Yeh mera diwanapan hai-Lyricist - Page 2

Posted: 17 years ago

Gulzar


Sampooran Singh Gulzar

Birth: August 18, 1936
Birthplace: Deena, Now in Pakistan
Profession: Poet, Bollywood Film song Lyricists
Family: Wife - Rakhee (Actress), Daughter - Meghna Gulzar (Director)
Gulzar was born as Sampooran Singh, on August 18, 1936. His birthplace was the town of Deena, which is now in Pakistan. The tumultuous events of the partition saw him shift base to Delhi, finding the climate in India more conducive to creative pursuit. He started as a poet and was associated with the Progressive Writers Association PWA. Poet, Lyricist, Writer, Director - Gulzar is one of those sensitive people whose work is laced with the lyrical but psychologically adept examination of human sensibilities. Kick-Start Career His career in the film industry began in a small way. He worked as an assistant to Bimal Roy, Hrishikesh Mukherjee and Hemant Kumar, learning the trade and honing his skills. His first break as lyricist came when he wrote Mora Gora Ang Lai Lae for Bimal Roy's Bandini, 1963. 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. All bore his trademark lyrics, elegant and sensitive. Recognition for his efforts was not long in coming. Not yet completely satisfied with what he was doing in the film industry he soon began writing scripts, screenplays and drafted stories for films. Taking the big step, Gulzar turned filmmaker with Mere Apne in 1971. Gulzaar as a film-maker 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. Aandhi ran into controversy due to Suchitra Sen's role which was based on Indira Gandhi and was even banned for a while. The 1980s and 1990s saw a decline in Gulzar the filmmaker even though films like Ijaazat, 1987, Lekin, 1990 and Maachis, 1996 had their moments. His last film to date Hu Tu Tu 1999 was a total misfire. However, Mirza Ghalib 1988 a TV serial made on the great poet's life and starring Naseeruddin Shah as Ghalib was a landmark in the history of Indian Television. He has also contributed to the popular TV serials Jungle Book and Potli Baba Ki, with songs, narration and some typical Gulzar magic. He has continued to write screenplays, dialogues and lyrics for other films among them Masoom, 1982 and Rudaali 1992. He has also been the lyricist of films like Thodi si Bewafaai, 1980, Basera, 1981, Sadma, 1983, Ghulami, 1985, Maya Memsaab, 1992, Dil Se, 1998 and Satya, 1998. 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 14 times - including 7 times for Best Lyricist and The Best Director Award for Mausam. Gulzar makes a comeback to the film industry with Rakesh Mehta's Aks, where he has penned superior lyrics to recreate the dark and sinister mood of the film. Gulzar will always continue to remain the poet laureate of Hindi cinema.
Best of Gulzar
Song - Track Movie
Saathiya Saathiya Saathiya
Humdum Saathiya
Dil Hoom Hoom Kare Rudaali
Pani Pani Re Maachis
Oh Re Kanchi Asoka
Jiya jale Dil Se
Aaja maahi Fiza
Sili Hawa Chhoo Gayi Libaas
Ek Hasin Nigah Ka Maya Memsaab
Award
    Filmfare - 1976 for Best Director - Mausam Filmfare - 1977 for Best Lyricist - 'Do diwane shahar mein' - Gharonda Filmfare - 1979 for Best Lyricist - 'Aanewala pal jaane wala hai' - Golmaal Filmfare - 1980 for Best Lyricist - 'Hazar rahen mud ke dekhi' - Thodi si bewafai Filmfare - 1983 for Best Lyricist - 'Tujhse naraaz nahin zindagi' - Masoom Filmfare - 1988 for Best Lyricist - 'Mera kuchh saamaan' - Ijaazat Filmfare - 1991 for Best Lyricist - 'Yaara sili sili virah ki raat' - Lekin Filmfare - 1998 for Best Lyricist - 'Chal Chhaiyya Chhaiyya Chhaiyya' - Dil Se National Award for Best Lyricist - 'Mera Kuchh Saaman' - Ijaazat Filmfare - 1971 for Best Dialouges - Anand Filmfare - 1973 for Best Dialouges - Namak Haram Filmfare - 1996 for Best Dialouges - Maachis Filmfare - 1996 for Best Storywriter - Maachis Filmfare - 1975 for Best Feature Film - Aandhi (Critics)
  • Filmfare - 1990 for Best Documentary - Amzad Ali Khan

Posted: 17 years ago
Thank you for the nice article.! 😊
Posted: 17 years ago
Shakeel Badayuni





     
Birth: 3rd August 1916
Birthplace: Badayun, Uttar Pradesh, India
Profession: Poet, Bollywood Film song Lyricists

Born at 'Badayun' in Uttar Pradesh on August 3, 1916, Shakeel Ahmed Shakeel Badayuni made his mark on the Hindi film industry in the days to come. His father was a Maulana himself and made it a point that he teaches him Arabic, Farsi, Urdu, Hindi and Hindustani at home itself. Other than one of his ancestors called Khalifa Mohammad Wasil, none of his other relatives were concerned with poetry. Mushaiyaras and sher - o - shairi were and still are one of most popular cultural and artistic symbols with which Lucknow is associated. The cultural landscape always dotted with these literary and poetic exercises gave the background to young Shakeel's growth as a poet.

Poetry in his times was uni-dimensional, a purely literary activity followed both with conceit and rigour by the then poets. Untouched by daily experiences, which distill art, it remained pedantic in its conservatism.

One of the early influences of Shakeel Badayuni was the works of Hazrat Maulana Zia - Ul - Qadri, whom he heard in various mehfils (poetry recitation sessions) and also sought his guidance at regular intervals.

Shakeel Badayuni's urge for writing

By the time he had joined the Aligarh University in 1936 he had gained considerable exposure at the mushaiyaras reciting his own poetry. Poetry in pre - Independent India, like other arts, was striving to gain its own voice and this led to the growth of a progressive poet's movement, which later manifested in various forms such as IPTA. The progressive poets consisted of Majaaz, Jazbi, Jaan Nissar Akhtar, and Masud Akhtar Majaal whereas Raaz Muradabadi, a disciple of Jigar Muradabadi, led the traditionalists. Raaz, Jigar and his clique used to concentrate mainly to composing Ghazals. Shakeel, who later became a student of Jigar was introduced by Raaz who was his intimate.

Raaz and Shakeel were the proteges of Maulana Ahsan Marharwi, their lecturer of Urdu at college. In the inter - varsity mushaiyara competitions, Aligarh University used to win hands down to the envy of others because of these two exemplary poets. Their benign and encouraging professor, Maulana Ahsan used to keep them informed about literary meets and accompanied personally on such tours.

The heady days of youth were spent in honing up one's first flowering of talent and Shakeel's powerful outpourings on social issues in later years were then grappling with more tender emotions of Love.

Shakeel's first job

His first job was with the supplies department at Delhi in 1942, which he joined immediately after passing his graduation. He continued in this profession for four years till 1946. Literary sycophancy was scaling new heights with the followers of Jigar donning the clothes of their teacher and adopting his mannerisms while talking and reciting their verses.

This cultural slavery was unacceptable to Shakeel and forged his own identity with a distinct individuality. Touring extensively to recite his 'kalaam' (writing), his growing appreciation also brought to the fore the qualities needed for a poet and his / poetry to be accepted by the audience. The poets personality, the tone of voice, literary and poetic balance and the right mix of humour and wit, both idiomatic and colloquial were his prescriptions for a successful acceptance by the public and patrons.

The recipe of success as it were hit him when he arrived in Mumbai in 1946. The cinematic requirements of writing according to a given situation, mood, place and even tune while enforcing artistic restrictions gave him insights into the aspect called 'mass communication' and its essentials. Ideas and ideals, both could be maintained if one gave up the notion that literary flights were the true signs of a genius. For Shakeel, simplifying was obviously different from simplistic.

Shakeel's tour with bollywood

With Naushad as composer and Mohammad Rafi giving vocals, Shakeel penned the greatest bhajan of Hindi films 'O Duniya Ke Rakhwale' and other songs of Baiju Bawra. He won two Film Fare awards, but retained a low - profile inspite of his literary and cinematic stature as a poet.

Jigar Muradabadi opined, 'Shakeel is a poet by nature and he was not made and shaped to be a poet. Whatever he speaks is intimately associated with the real facts of life like a mirror image. He is peerless while building magical palace of words.'

According to late Sahir Ludhianvi, another of his legendary compatriots, 'Shakeel should be credited for selecting the genre of ghazals after the greats like Jigar and Firaaq in which he showed his charismatic abilities making beautiful ghazals. His ghazals adhere to the traditional spirit while highlighting contemporary values. His ghazals have reflected the ideas related to the transformations in literature and the changes of values of life giving it new meanings, colours and directions.'

His ghazals were sung by most of the prominent artistes outside the cinematic gamut while his lyrics used extensively in the films.

Awards
Award     Movie
Filmfare - 1960     Chaudhvin Ka Chand
Filmfare - 1961     Gharana
Filmfare - 1962     Bees Saal Baad

The Best of Shakeel Badayuni

Door Ke Musafir Hamko Bhee Saath Le Le      Udan Khatola
Aaj Purani Rahon Se      Aadmi
Kahin Deep Jale Kahin Dil      Bees Saal Baad
Suhaani Raat Dhal Chuki      Dulaari
Pyaar kiya tho darna kya      Mughal -E-Azam
Dhoondo Dhoondo Re Saajna      Ganga Jamuna
Duniya Ke Rakhwale      Baiju Bawra
Aaj Mere Man Me Sakhi Baansuri Bajaaye Koi      Aan
Ye Zindagi Ke Mele Duniya Kam Na Honge      Mela
Chhod Babul Kaa Ghar Mohe Pee Kaa Nagar      Babul
Kaahe Jiya Dole Ho Kaha Nahi Jaaye      Anokhi Adaa
Jogan Ban Jaungi Saiyan Tere Kaaran      Shabaab
Chandan Kaa Palnaa Resham Ki Dori      Shabaab
Zindagi Dene Waale Sun      Dil - E - Nadan
Edited by paljay - 17 years ago
Posted: 17 years ago

Sameer


Sameer

Profession: Poet, Bollywood Film song Lyricists
Family: Father - Anjaan, Hindi Film Lyricist
Sameer's advantage - disadvantage ! Anjaan, the well-known lyricist, refused to help his son when he wanted to follow in his foot-steps. The whole family was against the boy's joining the risky world of films. Sameer, the son, however managed very well on his own. He was born Shitla Pandey and completed his Master's Degree in Commerce from Banaras Hindu University before reverting to his first love – writing lyrics for films! It is quite strange that although having somebody in the industry is sometimes a contributing factor to somebody's success, it worked the other way round for Sameer. He had to go through his share of toil and hardship to achieve his position. Anjaan's name helped him to get an audience with the music directors or directors, but beyond this it nearly proved to be his undoing. Some of the directors thought that he was just taking a chance at writing without being really serious. Others would be suspicious of his writing skills and ask him to write lyrics in front of them. At times some songs would meet their approval, but the credit would go to the more illustrious father. It was also from his father that he learnt that nothing succeeds like success in the film industry and once the ball is set in motion, there is no stopping it. Sameer emerges from the bottom Starting at the bottom of the ladder like any newcomer, the first song he wrote was in 1983 for the film Bekhabar - 'Gori Pareshan Hai Kali Pareshan Hai'. With 'Dil', Sameer became the hottest new lyricist on the block. All songs were hits and with Anand Milind dodging questions of plagiarism, it was Sameer who occupied centre stage for his melodious words. 'Aashiqui' created the biggest impact. This Gulshan Kumar film, which launched another composer duo Nadeem – Shravan had lyrics penned by Sameer, firmly establishing him as one of the top songwriters of the Hindi film industry Sameer used to work only for two composers: Anand Milind and Nadeem Shravan. The rest either did not approach him or vice versa. This phase came to an abrupt end when his father passed away and within days his mentor Gulshan Kumar was shot dead. Immediately afterwards his friend Nadeem was arrested in the same case. It was too much of a shock and Sameer left Mumbai for Varanasi to get over the mental anguish. He went on to work at breakneck speed, churning out some 3500 songs in the next ten years, setting a record of sorts. He worked with the maximum number of music directors and whatever his detractors said, he proved his complete versatility, working in two languages, Hindi and Bhojpuri. On his return he first worked on 'Haseena Maan Jaayegi' whose music was being done by Anu Malik after Nadeem's imprisonment. Anu even helped him to get films like 'Soldier', 'Hum Aap ke Dil Mein Rahte Hain' and 'Sooryavansham'. It was like a second coming for the lyricist when he bagged 'Kuch Kuch Hota Hai' on Yash Chopra's proposal. Similarly the hugely popular 'Ghulam' had Sameer's signature as also 'Pyar To Hona Hi Tha' on Jatin – Lalit's recommendation. They are the people who are responsible for the sustenance of Sameer's career. Sameer No.1 Sameer who has written most of the songs for the No 1 series starring Govinda has always been accused of the vulgarity prevalent in the Indian music scene. 'Sarkailo Khatiya' from 'Raja Babu' became a huge controversy although Sameer says he never knew the picturisation would be so gross. He says some of the folk songs are like this and he is not responsible for the trend of vulgar lyrics as such films continue to be made even after he has stopped writing such lyrics. The romantic numbers from 'Aashiqui', 'Saajan', 'Dil Hai Ki Manta Nahi', 'Yeh Dillagi', 'Dilwale', 'Sadak', 'Kuch Kuch Hota Hai' are proof that the output has been varied and dictated by the needs of the film. "I do not write for only the elite", he claims proudly.To cater to different standards requires some skill and Sameer proves that he is capable of this jugglery time and again. After the recent upheavals in his personal and professional life Sameer seems to have reached an even keel with work and family. A lyricist who says that pain has to be first felt to be able to express it, says that now is his most creative time, doing fewer and selective films.
The Best of Sameer
Song Movie
Ek sanam chaahiye aashiqui ke liye Aashiqui
Ab tere bin jee lenge ham Aashiqui
Nazar ke saamne jigar ke paas Aashiqui
Main yahaan tu vahaan Baghban
Deevaane pyaar ke hain ham deevaane Deewane
Kaali naagin ke jaisi zulfen Mann
Odhani odh ke Naachoon Tere Naam
Tere naam Tere Naam
Dheere Dheere Pyaar Ko Badhana hai Phool aur Kaante
Ghoonghat Ki Aadh Se Dilbar Ka Hum Hain Rahi Pyar Ke
Dhak Dhak Karne Laga Beta
Mujhe Neend Na Aaye Dil
Badi Mushkil Hai Anjaam
Mehbooba Mehbooba Ajnabee
Chunari Chunari Biwi No. 1
Bairi Piya Devdas
You are my Soniya Kabhi Khushi Kabhi Gham
Kitni Bechain Hoke Kasoor
Koi Mil Gaya Kuch Kuch Hota Hai
Ankhiyaan Milaaoon Raja
Zara zara bahekta hai Rehna Hai Tere Dil Mein
Ye haseen vaadiyaan Roja
Tera Rang Balle Balle Soldier

Awards
Award Movie
Filmfare - 1990 Aashiqui
Filmfare - 1992 Deewana
Filmfare - 1993 Hum Hai Rahi Pyar Ke
Zee Cine - 1998 Kuch Kuch Hota Hai

Posted: 17 years ago

Anjaan



Birth: 28th October 1930
Birthplace: Varanasi
Profession: Poet, Bollywood Film song Lyricists
Family: Son – Sameer (Lyricist)
The Start A great charmer of Hindi language and literature, Lalji Pandey, was popularly known to all of us as Anjaan. Hailing from the Hindi heartland, Varanasi he participated in almost every gathering of hindi poets. Eventhough he used Urdu to the minimum he made his presence felt in every kavi-sammelans and mushairas. Use of Urdu language is a fashion in Indian Film Industry but Anjaan came up with his innovating new ideas and core hindi contemporary language for songs. The Struggle Anjaan got his first break with the 1953 Premnath production Prisoner Of Golconda where he wrote 'Lehar Yeh Dole Koyal Bole' and 'Shaheedon Amar Hai Tumhari Kahani'. After this he remained fairly busy, but in small films. His only popular number was 'Mat Poonch Mera Hai Mera Kaun Watan' (Lambe Haath) with music by G. S. Kohli, with whom he did many small films. He was first noticed for his work with the Raaj Kumar film Godaan, based on the Premchand classic, with music by Pt. Ravi Shankar. This film got him a few good assignments in the mid - 60's with big composers like O. P. Nayyar ('Aap Ke Haseen Rukh') in Guru Dutt's Baharen Phir Bhi Aayengi and G. P. Sippy's Bandhan, which established him commercially with 'Bina Badraa Ke Bijuriya Kaise Barse'. This also saw the forging with fellow lyricist Indeevar and composers Kalyanji - Anandji. This was followed by songs in Kalyanji - Anandji's 'Kab? Kyon? Aur Kahan?'. Shankar - Jaikishan's Umang, Rivaaz and Ek Nari Ek Brahmachari, Ravi's Vandana ('Aap Ki Inaayat Aap Ke Karam'), R. D. Burman's Hungama ('Wah Ri Kismat', 'Suraj Se Jo Kiran Ka Naata' which was the first ever song filmed on Zeenat Aman) and a few other films. Struggle paid way to Success And yet it took Anjaan many more years before he emerged as a very prolific writer who amalgamated a lot of his commercial songs with lyricism and poetry. He was at his best in the Amitabh Bachchan films of Kalyanji - Anandji, beginning with Do Anjaane ('Luk Chhip Luk Chhip Jao Na') in 1976. Followed Hera Pheri ('Barson Purana Yeh Yaarana'), Khoon Pasina (the title song and 'Bani Rahe Jodi Raja Rani Ki'), Muqaddar Ka Sikandar ('Rote Hue Aate Hain Sab', 'O Saathi Re', 'Pyar Zindagi Hai', 'Dil To Hai Dil'), Don with his biggest hit of the career 'Khaike Paan Banaras Wala', ('Ee Hai Bambai Nagariya', 'Jiska Mujhe Tha Intezaar'), Laawaris ('Jiska Koi Nahin', 'Kab Ke Bichhde') and Jaadugar. He also wrote hits for Bachchan with other composers like Rajesh Roshan (Do Aur Do Paanch, Yaarana) Bappi Lahiri (Namak Halaal, Sharaabi) and R. D. Burman (Mahaan). His liaison with Prakash Mehra also yielded hits like Zindagi Ek Juaa, Dalaal and other films like Jwalamukhi, Ghunghroo, Mohabbat Ke Dushman, Muqaddar Ka Faisla, Imaandaar, Chameli Ki Shaadi and Himalay Se Ooncha. Songs for the new generations In the 80's, he even emerged as the writer of choice for Mithun Chakravarty's films like Disco Dancer and Dance Dance and struck a gold mine in the films of Bappi Lahiri, Shibu Mitra and B. Subhash. Among his hits with them were the songs of Aandhi Toofan, Ilzaam, Aag Hi Aag, Paap Ki Duniya and Tarzan. His work with others was almost schizophrenically different, with songs like R. D. Burman's 'Yeh Faasle Yeh Duriyan' (Zameen Aasman), 'Laagi Lag Jaaye Logon' (Poonam / Anu Malik), 'Ganga Mein Dooba' (Apne Rang Hazaar), 'Meri Saanson Ko Jo', 'Na Jaane Kaise' and 'Woh Woh Na Rahe' (Badaltey Rishtey, 'Hamrahi Mere Humrahi' (Do Dilon Ki Daastaan), 'Yashoda Ka Nandlala (Sanjog), 'Sadiyan Beet Gayi' (Triveni) and the beautiful songs of Eeshwar (all these films were with Laxmikant - Pyarelal showing a poetic vein). Another major hit was Anu Malik's breakthrough film Ek Jaan Hain Hum. His health suffered a major setback in the early 90's, though he delivered hits with Zindagi Ek Jua, Dalaal, Ghayal and the 1990 chartbuster 'Gori Hain Kalaiyan' (Aaj Ka Arjun) and his last hit Shola Aur Shabnam (1992). His other films in the 90's included Vishnu Devaa, Parakrami, Insaniyat, Police Aur Mujrim, First Love Letter, Aandhiyaan, Phool Bane Angaarey and others. In the 60's, Anjaan also wrote several non - films albums composed by Shyam Sagar and sung by Mohammad rafi, Manna Dey (Mayurpankhi Sapney) and Suman Kalyanpur. Rafi's song 'Main Kab Gaata' was a big hit then. Anjaan also entered the world of Bhojpuri films with the massive hit Balam Pardesia in the late 70's. The song 'Gourki Patarki Re' became a rage and set the stage for many more films with a resurgent Chitragupta and laying the foundation for the personal - and later - professional liaison between their respective sons Sameer and Anand - Milind. Ganga Tath ka Banjara Anjaan was a very successful all - rounder for almost 20 years in Hindi films, but his poetry still had the colour of Bhojpuri language and the ethos and culture of Uttar Pradesh, the citadel of hindi. This is why, says Sameer. he could write 'Khaike Paan', 'Bina Badra Ke Bijuriya' and similar songs with great skill. His own favourites were his songs from Apne Rang Hazaar and Badaltey Rishtey and 'Maano To Main Ganga Maa Hoon Maano To Behta Paani' and 'Chal Musafir' from Ganga Ki Saugandh. A few months before his death on 13th September 1997, his only book of poems, Ganga Tath Ka Banjara (A Gypsy From The Shores Of The Ganga) was released at the hands of Amitabh Bachchan.

The Best of Anjaan
Song Movie
Aap Ke Hasin Rukh Pe Baharen Phir Bhi Aayengi
Khaike paan banaras waala Don
Dil to hain dil dil kaa ayetabaar kyaa kije Muqaddar Ka Sikandar
Rote huye aate hain sab Mukaddar kaa Sikandar
O saathee re Muqaddar Ka Sikander
Pyaar jindagi hai Muqaddar Ka Sikander
Log Kehte Hain Maein Sharaabi Hoon Sharabhi
Kehna hi kya ye nein ik anjaan se jo mile Bombay

Posted: 17 years ago
Rajinder Krishan      

Born : 6-Jun-1919, Simla      
Died :      
Notable Films : Albela, Anarkali, Chhaya, Jahanara, Lahore, Nagin, Padosan, Patanga, Sangdil, Taj      
Contributed by : K Vijay Kumar (sources: Dhadkan.com, Chetan Vinchhi)      

    Rajendra Krishan was born in Shimla, on June 6th 1919. From an early age, he gravitated towards poetry. However, he landed up with a clerk's job in a municipal office, where he worked up to 1942. During this time, he cut his teeth on the immortal verse of Firaq Gorakhpuri, Ahsan Danish, Pant and Nirala. In those days, newspapers held poetry contests to mark Krishna Janmashtami in which, Krishan the fledgling poet competed regularly.

    In the mid-1940s, he moved to Bombay to try his luck as scriptwriter and lyricist. His first lyrics were for Zanjeer, his first script was for Janta, both in '47. Both unfortunately bombed. But with Aaj Ki Raat in '48, Krishan tasted real success.

    Then in '49, his lyrics for Shyam Sunder's Lahore ('Baharen Phir Bhi Aayengi') and Hunslal-Bhagatram's Badi Bahen ('Chup Chup Khadi Ho') became extremely popular, the latter celebrating a silver jubilee, which was no mean achievement. The pleased producer gifted Krishan a thousand rupees and a car.

    A new phase dawned in his life. His knowledge of Tamil made him an ideal choice for AVM, the giant production house from Madras, and others to use his services for their films like Bahar, Ladki and Bhai Bhai. He wrote in all 18 scripts for AVM itself. The music directors for whom he regularly wrote songs - C. Ramachandra and Madan Mohan were also composing for the South Indian Hindi movies. Considering these composers believed in having the complete lyrics before composing it, follows that a good part of the original stimulus of the great songs of the time came from the pen of Krishan.

    Rajinder Krishan gave lyrics to a wide variety of songs, ranging from ghazals to bhajans, geets to nazms with great flair. His early association with the Janmashtami competition stood him in good stead as he wrote a large number of Radha-Krishna songs for Hindi films. Rumour has it that some time in the early 70s, he went into semi-retirement after he won a massive jackpot at the Mahalaxmi racecourse. His stints as screenplay and dialogue writer are largely eclipsed by his tremendous song output.
Posted: 17 years ago

Anand Bakshi


Anand Bakshi

Birth: 1920
Birthplace: Rawalpindi
Profession: Poet, Bollywood Film song Lyricists
Family: A wife, two sons and two daughters
Anand Bakshi is one of the lyricist who had survived severe competition and the test of times. After writing for almost 40 years and after penning more than 4000 songs he could still instill freshness in any song. He was one of those few poets who had expressed love in a multitude of ways. Be it 'Chingari Koi Bhadke' from Amar Prem or 'Bholi Si Surat' from Dil To Pagal Hai. Bakshi also added the element of possession in a romantic relationship through the song 'Tu Mere Saamne' from Darr and 'Jaadu Teri Nazar' from the same film. Here's an insight into the life of the veteran lyricist. Background Anand Bakshi was born in Rawalpindi in undivided India now Pakistan. He was an avid movie buff right from childhood and he had always dreamt of coming to Bombay and become a big shot. However he lacked the courage to tell his wish to others fearing that he might be ridiculed. At that point of time though his dream was limited to becoming a successful playback singer. The Struggle So passionate was Bakshi about joining the film industry that he ran away from home and joined the navy with the hope of reaching the city of his dreams. However fate had something else in store for him. The naval mutiny in Karachi ended his career in the navy. After the partition of the Indian subcontinent into India and Pakistan Bakshi returned to his family in Lucknow. Although he couldn't continue with his education his dreams were very much alive. A short stint as a telephone operator followed but he soon realized that he was meant for something else and he moved to Bombay. Although he had arrived in the city with a bagful of dreams no body really acknowledged his presence. Dejected and disillusioned Bakshi went back to Delhi and worked as a motor mechanic. But he was unable to rid himself of his desire to be a part of the glamour world and so he returned to the city of dreams. A few senior lyricists even ridiculed him but Bakshi persisted and his persistence paid off when a chance meeting with actor Bhagwan materialized into an offer to write the lyrics for Bhagwan's film Bada Admi. A few years later Jab Jab Phool Khile released and the song 'Pardesiyon Se Na Ankhiya Milana' proved to be a big hit and that song made everyone notice Bakshi. However life wasn't exactly milk and honey for Bakshi as the struggle for survival continued even after Jab Jab Phool Khile. That was the result of groupism that existed during the late sixties and early fifties. Every music director had his or her own favorite lyricist. Shailendra and Hasrat Jaipuri were Shankar Jaikishan's favorites and Shakeel Badayauni was patronized by Naushad. Even the great SD Burman refused to consider him seriously as a lyricist because he thought Bakshi was another one of those aspiring playback singers. Life was extremely difficult for the lyricist whose career had only just begun. To get into the elite group of poets was indeed a difficult exercise. His hard work and persistence finally paid off when the songs of Hariyali Aur Raasta proved to be chartbusters. The film had many timeless numbers and one of them was 'Bol Meri Taqdeer Mein Kya Hai'. The Career Begins It was Milan (1967) however that finally took Bakshi to the top. Songs like Sawan ka Mahina, Bol Gori Bol, Ram Kare Aisa Ho Jaye, Main to Diwaanaa and of course Hum Tum Yug Yug Geet Milan ke were hummed in every corner of the country. Anand Bakshi had arrived. And from then onwards he never looked back. Followed a golden period for Bakshi whose association with Lakshmikant-Pyarelal and R.D. Burman led to such musical milestones like Farz (1967), Do Raaste (1969), Bobby (1973), Amar Akbar Anthony (1977), Ek Duje ke Liye(1981) with the former and Kati Patang (1970), Amar Prem (1971) and Hare Rama Hare Krishna (1971), just to name a few, with the latter. Of these his work in Amar Prem particularly stands out and was among his favourites. Shakti Samanta heard Bakshi recite Chingari Koi Bhadke at a 'kavi samelan' and incorporated it especially into the film. Other masterpieces in this film include Bada Natkhat Hai, Kuch to Log Kahenge, Yeh Kya Hua and Raina Beeti Jaaye. Mention must also be made of his association with filmmakers like Raj Kapoor, Shubash Ghai and Yash Chopra. Raj Kapoor
    Bobby
  • Satyam Shivam Sundaram (1978)
Shubash Ghai
    Karz (1980) Hero (1983) Karma (1986) Ram Lakhan (1989) Saudagar (1991) Khalnayak (1993) Taal (1999)
  • Yaadein (2001)
Yash Chopra
    Chandni (1989) Lamhe (1991) Darr (1993)
  • Dil to Paagal Hai (1997).
Awards Apart from being nominated innumerable amount of times for the Filmfare award Bakshi has also won the coveted trophy three times in his illustrious career. He won it for the first time in 1978 for the song 'Aadmi Musafir Hai' from the film Apnapan. In 1981 he won it for the song 'Tere Mere Beech Mein' from Ek Duje ke Liye and after 14 years he won it for the third time in 95 for 'Tujhe Dekha To Ye' from Dilwale Dulhaniya Le Jaayenge.
Awards
Award Movie
Filmfare - 1977 Best Lyrics for Apnapan
Filmfare - 1981 Best Lyrics for Ek Duje ke Liye
Filmfare - 1995 Best Lyrics for Dilwale Dulhania Le Jayenge
Filmfare - 1999 Best Lyrics for Taal
Zee Cine - 1999 Best Lyrics for Taal
Screen - 1998 Best Lyrics for Zakhm
Screen - 1999 Best Lyrics for Taal
Screen - 2000 Best Lyrics for Mohabbatein
The Best of Anand Bakshi

All Time Hits of Anand Bakshi
Song - Track Movie
Dil kya kare Julie
Tere Mere Beech Mein Ek Duje ke Liye
Dhire dhire bol koi sun na le Gora Aur Kala
Aaj mausam bada Loafer
Kora kagaz tha yeh man mera Aradhana
Sawan ka Mahina Milan
Badi mastani hai Jeene Ki Raah
Gir gaya jhumka Jugnu
Bane chahe dushman Dostana
Dafaliwale Sargam
Zindagi har kadam Meri Jung
Lagi aaj sawan Chandni
Tujhe dekha to yeh Dilwale Dulhaniya Le Jayenge
Bholi si surat Dil To Pagal Hai

Posted: 17 years ago
Filmography - Rajendra Krishan

# Dil Vil Pyar Vyar (2002) (lyricist) (as Rajinder Krishan)

# Allah Rakha (1986) (lyricist)
# Qatl (1986) (lyricist)
# Mard (1985) (lyricist) (as Rajinder Krishan)
# Achha Bura (1983) (lyricist) (as Rajinder Krishan)
# Silsila (1981) (lyricist)
... aka The Affair (India: English title)
# Katilon Ke Kaatil (1981) (lyricist)

# Phool Khile Hain Gulshan Gulshan (1978) (lyricist)
# Khel Khilari Ka (1977) (lyricist)
# Faraar (1975) (lyricist)
# Ponga Pandit (1975) (lyricist) (as Rajinder Krishan)
# 5 Rifles (1974) (lyricist) (as Rajendra Kishan)
# Chowkidar (1974) (lyricist)
# Naya Din Nai Raat (1974) (lyricist)
... aka New Day, New Night
# Shandaar (1974) (lyricist)
# Jwar Bhata (1973) (lyricist)
# Gehri Chaal (1973) (lyricist)
# Black Mail (1973) (lyricist)
... aka Kala Dhandha (India: Hindi title)
# Chhalia (1973) (lyricist)
# Ghulam Begam Badshah (1973) (lyricist)
# Kahani Kismat Ki (1973) (lyricist) (as Rajinder Krishan)
# Bombay to Goa (1972) (lyricist) (as Rajinder Krishan)
# Gaon Hamara Shaher Tumhara (1972) (lyricist)
# Maalik (1972) (lyricist)
... aka The Boss
# Shehzada (1972) (lyricist) (as Rajinder Krishan)
... aka Shahzada (India: Hindi title: alternative transliteration)
# Preetam (1971) (lyricist) (as Rajinder Krishan)
# Jwala (1971) (lyricist)
# Man Mandir (1971) (lyricist)
# Johny Mera Naam (1970) (lyricist) (as Rajinder Krishan)
# Dharti (1970) (lyricist)
# Ganwaar (1970) (lyricist)
# Gopi (1970) (lyricist)
# Jawab (1970) (lyricist)

# Anmol Moti (1969) (lyricist)
# Badi Didi (1969) (lyricist)
# Bhai Bahen (1969) (lyricist)
... aka Brother and Sister
# Doli (1969) (lyricist) (as Rajinder Krishan)
# Ek Shriman Ek Shrimati (1969) (lyricist) (as Rajinder Krishan)
# Intaquam (1969) (lyricist) (as Rajinderkishan)
... aka Inteqam (India: Hindi title: alternative transliteration)
# Pyar Ka Sapna (1969) (lyricist) (as Rajinder Krishan)
# Sachaai (1969) (lyricist)
# Waris (1969) (lyricist) (as Rajinder Krishan)
# Ek Kali Muskai (1968) (lyricist)
# Gauri (1968) (lyricist)
# Man Ka Meet (1968) (lyricist)
# Sadhu Aur Shaitaan (1968) (lyricist) (as Rajinder Krishan)
... aka The Sage and the Devil
# Mehrban (1967) (lyricist)
... aka Grace (International: English title)
... aka Obliged
# Ladka Ladki (1966) (lyricist)
# Neend Hamari Khwab Tumhare (1966) (lyricist)
# Pyar Kiye Jaa (1966) (lyricist) (as Rajinder Krishan)
# Jahan Ara (1964) (lyricist)
# Pooja Ke Phool (1964) (lyricist) (as Rajinder Krishan)
... aka Flowers for Worship
# Bharosa (1963) (lyricist)
# Bluff Master (1963) (lyricist)
# Yeh Raaste Hain Pyaar Ke (1963) (lyricist)
... aka Yeh Raaste Hain Pyar Ke (India: Hindi title: alternative transliteration)
... aka Yeh Rastey Hain Pyar Ke (India: Hindi title: alternative transliteration)
# Jhoola (1962) (lyricist)
# Main Chup Rahungi (1962) (lyricist)
... aka I Shall Remain Silent
# Prem Patra (1962) (lyricist) (as Rajinder Kishan)
... aka Love Letter (International: English title)
# Rakhi (1962) (lyricist)
... aka Filial Bond
# Chhaya (1961) (lyricist) (as Rajinder Krishan)
# Nazrana (1961) (lyricist)
# Sanjog (1961) (lyricist)
# Suhag Sindoor (1961) (lyricist)
# Bahaana (1960) (lyricist)
... aka Bahaana (India: Hindi title: alternative transliteration)
# Bindya (1960) (lyricist) (as Rajinder Krishan)
... aka Bindiya (India: Hindi title: alternative transliteration)
# Duniya Jhukti Hai (1960) (lyricist)
# Love in Simla (1960) (lyricist) (as Rajinder Krishan)

# Barkha (1959) (lyricist)
# Chacha Zindabad (1959) (lyricist)
# Duniya Na Mane (1959) (lyricist)
... aka The Unexpected (International: English title)
# Mohar (1959) (lyricist)
# Naya Sansar (1959) (lyricist)
... aka The New World (literal English title)
# Amar Deep (1958) (lyricist)
# Chandan (1958) (lyricist)
# Jailor (1958) (lyricist)
# Khazanchi (1958) (lyricist)
... aka Treasury
# Bandi (1957) (lyricist)
... aka The Captive
# Bhabhi (1957) (lyricist)
# Champakali (1957) (lyricist)
# Dekh Kabira Roya (1957) (lyricist)
# Gateway of India (1957) (lyricist)
# Miss Mary (1957) (lyricist)
# Payal (1957) (lyricist)
# Samundar (1957) (lyricist)
# Sharada (1957) (lyricist) (as Rajinder Krishna)
# Durgesh Nandini (1956) (lyricist)
# Mem Sahib (1956) (lyricist) (as Rajinder Krishen)
# Pocket Maar (1956) (lyricist)
# Shatranj (1956) (lyricist)
# Shirin Farhad (1956) (lyricist)
... aka Shirin and Farhad
# Taj (1956) (lyricist)
# Azaad (1955) (lyricist)
... aka Free (International: English title)
# Lagan (1955) (lyricist)
# Santosham (1955) (lyricist)
... aka Naya Admi (India: Hindi title)
# Teerandaz (1955) (lyricist)
# Kavi (1954) (lyricist)
# Chacha Chowdhury (1953) (lyricist)
# Ladki (1953) (lyricist)
# Ashiana (1952) (lyricist)
# Sangdil (1952) (lyricist)
... aka Jane Eyre
# Saqi (1952) (lyricist)
# Aaram (1951) (lyricist)
# Bahar (1951) (lyricist)
# Khazana (1951) (lyricist)
# Rajput (1951) (lyricist)
# Saagar (1951) (lyricist)
# Saiyan (1951) (lyricist)
# Sazaa (1951) (lyricist)
# Kamal Ke Phool (1950) (lyricist)
# Madhubala (1950) (lyricist)
# Shaan (1950) (lyricist)

# Amar Kahani (1949) (lyricist)
# Badi Bahen (1949) (lyricist)
# Patanga (1949) (lyricist)

Posted: 17 years ago

Kaifi Azmi


Kaifi Azmi

Birthplace: Azamgarh, U.P.
Profession: Poet, Bollywood Film song Lyricists
Family: Wife - Shaukat Azmi, stage artist, writer; Daughter - Shabana Azmi, Bollywood actress, Social worker, Member of Parliament, Rajya Sabha.
Born to a family of landlords in Majwan in the district of Azamgarh, UP, Kaifi Azmi was fortunate in having a liberal and modern father. His father took up a job as a tahsildar in various small towns in Uttar Pradesh. Although his father wanted Kaifi to have a modern "English" education, pressure from relatives who wanted him to be a theologian saw him admitted to the Sultan-ul-Madris seminary in Lucknow. He soon ran into trouble with the authorities there, organizing a union and launching a strike, which ran one-and-a-half years. Once the strike was called off, Kaifi Azmi was expelled and there ended his relatives' ambitions. Denied the kind of education he and his father wanted, Kaifi Azmi took courses at Lucknow and Allahabad universities that helped him acquire a command over Urdu, Arabic and Persian. Kaifi Azmi - The revolt within Kaifi, like most of the Urdu poets, began as a ghazal writer cramming his poetry with the oft-repeated themes of love and romance in a style that was replete with cliched similes and metaphors. However, his association with the Progressive Writers' Movement and Communist Party made him embark on the path of socially conscious poetry. In his poems he highlights the exploitation of the subaltern masses and through them he conveys a message of the creation of a just social order by dismantling the existing one. Such poetry serves a social purpose and in this respect Kaifi can be called a successful Progressive poet. The choice of his themes does not leave much scope for him to make rich his poetic creations aesthetically. In many of his poems his phonation is a bit louder, the style is direct and closer to rhetoric. Yet, Kaifi's poetry cannot be called plain propaganda. It has its own merits; intensity of emotions, in particular, the spirit of sympathy and compassion towards the disadvantaged section of society are the hallmarks of his poems. Kaifi's poems are also notable for their rich imagery and in this respect his contribution to Urdu poetry can hardly be overstated. Azmi Saab's stint in film includes working as lyricist, writer and almost an actor! His early work as storywriter was mainly for Nanubhai Vakil's films like 'Yahudi ki Beti' (1956), 'Parvin' (1957), 'Miss Punjab Mail' (1958) and 'Id ka Chand' (1958). But perhaps his greatest feat as a writer was Chetan Anand's 'Heer Ranjha' (1970) wherein the entire dialogue of the film was in verse. It was a tremendous achievement and one of the great feats in Hindi Film writing. Kaifi Azmi Saab also won great critical accolades for the script, dialogues and lyrics of M.S. Sathyu's 'Garam Hawa' (1973), based on a story by Ismat Chughtai. The film, chronicles the plight of the minority Muslims in North India and is set in Agra after the first major partition exodus. Balraj Sahni played to perfection the central role of an elderly Muslim shoe manufacturer who must decide whether to continue living in India or to migrate to the newly formed state of Pakistan. 'Garam Hawa' remains today one of the most poignant films ever to be made on India's partition. Azmi also wrote the dialogues for Shyam Benegal's 'Manthan' (1976) and Sathyu's 'Kanneshwara Rama' (1977). Kaifi Azmi - Film career As a lyrics writer though he wrote for numerous films, he would always be remembered for Guru Dutt's 'Kaagaz ke Phool' (1959) and Chetan Anand's 'Haqeeqat' (1964), India's greatest ever war film. In the former who can forget 'Bichde Sabi Baari Baari' or 'Waqt ne Kiya Kya Haseen Situm' and 'Hoke Majboor Mujhe Usne Bhulaya Hoga' or 'Kar Chale Hum Fida Jaan-o-Tan Saathiyon' in the latter. The last mentioned patriotic song causes goose pimples even when heard today. Some other notable films for which he wrote the lyrics include 'Uski Kahani' (1966), 'Bawarchi' (1972), 'Pakeezah' (1972), 'Hanste Zakhm' (1973) and 'Razia Sultan' (1983). He also played a memorable old man in 'Naseem' (1995),a touching film centered around the destruction of the Babri Masjid at Ayodhya. The film is set in June-December 1992, the days preceding the demolition of the Masjid on December 6, 1992 by Hindutva fanatics. Naseem (Mayuri Kango) is a schoolgirl belonging to a middle class Mumbai based Muslim family. She enjoys a warm relationship with her aged ailing grandfather (Azmi Saab). With increasing horror the family watches on their TV the news of the build up at Ayodhya while the grandfather regales her with stories of life in pre-independence Agra. The grandfather dies on December 6 coinciding with the news of the destruction of the mosque. Azmi Saab's brilliant performance provides not just a reminder but a literal embodiment of the cultural traditions at stake those tragic days. It was a performance his daughter, multiple National Award winning actress Shabana Azmi, was proud of. Kaifi Azmi passed away in Mumbai on May 10, 2002 following cardiac and respiratory infection. Time waits for none. This time it was Kaifi Azmi, the poet extraordinaire, who had to move on. Death came after a prolonged illness of 45 days.
The Best of Kaifi Azmi
Song Movie
Baharon Mera Jiwan Sanwaaro Aakhri Khat
Ye Nayan Dare Dare Kohraa
Waqt Ne Kiya Kya Haseen Sitam Kaagaz ke Phool
Chalte Chalte Yun Hi Koi Mil Gaya Tha Pakeezah
Tum Itna Jo Muskura Rahe Ho Arth
Dhire Dhire Machal Ai Dil Beqarar Anupama
Chalo Dildaar Chalo Pakeezah
Aane Waala Kal Ek Sapna Phir Teri Kahani Yaad Aayi
Ye Duniya Ye Mehfil Heer Ranjha
Dekhi Zamane Ki Yaari Kaagaz ke Phool
Mana Ho Tum Toote Khilone

Awards
Award Contribution towards
Uttar Pradesh Urdu Academy Award Aawara Sajdey
Soviet Land Nehru Award Aawara Sajdey
Sahitya Academe Award Aawara Sajdey
Maharashtra State Urdu Academy's Special Award Urdu literature
Lotus Award Afro-Asian Writers' Committee

Edited by manjujain - 17 years ago
Posted: 17 years ago
Cont. Rajendra Krishan

# Khel Mohabbat Ka (1986) (dialogue) (as Rajinder Krishan) (story) (as Rajinder Krishan)

# Ponga Pandit (1975) (dialogue) (as Rajinder Krishan)
# Bombay to Goa (1972) (dialogue) (as Rajinder Krishan)
# Maalik (1972) (dialogue) (as Rajinder Krishan)
... aka The Boss
# Shehzada (1972) (dialogue) (as Rajinder Krishan)
... aka Shahzada (India: Hindi title: alternative transliteration)

# Doli (1969) (dialogue) (as Rajinder Krishan)
# Ek Shriman Ek Shrimati (1969) (dialogue) (as Rajinder Krishan)
# Pyar Ka Sapna (1969) (dialogue) (as Rajinder Krishan)
# Sachaai (1969) (dialogue) (as Rajinder Krishan)
# Waris (1969) (dialogue) (as Rajinder Krishan)
# Gauri (1968) (dialogue)
# Padosan (1968) (dialogue) (as Rajinder Krishan) (screenplay) (as Rajinder Krishan)
# Sadhu Aur Shaitaan (1968) (dialogue) (as Rajinder Krishan)
... aka The Sage and the Devil
# Pyar Kiye Jaa (1966) (dialogue) (as Rajinder Krishan)
# Khandaan (1965) (dialogue) (as Rajinder Krishan)
... aka Aristocratic Family
# Pooja Ke Phool (1964) (dialogue) (as Rajinder Krishan)
... aka Flowers for Worship
# Bluff Master (1963) (dialogue) (as Rajinder Krishan)
# Prem Patra (1962) (dialogue) (as Rajinder Kishan)
... aka Love Letter (International: English title)
# Chhaya (1961) (dialogue) (as Rajinder Krishan)
# Nazrana (1961) (dialogue) (as Rajinder Krishan)
# Bindya (1960) (dialogue) (as Rajinder Krishan)
... aka Bindiya (India: Hindi title: alternative transliteration)
# Maa Baap (1960) (dialogue) (as Rajinder Krishan)

# Nagin (1954) (dialogues) (as Rajinder Krishan)

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