A poet for all reasons & a lyricist for all seasons
I will start this article with a question, Is there any Indian music lover who has never heard
songs of Majrooh?. It is really a great task to describe the charisma of Majrooh Sultanpuri
either as a poet or as a lyricist. A feeble attempt is made in this article.
He was the only lyricist who had a fabulous journey of 54 (58 years considering the release of
the movies) years starting from 1946, spanning over 350 films, more than 2000 songs,
outliving all his peers such as Shailendra, Sahir Ludhianvi, Shakeel Badayuni, Hasrat Jaipuri,
Kaifi Azmi etc. He adopted to the changing times with such an ease which has no parallel in
the industry. He was working on 6 projects at the time of his death!. He is the only lyricist to be
felicitated with Dada Saheb Phalke award till date which speak volumes of his genius.
Initially his love was poetry especially in the form ghazals. He even published an anthology of
33 Ghazals in 1959 and titled it “Ghazal” followed by second edition “ Mishaal e jan” which were
penned by him during the period from 1946 to 1953. Many of these Ghazals were used as
lyrics in the movies. He is considered as one of the finest Avant – garde Urdu poets of 20 th
century.
Though his 54 years of lyrical work had eclipsed his contribution of poet, his outstanding film
Ghazals, ease of poetry, handling the changing dynamics fluently always, equally proficient
from Pop and Rock & Roll to Gazals and Qawalis, was due to his poetic prowess in the inner
recess of his mind. The listening public never missed his poetry albeit in the form of film
lyrics, if not in its purest and classical form. A great solace is that his film lyrics reached more
listeners.
Majrooh was extremely easy going compared to most of the lyricists. It may be also due to his
first love being in poetry/Ghazals and the profession of lyricist more as a bread winner. He
never bothered when he was replaced by another lyricist nor he replacing other lyricist. His
”ego” never came in the way of his profession. Probably this mindset of him coupled with
“never die” work culture carried his demand for more than five decades and continued. He
had very few complaints and worked with great ease with his music directors. His adaptability
to nearly 2 generations of music directors and to the changing scenario of the liking of each
generations was amazing and unique. His lyrics were both peppy and serious and in tune with
the demand of the generation.
His lyrics has a vide spectrum whether it is Romance and love, Philosophy, playful, ched chad,
sad and pathos, flamboyancy, Melancholy etc. His lyrics had a wide spectrum ranging from
pathos personified in “ Jab dil hi toot gaya hum jeekekya kerenge ” ( 1946- K L Saigal ) to
hauntingly playful “ Kya janoo Sajan”, (2002- Kavitha Krishnamurthy). In between, the range
varied from “Chahoonga mai tujhe sanj savere” to “ Ek din bik jayega mati ke mol ”, from
“Uthayeja unke sitam to “ Dekhiye sahibo woh koi aur thee”, from” Jalte hai jiske liye” to ”
Angrezi main kehthe hai ke I love you, from “ Sham e gham ki kasam aaj” ” to “ Hum hai Matha
e-koocha”,from “Oh Haseena Julphon wali jaane jahan” to “ Oh Hansini, tu kahan chali mere
aramanon”, from “ Udhar tum haseen ho idhar dil” to “Goom hai kisi ke pyar mein”, from
“Panch rupaiya barah anna” to “Chod do aanchal Jamana Kya kahega”, from “ Jaane walo zara
Mudke dekho mujhe” to “ Meri bheegi bheegi si palkon pe” , from “Haal Kaisa hai Janab ka” to
“Oh mere dil ki chain” from “Jaiye appp kahan jayenge” to “Pehla Nasha pehla qumar “ , from “
Jaane kahan mera Jigar gayaji” to “Papa Kehta hai bada naam karega” and so on and so forth.
The above spectrum of songs evidence that Majrooh simply did not allow age to crease his
heart. He was equally at home in conveying the sensuality of a Mujra, the seduction of a
cabaret, the nuances of a Khawwali. He was equally at home to assume the lexis of every
generation from K L Saigal to Khans and beyond.
The first line in the mukda of the song “ Teri Ankhon ke siva duniya mein rakha kya hai” from
Chirag was borrowed from the Ghazal originally written by Faiz Ahmed Faiz. Mazrooh took the
permission from him and penned other suitable lyrics and gave due credit to him. Majrooh got
a call from Faiz himself congratulating the super composition of lyrics. Such was the
personality of Majrooh.
Born Asrar Ul Hassan Khan at Sultanpur on 01.10.1919, he had initial education in Madrasa,
later with a degree in Unani Medicine and a failed stint in medicine. His love for Ghazals
blossomed at a Mushaira and the journey later made him a poet rather than a Hakim. His
poetic name changed from Naseh ( Sincere Advisor) to Maj-rooh ( wounded soul) and he added
Sultanpuri and known as “ Maj-rooh Sultanpuri
A timely help from well known Jigar Moradabadi made him to come in contact with then famous
producer A.R Kardar at Mumbai who signed him to write lyrics for his magnum opus
“Shehjahan” starring the then super star K L Saigal. Naushad sab, the music director who was
also an young man took him in his stride. The song “ Jab dil hi toot gaya” became so popular
that K. L. Saigal wished the song to be played on his last journey (one year later in 1947) itself,
is a marker of Majrooh’s genius as someone trying to find his feet in the industry. Later, in
1949, all the songs in the multi starrer film “ Andaz” became super hit and songs of the movie
Arzoo in 1950 were also hits. There was no look back for Majrooh, and while he himself was
creating a reputation for him, his strong left leanings put him in to trouble. His politically
charged poems in 1948 landed him imprisonment for 2 years, when he refused to apologize.
He came with a bang after two years with association of Gurudutt in “Baazi” and “ Aar par”.
While the music of “Aar par “ was a litmus test for O P Nayyar of a higher degree, it was same
for the recharged Majrooh, albeit in a lesser degree. Both of them came out in flying colours not
one time but eight times as all the eight songs of “ Aar Par” were super hits. The association of
O P Nayyar and Majrooh ran for 22 films out of 56 films for which O P Nayyar composed music.
By that time the political inclination of Majrooh also dwindled and made him to shed some of his
his idealism and embrace the film industry in full.
Majrooh worked with a plethora of music directors from Anil Biswas , Naushad, Madan Mohan ,
O.P.Nayyar, Roshan , Khayyam, Salil Chowdhury , Usha Khanna, Chitragupt , N. Datta , Kalyanji
Anandji , S.D Burman, , Laxmikant-Pyarelal , Shankar Jaikishan etc. Next generation included
young music directors Rajesh Roshan ( son of Music Director Roshan) , Anand- Milind ( sons of
music director Chitragupt), not to forget R D Burman son of SD Burman}, Bhapi lahari, Anu
Mallik, Jatin-Lalit, Mansur Khan and others which no other lyricist could boast of. He worked
with two generations of Music directors with equal ease. His association with Nasir Hussain and
his sons/nephews is also legendary. Nasir Hussain fired Sahir Ludhianvi even after penning the
title song for the film “ Tumsa Nahin Dekha” due to some differences and Majrooh came in as a
replacement. The film was a musical hit and the songs were craze of the nation. Their
association continued for all 13 films from “ Tumsa Nahin Delha” to “Akele Hum Akele Tum”
produced under their banner thereafter over a period of about 40 years!
Other great contribution of Majrooh was in the field of “Ghazals”. Probably he along with other
contemporaries proved that the medium of ghazal has the ability to express all kinds of
subjects, emotions, feelings and ideas effectively and pleasingly. He experimented a lot and
with his artistry and political symbolism, he made changes in the classical Ghazals and created
modern Ghazal. It is to be remembered that those were the days when “Nazm” was considered
superior to Ghazals. Even when he was fully in to films, whenever he got a chance he wrote
excellent Ghazals such as “Kahi Bekhayal hokar” “ Koi Humdum Na raha koi sahara”, “ Ai dil
mujhe aisi jagah le chal”, “ Rehte the kabhi jinke dil mein hum”, “ Sham e gham ki kasam aaj
Ghamgin hai hum”, “Chale Gaye hum Bekhudi mein tumko pukare”, Tujhe kaya sunaoon mai
dilruba, Rehte te kabhi unke dil mein hum, Maayi re main, Bhaiya na daro, Tukde hai mere dil ke
ai yaar teri” etc
Majrooh’s great command on expressing feelings in Urdu as well in hindi with equal mastery
along with his peers like Shakeel Badayuni, Sahir Ludhianvi, Kaifi Azmi, Shalendra was note
worthy. His lyrics had the capacity to reach deep down inside you.
Adaptability was the finest and positive trait of Majrooh. He was equally comfortable with
Naushad who was famous for classical tunes and also to Rock and Roll strains of O P Nayyar
and R D Burman. His song “ Dekhiye Sahibo, Who koi aur thi” from the movie “ Teesri Manzil”
was a pseudo – rap song and the lines were suited very well for a Rap song. Another adaptability
was his readiness for writing lyrics to a tune which is already composed, unlike Sahir who
insisted on tuning to his lyrics. This trait of him probably got him works which were left by Sahir.
It was also in the news that Sahir demanded more money than the Music Directors which made
him to loose O P Nayyar, S D Burman and others after successful association with them. Music
directors such as Shankar Jaikishan, Naushad did not work with Sahir even though Sahir was
considered as one of the greatest Urdu poet of all times. Naushad who had hits such as
Shehjahan, Andaz and Aarzoo with Majrooh initially, never worked with him for nearly 15 years
may be due to his left leanings. The combination of Shakeel Badayuni and Naushad was very
successful and their bondage was well known and continued for 22 movies till the sad and
untimely demise of Shakeel Badayuni. After 15 years when Naushad recalled him for his film
“Saathi” he willingly accepted and wrote superb lyrics. More over, Majrooh’s daughter was also
married to Naushad’s son. He was never worried on trivial things and was large hearted. After
the separation of S D Burman- Saahir combination, Majrooh was the first choice and penned
some memorable songs. The combination of Shailendra and S.D Burman gave some excellent
songs and with demise of Shailendra, Majrooh was recalled for the movie “ Jewel thief” and the
songs were super hit.
As early as in 1954, he willingly agreed to change the lyrics of the song “ Sun sun Zalima humko
tumse pyar ho gaya” from grammatically correct to popularly correct words on the advise of
Gurudutt and continued to do so thereafter. When Madan Mohan gave an identical tune for a
Talat song “ Ye hawan ye raat ye Chandni” written by Rajendra Krishan and music by Sajjad
Hussain from the film Sangdil, for his film “ Aakri Dao” Majrooh had no qualms in penning
beautiful lyrics “ tujhe kya sunavun main dilruba”. His lyrics for the song “ Tum bin Javun Kahan”
for the movie “Pyar Ka Mausam” has 4 parts ( in reality there are 4 songs) sung by Rafi and
Kishore on different occasions, which were effectively used and defined the whole film.
Unknowingly he launched many music directors to fame with his lyrics. The popularity of O P
Nayyar after “Aar Paar”, that of R D Burman after “ Teesri Manzil” and debut of Usha Khanna
after “ Dil Dekhe Dekho” rose to dizzy heights. His lyrics for the film “ Maya” were noteworthy
especially Salil Chowdhary woving divine compositions.
Majrooh worked most with RD Burman followed by Laxmikant Pyarelal, OP Nayyar and S D
Burman. He also had very successful association with Jatin- Lalit in 90’s.
My choice of 25 songs out of over 2000 Song and description!
Choosing 25 songs out of over 2000 songs and out of which at least more than 1000 songs are
worth repeated hearing, is indeed a herculean task. I have at least 200 songs which merits the
muster of 25 songs and this makes task in hand much more difficult. It is true that many
popular songs do not figure in the list. I have chosen 25 songs on its impact on the ardent music
lovers, beauty of the lyrics, adaptability to situation, excellent rendition of singers and over and
above the wonderful composition of the songs , more than its popularity. Simple click in mobile
and in Laptop use Control +Left click on the link to open the song in you tube.
25 Tum bin Javun Kahan (Pyar ka Mausam)
Kishore kumar (R.D Burman)
The lyrics of this song define the whole film, In the movie this song is on 4 occasions ( first of its
kind) , sung twice by Kishore and twice by Rafi. There are different antaras on 4 songs with
same Mukhda excellently penned by Majrooh. I chose Kishore song for the exuberance and
additional efforts put by him in this song over the version of Rafi.
24 Papa Kehte hai Bada Naam (Qayamat se qayamat tak)
Udit Narayan (Anand Milind)
How beautifully Majrooh has caught the practical situation of middle class wherein fathers of
that generation never expressed their love to kids but the care and sacrifice for their children
was real . Who ever hear this song is reminded of such care and sacrifice. This is the
uniqueness of lyrics of Majrooh. Another song in this film “ Ae mere humsafar is tarah intezar”
was hugely popular
23 Jab dil hee toot Gaya (Shehjahan)
K L Saigal (Naushad)
This is probably the second filmi song of Majrooh. In this pathos personified song, K L Saigal
excel in his acting prowess. Saigal Chose this song to be played in his funeral march when he
was in death bed in 1947, speaks volumes of genius of Majrooh who was a entry level lyricist
22 Raat Kali ek Khwaab main aayi (Buddha MIl Gaya)
Kishore Kumar (R D Burman)
Majrooh’s lyrics blend excellently with Hrisihikesh Mukherjee’s middle class values and
sensibilities to create one of the most evergreen songs in Hindi cinema.
21 Patthar ke sanam tujhe (Patthar ke sanam)
Mohd Rafi
(Lakshmikant Pyarelal)
Superb lyrics such as “Chehra tera dil me liye, chalte rahe angaron mein” and rendition in a
high pitch with such an ease and modulation, which only Rafi can do justice, is a master piece
20 Yeh dil na hotha Bechara (Jewel thief)
Kishore kumar (S.D Burman)
Who other than Majrooh could have written such flamboyant lyrics to the flamboyant hero. A hit
even today especially when he wrote lyrics for this film after the untimely demise of Shailendra,
who was engaged for this film
19 Wadiyan Mera Daman Raaste ( Abhilasha)
Mohd Rafi ( R D Burman)
Majrooh brings in the idealogy of earth as mother with super lyrics. What a beginning
“Wadiyan mera daaman Raaste mere bahein” in this classic composition of R.D Burman
18 Pehla Nasha Pehla Qumar (JO Jeeta Wohi Sikandar)
Udit Narayan & Sadhana Sargam (Mansoor Khan)
One can wonder at how beautifully Majrooh defines first love Pehla Nasha in an Indian
context. The words are in full syncronizaton with the composition and music infuse a slow
intoxication of the first crush. The youthful innocence and dreams of everlasting intimacy has
been captured so well in the lyrics
17 Tu Kahe Agar Jeevan bhar (Andaaz)
Mukesh (Naushad)
All the songs of “ Andaaz” were great hits. Amongst 4 songs of Mukesh, this song is chosen for
the simple yet powerful lyrics. This immensely piano fitting tune was so popular that
Rajendrakumar wanted a film to be made in similar lines with him as a hero, with Music by
Naushad and lyrics by Majrooh!
16 Hai Apna dil to Aawara (Solva Saal)
Hemant Kumar (S D Burman)
A time less song has a very fluent , free flowing and simple lyrics suiting the occasion. This
super composition of S.D.Burman has voice of Hemant kumar, mouth organ by R.D Burman,
Mandolin by Laxmikant and filmed on debonair Devanand.
15 Rahen na rahen hum (Mamta)
Lata Mangeshkar (Roshan)
Majrooh scores in this song with very simple lyrics with deep philosophical meaning which are
so positive and vibrant. This song is considered as appropriate tribute to Lata Mangeshkar
14 Jaane kahan mera jigar gayaji (Mr & Mrs 55)
Mohd Rafi & Geeta dutt (O P Nayyar)
This fun song is really “funny”.. Neither too lovey-dovey or cringe, nor too emotional. Well
picturized on Johny walker and Yasmin. Yasmin steals the show with her expressions and Rafi
scores with his modulation for Johny walker. The peppy lyrics and composition of OPN
completes this masterpiece.
13 Chale Gaye hum Bekhudi mein (Kala Paani)
Mohd Rafi (S.D Burman)
This superb song has all the qualities of a modern Ghazal with Majrooh forgetting one that it is
a filmi Ghazal. One of the gems after association with S D Burman A super rendition by Rafi to
the tunes of S.D Burman.
12 Jaare jaare ud jaare panchi ( Maya)
Lata Mangeshkar Sallil Chaudhary
This ultra melodious song wherein Salil chaudhary has done a matching justice with the
excellent lyrics of Majrooh. Apart from Salil Chaudhary, the musicians especially with flute and
saxophone race with the divine rendering of Lata. A real toss with other duet In the same
movie “ Tasveer teri dil mein jis din se”
11 Hum hai Mata-e-kucha (Dastak)
Lata Mangeshkar (Madan Mohan)
This non filmi Ghajal penned several years before by Majrooh, turned in to a filmi ghazal is so
opt to the situation in the movie. When Majrooh suggested this song, both Madan Mohan and
Rajendra singh Bedi (director of the film) had no second thoughts. The lyrics in chaste Urdu is
heavenly and the combination of Lata & Madan doing full justice with excellent filming by
Rajendra singh Bedi.
10 Na hum tumhe Jaane (Baat ek raat ki)
Hemant kumar
suman kalyanpur
(S.D Burman)
The soothing voice of Hemantkumar and suman kalyanpur are indeed addictive. Deep soul
searching lyrics of Majrooh add to the whole effect. His great command on feelings in hindi too
is in full view.
09 Jaiye Aap Kahan Jaaye (Mere Sanam)
Asha Bhonsle (OP Nayyar)
The combination of Majrooh and O P Nayyar is really a mile stone in golden era of Music.
Starting from Aar Paar, this duo has entertained us with both melody and rhythm in 22 films.
This song is a highly refreshing song with superb romantic lyrics and orchestration. De stress
yourself whenever you need.
08 Chalri Sajni ab kya soche (Bombai ka Babu)
Mukesh ( S.D Burman)
Majrooh silenced the critics with this super song which has lyrics touching the inner chords of
the heart of the listener. This superbly composed song is an absolute masterpiece, much
ahead of its time, even intriguing in contemporary context.
07 Rahi Manava Dukh ki chiinta (Dosti)
Mohd Rafi (Laksmikant Pyarelal)
What a refreshing attitude as the lyrics suggests suffering is nothing to be afraid of, in fact it is
your best friend. The lyrics are very simple and plain statement and no heavy duty in it .
06 Kahin Bekhayal Hokar (Teen Deviyan)
Mohd Rafi ( S.D Burman)
It is one of the underrated songs in all three aspects, whether it is modern romantic filmi ghazal
of Majrooh, mesmerizing voice of Rafi and excellent composition of S.D Burman. Mercifully
every bit of excellence has come together in this song. The beauty of lyrics is not lost in the
magic of Rafi’s voice or the fantastic creation of SD Burman and vice versa.
05 Teri Aankhon ke siva (Chiraag)
Mohd Rafi & lata Mangeshkar (Madan Mohan)
The original Lyricist of first line of this song “ Faiz Ahmed Faiz” showered heavy praise on
Majrooh for the full composition. The overall effect of this song is ethereal with Rafi/Lata and
Madan mohan doing their best.
04 Yeh lo main haari piya (Aar paar)
Geeta Dutt (OP Nayyar)
The greatest of the “Par” song of the film “ Aar Paar” wherein O P Nayyar came out winner in
litmus test. The romantic lyrics of Majrooh and the mellifluous voice of Geeta Dutt is a winner
even today. While “Babuji Dheere Chalna” and “Sun sun Zalima “ of this film were very popular,
this song ticked all the boxes.
03 Jalte hai jiske liye (Sujatha)
Talat Mehmood (S.D.Burman)
Majrooh comes out with great lyrics and Talat Mehamood with his epic golden vibrations to
his silky mellow voice, a rare & unique style of singing, brings in the right mood to the situation.
This supremely composed song of S D Burman has a matching picturisation by Bimal Roy.
What stands out in this supreme creation is the lyrics poignantly portraying the emotions of
conflict between the existing situation and the new love( future).
02 Jag Dile Deewana (Oonche log)
Mohd. Rafi (Chitragupta)
This song is superb culmination of talents of Majrooh, Rafi and Chitragupta. Listen to this song
anytime of the day; it never fails to evoke the early morning freshness & euphoria. Majrooh
describe early morning feelings on this song with so perfection and Rafi saab has conveyed
the emotions in his beautiful silky soft voice and rendered in very light feather like style. A real
stress buster.
01 Tere mere milan ki ai raina ( Abhiman)
Kishore kumar
Lata Mangeshkar (S.D Burman)
No lyrics can personify the repenting couple seeking their future. In a dramatic finish, Hrishida
brings in an effective climax wherein the couple shedding their egos aside, finally accept each
other to make a better future instead of past suffering. The lyrics to such a climax is par
excellence and the end product is a gem. I had no qualms in choosing this song as Numero uno
amongst “Unos”
Ironically, it is also true that his pen name Maz-rooh ( wounded soul) was so symbolic till the end
that he was not given his due credit as a poet-lyricist even though he was the most prolific and
enduring amongst his peers. He received only one Film fare award while lesser mortals had
more felicitations. Even though his major works are in the form of lyrics for films, his first love
was poetry/Ghazals. He even called films as “Nautanki” and the lyrics inferior to poetry.
Irrespective of his opinion, for less mortals like us, his lyrics over 54 years took us in a fabulous
musical journey.
I am reminded of our yesteryear life which used to be so simple, easy without any great and fast
frills of technology. For music buffs, and to that simple life, was added the evergreen melody
of those yesteryear, that was an end in itself, so complete, so satisfying, so replete with meaning.
Majrooh played a prominent and long lasting role in this fabulous journey we are having till now.
He used to say that he could not achieve much in his life and probably it was due to realization of
his immense poetic potential which was not put to use due to circumstances.
He summed up his journey saying “ Aadha ilm ( Knowledge) Aadha film!
Caveat:
This article is penned by me and for which data was collected from various sources, which is believed to be authentic and true.
Narayanaswamy B.S.
Valuation Consultant
Bengaluru
Mob: 8105229392
E mail: bsnswamy1956@gmail.com
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