Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Ae hairat e aashiqui jagaa mat

Posted on: August 18, 2019


This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4048 Post No. : 15177

Clad in starched white kurta and pyjama with an unshaven face, his appearance gives an impression of a Bengali intellectual. His early association with Bimal Roy, Hrishikesh Mukherjee, Hemant Kumar and Salil Chowdhary supported that impression of mine until one day I came to know that he was born in a Sikh family in pre-partition Punjab.

Yes, he is Sampooran Singh Kalra, better known by his pen name, Gulzar (born on 18/08/1934) who turns 85 today and is still active in pursuit of his first love – writing poems and short stories. He continues to be associated with Hindi films with occasional indulgence as a lyricist. His association with Hindi films started, first as a lyricist followed by screen-play/dialogue writer and finally as a producer/director. He has already spent nearly 6 decades in Hindi film industry and this association is continuing.

Gulzar saab had spent nearly a decade (1950s) in the company of some of the writers/poets of Progressive Writers Association such as Krishan Chandra, Khwaza Ahmed Abbas, Shailendra, Sahir Ludhianvi, Sagar Sarhadi etc, who were associated with Hindi film industry. But he was not attracted towards making a career in Hindi film industry. His interest was to become a poet/writer like Mirza Ghalib and Rabindranath Tagore.

Gulzar saab was destined to be associated with Hindi films and Shailendra became a catalyst in introducing him to the Hindi films. When he advised him to meet Bimal Roy for writing songs for ‘Bandini’ (1963), Gulzar saab’s first reaction was ‘I do not want to be a lyricist’. It was only when Shailendra reprimanded him for losing the opportunity to work with a great film-maker, Bimal Roy and the music director, S D Burman, Gulzar saab relented and wrote his first song mora gora ang lai le mohe shyaam rang dai de for the film.

By the way, this was the only song Gulzar saab wrote for ‘Bandini’ (1963) and for S D Burman. But this song opened up his association with Bimal Roy as Assistant Director in Bimal Roy Productions and became his grooming ground to learn the art of screen-play/dialogue writing and the film direction.

Gulzar saab is one among a few film lyricists of the golden period of Hindi film music about whom much has been documented through articles, memoirs and scores of his interviews both to print as well as electronic medias. I had also covered his journey into the Hindi film industry in my article while covering the song shaam se aankh mein nami si hai. So, I will skip the details about his celluloid journey. Broadly, Gulzar saab’s filmy career can be divided into three main phases.

During the first phase (1960-1970), Gulzar saab mostly worked as lyricist with his music directors like Salil Chowdhury and Hemant Kumar who were his colleagues in Bimal Roy Productions. Out of 16 films he was associated as lyricist in this phase, as many as 10 films were with music directors Salil Chowdhury and Hemant Kumar. He also worked with Hrishikesh Mukherjee as a screen-play/dialogue writer for films like ‘Aashirwad’ (1968), and ‘Anand’ (1970).

In the second phase (1971-1999) Gulzar saab’s career was the most active as a screen-play/dialogue/song writer and producing/directing the films. He was associated with 60 Hindi films of which he directed 19 films. Almost all of his films which he directed come in the definition of ‘middle of the road’ films which included ‘Mere Apne’ (1971), Aandhi’ (1975), ‘Mausam’ (1976), ‘Angoor’ (1982), ‘Lekin’ (1991), ‘Maachis’ (1996). Though none of the films he directed created ripple in the box office front, these films are regarded as classic in the history of Hindi films.

Gulzar saab’s association with Sanjeev Kumar and R D Burman was the highlights of his second phase in Hindi film industry. Sanjeev Kumar acted in Gulzaar saab’s films, ‘Koshish’ (1972), ‘Aandhi’ (1975), ‘Mausam’ (1976), ‘Angoor’(1982),and ‘Namkeen’ (1982). With R D Burman, Gulzar saab worked for 23 films writing 101 songs. The association would have continued but for the untimely death of Sanjeev Kumar in 1985 and of R D Burman in 1993.

The third phase of Gulzar saab’s filmy career started in the new millennium and is continuing. After the release of his film ‘Hu Tu Tu’ (1999), he had taken a decision to give up producing and directing films as he wanted to devote a considerable time in writing. In this phase, he has confined himself mostly as a lyricist and occasionally script/dialogue writing.

During this phase, Gulzar saab has been associated with the third generation of music directors like A R Rahman, Shankar-Ehsaan-Loy, Vishal Bhardwaj. He has already written lyrics for Vishal Bhardwaj in 19 films so far and perhaps he may break his own record of the highest number of films with R D Burman(23 films). He seems to be as comfortable with the new generation as he was with the older ones.

In the 1960s, he wrote songs like hawaaon pe likh do hawaaon ke naam for Hemant Kumar. Almost 5 decades later, he also wrote a rustic song ‘beedi jalaayi le jigar se piya’ for Vishal Bhardwaj. Both these songs have unusual imageries. The first one is about the nature giving the ‘feel good’ factor. The second song, though sounds rustic, has not prevented Gulzar saab sharing his thought on the real side of the world in two lines:

Dhuaan na nikaari o lab se piya
Je duniya badi dhaank hai

[O beloved, do not exhale smoke from your lips (from beedi)
The realities in this world are already masked].

Once, A R Rahman after getting explanations from Gulzar saab on his song, jiya jale jaan jale commented ‘Gulzar saab, you are a poet of imageries. I will amend his comment to say that Gulzar saab is a poet of unusual imageries. His six songs which I have covered during the last two weeks for the Blog would give the readers the taste of his unusual imageries/metaphors, choice of words and vocabularies.

I have been following Gulzar saab’s songs for many years. For me, he is an extension of what Sahir Ludhianvi did in 1950s to 1970s – to make the song lyrics an important part of Hindi film music. Though Gulzar saab belongs to the old generation of lyricist, he still gels well with the new generation. From the year 2000 until now, Gulzar saab has written lyrics for about 60 films. ‘I am going with the flow, but making sure that my aesthetics are in place,’ he had said in a recent interview.

There is another side of Gulzar saab’s personality. He has been active in writing short stories and poems side by side with his filmy career. Many of his short stories and poems have been published. He has received Sahitya Akademy Award for his Urdu book ‘Dhuaan’ in 2002. He has been associated with the children’s poems -both in films/TV and in prints. His most popular among jingles, ‘jungle jungle pata chala hai’ for ‘Jungle Book’ (1993) in Hindi which was telecast on Doordarshan, has become synonymous more with his name than its creator, Rudyard Kipling. Gulzar saab has done such a vast work of writing short stories and poems that they require a separate article which I intend to write some other time.

Gulzar saab’s association with R D Burman in 23 films has been one of the important segments in the history of Hindi film music. I regard Gulzar saab’s collaboration with A R Rahman, the continuation of that process. In fact, I feel that after the untimely death of R D Burman in 1993, A R Rahman has carried forward ‘Pancham’s legacy’ with refinements as new techniques and new types of musical instruments have emerged.

Hence, on the occasion of Gulzar saab’s 85th Birthday, I have chosen one of the songs born out of Gulzar-Rahman collaboration, ‘ae hairat-e-ashiqui jagaa mat’ from the film ‘Guru’ (2007). The song is mainly a duet sung by Hariharan and Alka Yagnik with Mohammed Aslam singing Sufi chants in the prelude and the first interlude with chorus singing in the second interlude and at the end of the song.

A R Rahman, in an interview published in the book ‘A R Rahman, The Spirit of Music’ (2012) by Nasreen Munni Kabir has revealed that whenever he gets stuck in composing tune for a given situation in the film, he has relied on the melodies of Amir Khusrau, Bulleh Shah and Subramania Bharati. The song under discussion was one of such songs for which A R Rahman relied on the melody of Amir Khusrau’s composition, ‘ae sharbat-e-aashiqui’. Rahman has based the tune on Raag Yaman Kalyan. Gulzar wrote the lyrics to the tune as per the song situation in the film.

I wish Gulzar saab a very happy and a healthy 85th Birthday. I remember his song ‘dil to bachcha hai jee’ from ‘Ishqiya’ (2010). I hope that the ‘bachcha’ (child) in his heart will inspire him to write many more poems of unusual imageries and metaphors in the years to come.

Video Clip:

Audio Clip:

Song-Ae hairat-e-ashiqui jagaa mat (Guru)(2007) Singers-Hariharan, Alka Yagnik, Mohammed Aslam, Lyrics-Gulzar, MD-A R Rahman
Chorus,
Alka Yagnik & Chorus

Lyrics(Based on Audio Clip)

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena
dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena

ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
ae hairat-e-aashiqui
ae hairat-e-aashiqui

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena

kyun Urdu Faarsi bolte ho o o
kyun Urdu Faarsi bolte ho
dus kehte ho do tolte ho
jhoothhon ke shanshahaa bolo na

kabhi jhaankon meri aankh….en
kabhi jhaankon meri aankhen
sunaayen ik daastaan
jo honthhon se ae kholo na
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
ae hairat-e-aashiqui
o o o
ae hairat-e-aashiqui

dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara

do chaar maheene se lamhon mein
do chaar maheene se lamhon mein
umron ke hisaab bhi hote hain
jinhen dekha nahin kal tak
jinhen dekha nahin kal tak
kahin bhi ab kok mein
woh chehre bote hain

ae hairat-e-ashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui

ae hairat-e-aashiqui
o o
ae hairat-e-aashiqui

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena
o o o

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena

4 Responses to "Ae hairat e aashiqui jagaa mat"

Hullo Sadanandji/ atulji
Thank you for this wonderful post on the birthday of the young-at-heary Sampooran Singh Kalra.
A personal favorite along with Anand Bakshi, Majrooh, Rajinder Krishan, and Sahir.
And the songs of Gulzar Saab that u ve mentioned and all his others don’t fail to astonish the listener with their unusual imagery
A very happy birthday to this youngster

Liked by 1 person

@Kamath Sir ji,
many thanks for this post and here is wishing Gulzar Saab a very happy birthday and a healthy and ‘poetic’ peaceful life ahead …
Thanks for the post giving details of Gulzar Saab’s works divided phase wise or decade wise in Hindi movies.
I think I will have to go back again to ‘shaam se aankh mein nami si hain’…
– Kindly correct the year of passing of Pancham Da – it should be 1994,

– Beedi jalaile – I always thought it is ‘ye duniya badi ghaagh’ hai’.
Though I have not watched this movie, but listened to this song many times recently. Today when I checked online sources after reading your post I found even some sources mentioning it as ‘jhaag’ or ‘dhaank’ which is not correct, I think.

– I have not watched this movie ‘Guru’ but have been listening to its popular songs earlier, but except the today’s song which I think I have listened today only. And I listened to it again and again.
– And Gulzar Saab’s huge contribution and his literary works is definitely giving us many more opportunities and many many more posts in the future,
Thanks,

Liked by 1 person

Avinash ji,
I am glad that you liked the song.

About the song ‘beedi jalaile’ ,I heard the song once again and the word is ‘dhaank’ indeed.

‘Dhaank’ means something to cover or conceal and this word fits well with ‘dhuaan’. Gulzar saab has used ‘dhuaan’ as metaphor for mask which has covered the reality of the world.

‘The real world is already concealed with the mask so so not exhale smoke from the lips to make the world more shrouded’ That’s what Gulzar saab intended to convey through two lines I mentioned in my article..

Like

‘so so’ to be read as ‘so do’.

Like

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