A hundred and three years since he was born, and almost 44 years since his demise, the poetry and Hindi film song lyrics of Sahir Ludhianvi do not merely survive. Sahir’s works continue to inspire and resonate with readers, music lovers and foremost – The poets and songwriters of today.
Sahir’s songwriting for Hindi movies is legendary for retaining the fragrance and freeness of Hindi-Urdu poetry. Not many Hindi film lyricists can claim to have done so. Sahir achieved this despite the demands of fitting the song into a movie’s plot and the music composer’s take. From his Hindi movie songwriting debut in 1949 to his sudden demise in 1980, Sahir wrote many memorable, beautiful songs that continue to be appreciated by millions of listeners.
9PMMOVIES presents the five best Sahir Ludhianvi songs:
Abhi Naa Jao Chodh Kar | Hum Dono (1961) | Music – Jaidev | Singers – Mohammed Rafi, Asha Bhosle |
Among the countless Hindi love songs, there simply isn’t anything as soothing and timelessly romantic as Abhi Naa Jao…
Hum Dono begins with this duet, and I haven’t heard a sweeter list of complaints on meeting, parting, and how any amount of time, is not enough, when lovers are together.
I could only nod in agreement when Rafi goes in one breath: Adhoori aas/ Adhoori aas chhod ke/ Adhoori pyas chhod ke/ Jo roz yoon hi jaogi/ To kis tarah nibhaogi/ Ke zindagi ki raah mein/ Jawan dilon ki chah mein/ Kayi makaam aayenge/ Jo humko aazmayenge/ Bura na maano baat ka/ Yeh pyar hai gila nahi… (incomplete hope/leaving with incomplete hope/every day that you leave/then how will you fulfill/that in this life’s path/in the desire of young hearts/several stages will arrive/that will test us/don’t mind my words/it’s love, not a complaint…)
Also, the female’s counter, and her argument to leaving, starts with an ode to nature and lamps. Sahir serenades with the sparkling stars (sitaare jhilmila utte) and glowing lamps (charaag jagmagaa utte), that day is now evening. In a way, Sahir conveys the social boundaries of those times – When unmarried women were supposed to be home before dusk.
Sahir’s lyrics aside, the minimal arrangements by Jaidev and wonderfully sublime singing, especially by the great Rafi, elevates this to a classic. Six decades on, still the go to song in the age of swipe right/left dating apps.
Jinhen Naaz Hai Hind Par | Pyaasa (1957) | Music – S.D. Burman | Singer – Mohammed Rafi |
This quieter, subdued ode to a country’s dark side is more devastating in effect to the climatic Pyaasa song – Yeh Duniya Agar Mil Bhi Jaye. The understatement, the recurring tone of resignation, and the great Rafi vocals simmering down to match the character.
I can’t think of another Hindi movie song that in stark tones describe brothels, prostitutes and the ‘esteemed’ customers. An excerpt of the damning lyrics: Yahaan pir bhi aa chuke hain jawaan bhi/ Tanomand bete bhi/Abbaa miyaan bhi/ Ye biwi bhi hai/Ye biwi bhi hai aur/ Behan bhi hai maa bhi…/ Jineh naaz hai hind par woh kahan hai… (Saints have come here and the young too/Healthy sons also/Elderly fathers too/She is also a wife/Sister and a mother too/Those who are proud of the nation, where are they)
I can’t think of any lyricist today who can end a song as Sahir does – Calling out to the leaders of the land, imploring that they be shown these lanes, these scenes.
That’s democracy for you – The right to converse with, and question authority without fear of repercussions.
Main Zindagi Ka Saath Nibhata Chala Gaya | Hum Dono (1961) | Music – Jaidev | Singer – Mohammed Rafi |
The philosophy of life distilled into a smoking celebration, echoing the ancient Greek stoic philosophy – To let go of what we have lost, to view happiness and sadness on equal scales.
There have been many life-affirming Hindi songs since. But few that equal the simplicity, charm of this Rafi solo. The great singer matches the subtle composition bends. This may deceptively seem an easy playback singer’s song, it is not.
The greatest Hindi film songs are also telling stories in audio-visual. The lighter’s theme that leads to remembrance and a breezy philosophy is seamlessly done. They don’t make it like Main Zindagi Ka Saath that often. A ‘once in a generation’ song.
Tang Aa Chuke Kashma-Kashe Zindagi Se Hum | Pyaasa (1957) | Music – S.D. Burman | Singer – Mohammed Rafi |
Sub-consciously, on reflection, my initiation to art and poetry was via the HMV audio cassette of Pyaasa (Side A) and Sahib, Bibi aur Ghulam (Side B). Hindi movie song listeners are so used to a song with a start, paragraphs and intermittent music, that the Pyaasa soundtrack, side A, had four verses with minimal music apart from songs, immediately made my ears shoot up.
A poet’s lament on his struggle-wrangled life, the striking part is when, in the movie, as reproduced in the soundtrack, one in the audience goes, “Why are you singing such a resigned vibe at a happy occasion?”
The answer: Hum gham zada hai/Laaye kahan se khushi ke geet/ Kahan se khushi ke geet…/ Denge wahi jo payenge iss zindagi se hum/ Denge wahi jo payenge iss zindagi se hum (I am miserable/From where to gather a happy song/I am only express what I experience in life)
That sums up a true poet for me – They will only express what they feel. Simple thought, memorable expression. Sahir had the uncanny ability to resonate truths, as it turns out, across generations.
Tu Hindu Banega Na Musalman | Dhool Ka Phool (1959) | Music – N.Datta | Singer – Mohd. Rafi |
Trust Sahir to water it down to the basic simple truths on the politics of religion. In this quietly telling song, a paragraph goes: Ye din ye tajar ye/ Watan bechane vale/ Insaan ki laaso ke/Kafan bechne waale/ Ye mahelo me bhethe/ Hue kaafir ye lutere/ Kaanto ke ye majno hai/ Chaman bechne waale… (Those who sell this day and wealth/Those who sell this country/Those who sell the coffin of human beings/The looters and the ungrateful who live in palaces/These fanatics from thorns/Selling the country…)
Sahir was not one to mince words. Where other lyricists would have stopped at waxing eloquent about communal harmony, Sahir holds a bold mirror to corruption, and sadly, the song continues to echo and stay relevant in our times.
Afterword: Sahir Ludhianvi’s other 5 great Hindi film songs
Here is a list of five other songs Sahir Ludhianvi made immortal:
Aurat Ne Janam Diya Mardo Ko/ Sadhna (1958): Powerful, damning, ironical poetry on the state of women.
Chalo Ek Baar Phir Se/ Gumrah (1963): The ultimate Ravi-composed song on parting lovers, with undercurrents of ‘maybe we aren’t done yet.’
Kabhie Kabhie Mere Dil Mein / Kabhie Kabhie (1976): Timeless Mukesh-Lata love duet to Khayyam’s soothing music.
Mann Re Tu Kaahe Na Dheer Dhare/ Chitralekha (1964): A Roshan gem ignited by Sahir’s reflection on the restless mind, voiced by the great Rafi. One of a kind, deep philosophy.
Na To Karavan Ki Talash Hai/ Barsaat Ki Raat (1960): The best qawwali ever in a Hindi movie? Arguably – Yes! A Roshan composed gem.
Sahir Ludhianvi was born on March 8, 1921. He passed on October 25, 1980. The article was written on the occasion of the poet and lyricist's 103rd birth anniversary.
(Article by Snehith Kumbla)
