encourage young talent gave him the opportunity to write songs. He became Bimalda's full-time assistant. He then began writing for films for directors like Hrishikesh Mukherjee and Asit Sen. Some of the films that Gulzar has written include Anand (1970), Guddi (1971), Bawarchi (1972) and Namak Haram (1973) for Hrishida and Do Dooni Char (1968), Khamoshi (1969) and Safar (1970) for Asit Sen.

With Mere Apne in 1971, he donned the role of a filmmaker. Gulzar went on to make Parichay (1972) and Koshish (1972), a sensitive look at the travails of a deaf - dumb couple superbly played by Sanjeev Kumar and Jaya Bhaduri. With these films also began a mutually beneficial partnership with Sanjeev Kumar. The Gulzar - Sanjeev Kumar partnership resulted in such fine films as Aandhi (1975), Mausam (1975), Angoor (1981) and Namkeen (1982) and represent Sanjeev Kumar's finest work as an actor. With his sensitive yet successful films, stars like Jeetendra (Parichay, Khushboo (1975), Kinara (1977), Vinod Khanna: Achanak (1973), Meera (1979) and Lekin (1990) and Hema Malini: Khushboo, Kinara, Meera (1979) worked with Gulzar to gain respectability as artists and it must be said that some of their best and most introspective work has come in these films.

Gulzar's famous television serial Mirza Ghalib displayed his finesse as a writer and director through a superb depiction of the life of the legendary poet. He had even waived his own fees to try and maintain the budget for this serial. The period 1971 to 1986 found him relatively prolific, and it was only toward the close of the 1980s that he stepped back a little and kept largely out of the limelight. In 1996, the hit Maachis brought him right back in our midst, and he has followed this success up with his latest venture Hu Tu Tu, which is garnering its share of critical acclaim. Gulzar has also involved himself in many projects that cater to a younger audience - his latest in this realm is the new album Kardi Katha, released by Skymusic. The tracks are narrated by him. On the small screen, he has contributed to the popular TV serials Jungle Book and Potli Baba Ki, with songs, narration and some typical Gulzar magic.

Gulzar has been honoured time and again for his work. This includes winning the National Award thrice - Best Screenplay for Koshish, Best Director for Mausam and Best Lyricist for Ijaazat. He has also won the Filmfare Award a number of times. Gulzar is also the author of books on poetry, a book of short stories and a dozen books for children. A story book for children Ekta received an award from the National Council for Education Research and Training (NCERT) in 1989.
Edited by soulsoup - 19 years ago
shootingstar thumbnail
19th Anniversary Thumbnail Voyager Thumbnail
Posted: 19 years ago
#9
jaya ji, anol bhaiya thanks a lot 👏

his poem are simply the best!
*Jaya* thumbnail
19th Anniversary Thumbnail Sparkler Thumbnail Engager Level 1 Thumbnail
Posted: 19 years ago
#10

As a lyricist

    Guru (2006) (pre-production) (lyricist) (as Gulzar) Omkara (2006) (filming) (lyricist) Janeman (2006) (filming) (lyricist)

    Chatri Chor (2005) (lyricist)
    ... aka The Blue Umbrella (India: English title) ...Yahaan (2005) (lyricist) (as Gulzar) Paheli (2005) (lyricist) Bunty Aur Babli (2005) (lyricist) Raincoat (2004) (lyricist) (thanks) Chupke Se (2003) (lyricist) Maqbool (2003) (lyricist) (as Gulzar) Pinjar (2003) (lyricist)
    ... aka The Cage (International: English title: informal title) Saathiya (2002) (lyricist) Makdee (2002) (lyricist) (as Gulzar)
    ... aka The Web of the Witch (International: English title) Dil Vil Pyar Vyar (2002) (lyricist) (as Gulzar) Lal Salaam (2002) (lyricist)
    ... aka Red Salute (India: English title: literal title) Leela (2002) (lyricist) (as Gulzar) Filhaal... (2002) (lyricist) (as Gulzar) Asoka (2001) (lyricist) (as Gulzar)
    ... aka Ashoka the Great (India: English title) (USA)
    ... aka Samrat Ashoka (India: Tamil title: dubbed version) Aks (2001) (lyricist) (as Gulzar) Fiza (2000) (lyricist) (as Gulzar)

    Khoobsurat (1999) (lyricist) Hu Tu Tu (1999) (lyricist) (as Gulzar) Jahan Tum Le Chalo (1999) (lyricist) Dil Se.. (1998) (lyricist) (as Gulzar)
    ... aka From the Heart (USA)
    ... aka Prema Tho (India: Telugu title: dubbed version)
    ... aka Uyire (India: Tamil title: dubbed version) Satya (1998) (lyricist) (as Gulzar) Chachi 420 (1998) (lyricist) (as Gulzar) Aastha (1997) (lyricist) (as Gulzar)
    ... aka Aastha in the Prison of Spring (International: English title) Maachis (1996) (lyricist) (as Gulzar) Daayraa (1996) (lyricist) (as Gulzar)
    ... aka The Square Circle (USA) Mammo (1994) (lyricist) (as Gulzar) Khal Nayak (1993) (lyricist: "Ganga Aaye Kahan Se") (uncredited)
    ... aka Khal Nayak: The Villain (USA: DVD box title) Rudaali (1993) (lyricist) (as Gulzar)
    ... aka The Mourner (India: English title) Maya (1992/I) (lyricist)
    ... aka Maya Memsaab
    ... aka Maya: The Enchanting Illusion Lekin... (1990) (lyricist) (as Gulzar)
    ... aka But...

    Libaas (1988) (lyricist) Ijaazat (1987) (lyricist) (as Gulzar)
    ... aka Guest (International: English title) Ek Pal (1986) (lyricist)
    ... aka A Moment (India: English title) Jeeva (1986) (lyricist) Ghulami (1985) (lyricist) (as Gulzar) Tarang (1984) (lyricist) (as Gulzar)
    ... aka The Wave
    ... aka Wages and Profits Masoom (1983) (lyricist) (as Gulzar)
    ... aka Innocent Sadma (1983) (lyricist) (as Gulzar) Angoor (1982) (lyricist) (as Gulzar) Namkeen (1982) (lyricist) (as Gulzar) Sitam (1982) (lyricist) Baseraa (1981) (lyricist) (as Gulzar) Naram Garam (1981) (lyricist) (as Gulzar) Gehrayee (1980) (lyricist) (as Gulzar)
    ... aka Depth (India: English title) Sitara (1980) (lyricist) (as Gulzar) Thodisi Bewafaii (1980) (lyricist) (as Gulzar)
    ... aka Thodisi Bewafai (India: Hindi title: alternative transliteration) Khubsoorat (1980) (lyricist) (as Gulzar)
    ... aka Beautiful (India: English title: literal title) Swayamvar (1980) (lyricist) (as Gulzar)

    Griha Pravesh (1979) (lyricist) (as Gulzar)
    ... aka The Housewarming Gol Maal (1979) (lyricist) (as Gulzar)
    ... aka Hanky Panky Ratnadeep (1979) (lyricist) (as Gulzar)
    ... aka The Jewelled Lamp Ghar (1978) (lyricist) (as Gulzar)
    ... aka Home (International: English title) Devata (1978) (lyricist) (as Gulzar)
    ... aka Devta (India: Hindi title: alternative transliteration) Khatta Meetha (1978) (lyricist) (as Gulzar)
    ... aka Sweet and Sour Palkon Ki Chhaon Mein (1977) (lyricist) (as Gulzar) Gharaonda (1977) (lyricist) (as Gulzar)
    ... aka The Nest Kinara (1977) (lyricist) (as Gulzar) Shaque (1976) (lyricist) Mausam (1975) (lyricist) (as Gulzar) Aandhi (1975) (lyricist) (as Gulzar)
    ... aka Storm (International: English title: informal literal title) Khushboo (1975) (lyricist) (as Gulzar) Doosri Sita (1974) (lyricist) (as Gulzar)
    ... aka Doosri Seeta (India: Hindi title: alternative transliteration) Parichay (1972) (lyricist) (as Gulzar) Koshish (1972) (lyricist) (as Gulzar) Anubhav (1971) (lyricist) (as Gulzar)
    ... aka Experience Guddi (1971) (lyricist) (as Gulzar)
    ... aka Darling Child Mere Apne (1971) (lyricist) (as Gulzar) Seema (1971) (lyricist) (as Gulzar) Anand (1970) (lyricist) (as Gulzar)

    Khamoshi (1969) (lyricist) (as Gulzar) Rahgir (1969) (lyricist) (as Gulzar) Aashirwad (1968) (lyricist) (as Gulzar)
    ... aka The Blessing (International: English title) Do Dooni Char (1968) (lyricist) (as Gulzar) Biwi Aur Makaan (1966) (lyricist) (as Gulzar) Sannata (1966) (lyricist) (as Gulzar) Purnima (1965) (lyricist) (as Gulzar) Bandini (1963) (lyricist) (as Gulzar) Prem Patra (1962) (lyricist) (as Gulzar)
    ... aka Love Letter (International: English title) Kabuliwala (1961) (lyricist) (as Gulzar) Shriman Satyawadi (1960) (lyricist) (as Gulzar Deenvi)

  1. Swami Vivekananda (1955) (lyricist) (as Gulzar)

Related Topics

Top

Stay Connected with IndiaForums!

Be the first to know about the latest news, updates, and exclusive content.

Add to Home Screen!

Install this web app on your iPhone for the best experience. It's easy, just tap and then "Add to Home Screen".