Sahir Ludhianvi

Sachin Dev Burman

Geeta Dutt

Dev Anand

ghazal

Pyaasa

.

When I think of lyricist, who would have turned 99 on March 8, my thoughts invariably turn to composer. The duo won the Baazi for Guru Dutt with “Tadbeer Se Bigdi Hui Taqdeer Bana Le” which introduced me to the magic of. It took a few years and a little maturity for me to appreciate the magic of Sahir too. And once I did, I never fell out of love.Years ago, when discussing the song, Baazi’s actor-producersaab recalled how people would stop by the Air Force station in Jodhpur, just to hear it. Sahir saab, however, was upset because the makers took his philosophical meanderings literally and set hisin a gambling den, with Geeta Bali pulling at the heartstrings. I believe the setting brought out profound depths in lines like, “Kya Khaak Woh Jeena Jo Apne Hi Liye Ho, Khud Mitt Ke Kissi Aur Ko Mittne Se Bacha Le.”Dada Burman and Sahir saab collaborated on several films between 1951 and 1957, till the latter reportedly severed the bond with a wayward comment that, a Guru Dutt classic revolving around a poet and a prostitute, owed its success to his lyrics. I can understand why this would upset the composer, but there’s no denying that the full range of his poetry was showcased in this 10-song score, from the trippy “Sar Jo Tera Chakraye” to the seething “Jaane Woh Kaise Log The” and the yearning of “Aaj Saajan Mohe Ang Laga Lo”. But the film’s writer, Abrar Alvi, had a problem with ‘the imagery inherent in “Yeh Mahalon, Yeh Takhton, Yeh Taajon Ki Duniya”. Before going in for a surgery, Abrar saab had outlined the situation to the lyricist, explaining that the poet-protagonist suddenly returns to life on his first death anniversary, to give a biting reply to his publisher’s eulogy. Derided, disillusioned and given up for dead, Vijay finally finds the true poet in himself with this song.He was delighted when Guru Dutt ji told him that Sahir saab had come up with a beautiful song, but when he played it for him in hospital, Abrar saab clutched his head in despair, pointing out that three years ago all princely states had been abolished and there were no mahals, takhts and tajs left. “We have to get a new song,” he urged. When Guru Dutt ji admitted they’d already recorded it, Abrar saab, a wordsmith himself, rewrote the eulogy which preceded the song. Rahman, the wily publisher, tells those who’d assembled to commemorate the poet, that had Vijay still been alive, he’d have moved him from the lanes reeking of poverty to a palace full of riches, coronated him with a crown of fame and seated him on the throne of their hearts. Hyperbole perhaps, but a masterstroke nevertheless, it ensured that “Yeh Mahalon” fit into the story and made a place in Hindi film history.In recent times, if anyone has shared my fascination for Sahir saab’s nazms, it’s Irrfan little interest in verse and wasn’t allowed to watch films. But while at the National School of Drama, Irrfan developed an interest in both. After that, it was inevitable that he’d discover Sahir. One night while rhapsodising over Gumrah’s “Chalo Ek Baar Phir Se Ajnabi Ban Jayein Hum Dono” he pointed out that, as an actor, he had never followed any rules. “I follow stories and characters, which makes me feel good about myself. I guess there’s a Sahir-ian in me too,” he laughed, admitting that his dream project would be a Sahir Ludhianvi biopic.They say that when you want something from the heart, the universe conspires to give it to you. Ashi Dua approached Irrfan to play the poet of his dreams in a film revolving around Sahir and Amrita Pritam’s love story. “Ever since I heard about the project, I was wondering why they were not coming to me with it. It’s the role I have been waiting for a long time,” a visibly delighted Irrfan, told me over the phone soon after he had bagged it.The project hit a roadblock… But the book on Sahir’s poetry stayed on the table in Irrfan’s home. The next time we met, there was talk of him playing the poet in Sanjay Leela Bhansali’s Gustakhiyan. “I’m hoping it finally happens,” he told me fervently. “Kya gaane likhe the!”The film was supposed to end with Sahir saab’s famous lines, “Kabhi Kabhi Mere Dil Mein Khayaal Aata Hai.” Irrfan confided that just that morning in the shower, while ruminating on another film, he was wondering why he couldn’t recite these very lines in that film. But, how would you justify it, I protested, remembering Abrar saab’s dilemma. With his wry, trademark grin he replied, “I guess I’m always looking for excuses to recite those lines. Yeh line toh mujhe bolna hi hai, if not on screen, I will record it and put it up on YouTube. They resonate with the love Sahir believed in, the love I believe in.”It’s been 40 years since Sahir saab left us, and four years since that conversation with Irrfan. His verse still resonates with me, and I think with Irrfan as well. So, it’s only fitting that I conclude this tribute with his own verse from Dev saab’s Munimji…