Ek Fankaar, any artist's life, filmography, Suraiya Jamaal Sheikh, S D Burman, Options

[rashmi mehta]

page no : 1
SURAIYAJI
S. D. BURMAN
MADHUBALA
SARASWATI RANE
NUSRAT FATEH ALI KHAN
SHAUKAT DEHELAVI NAASHAD
DEVIKA RANI CHAUDHURY
SUDHA MALHOTRA
RAJKUMARI DUBEY
JATIN LALIT
BULO C RANI

page no : 2

SHARMILA TAGORE
INDEEVAR
SHAKTI SAMANTA
M E E N A K U M A R I
S A N J E E V K U M A R
SRI DEVI
GEETA BALI
MAJRU SULTANPURI
KAIFI AZMI
RAJA MEHDI ALI KHAN

page no : 3

RAJENDRA KRISHAN
TANUJA SAMARTH
MALA SINHA
AAMIR KHAN
KATRINA KAIF



suraiyaji


Born Suraiya Jamaal Sheikh
June 15, 1929 (1929-06-15) (age 79)
Gujranwala, Punjab, now Pakistan
Died January 31, 2004 (aged 75)

Suraiya Jamaal Sheikh (June 15, 1929 - January 31, 2004) was a singer and actress in Indian films, and was popularly known as Suraiya in the film industry. She became a superstar in the 1940s and 50s during the time when actors sang their own songs. IF SHANTA APTE brought spontaneity and refreshing directness in her singing and song-delivery style, Suraiya marked a completely dif­ferent but equally important breakaway from tradition. Born Suraiya Jamal Sheikh in Lahore, she introduced the typical 'adakari' of North Indian Muslims into Hindi films. Expertly combining gestures, music, speech and eloquent eyes, she paved the way for later hearthrobs like Rekha and Madhuri Dixit with her bewitching song delivery. Alhough Noorjehan and Khurshid also brought the same Muslim adakari onscreen with their films, it was Suraiya who shone out as the epitome of that style. Save for her arresting, almond-shaped eyes, Suraiya was not a classic beauty; nor did she trained in classical music. Suraiya , the lovely melody queen created aura with her popular numbers like 'tu mera chaand, main teri chandani' ,'dil-e-nadan, tujhe hua kya hai' and 'woh paas rahe ya door rahe' . Her sultry looks and al­luring eyes matched her melodious voice and distinc­tive style to make her one of the greatest feminine icons of her time, attracting a gen­eration of young women who sought to emulate her and young men who mooned for her.

Early life

Suraiya was born in Gujranwala, Punjab now in Pakistan and was the only child of her parents. She was a dark plain looking girl and was not trained in music, however she went on to become a successful actress and singer.

She had been educated in New Girls' High School in Bombay. Simultaneously she was given religious teachings in Persian at home.

Career

Like many leading ladies of the past, Suraiya's entry into the world of movies was more accidental, than otherwise

Suraiya made her debut as a child artist in Usne Kya Socha (1937). Her films as a child artist ran between 1937 and 1941. She got a break in films with the help of her uncle Zahoor, who was a popular villain of his time. In 1941 during a holiday from school, she accompanied her uncle to Mohan Studios to see the shooting of the film Taj Mahal (1941), a film by Nanubhai Vakil. Vakil noticed the 12-year old girl and chose her to play the role of a young Mumtaz Mahal as they had nobody else to play the role. During her school days she used to participate in "Children Program" on Radio along with Shammi and Rajkapoor. She could sing some popular songs of that time with melody and fidelity . Naushad had heard her voice on the All India Radio where she sang for a children's programme at the insistence of friend Raj Kapoor and neighbour Madan Mohan. From radio, Suraiya moved on to playback singing -- App.reciating her singing talent, a song "Boot karun mein polish" was recorded in her voice by Naushad Sahib in 1942 for the film "Nai-Dunia". In the same year she performed a role in film "Station Master" Other films of her playback singing with music by Naushad Sahib were "Sharda" (Punchi Ja- pechey raha hae bachpan mera), "Qanoon" and "Sanjog"Her singing career soon found a mentor in music maestro Naushad chose her to sing as a 13 year old for Mehtaab in Kardar's Sharda (1942). Suraiya had to stand on a stool to reach the mike to croon Panchi ja, picturised on the much-older heroine, Mehtaab.
She was effectively launched as a singing star in Bombay Talkies Humaari Baat (1943).

She initially started by playing secondary roles in films like K. Asif's Phool (1944) but She made her presence felt in perhaps India's first multi-starrer, played strong supporting second lead roles to Noorjehan in Mehboob Khan's Anmol Ghadi (1946) and Munawar Sultana in Dard (1947). Suraiya had her moments with Socha Tha Kya, Main Dil Mein Dard Basa La Aayee and Man Leta Hai. She got the break as a heroine for the movie Tadbir (1945) at the recommendation of K. L. Saigal who liked her voice during a rehearsal. She went on to co-star with Saigal for two more films Omar Khayyam (1946) and Parwana (1947). More opportunities appeared for Suraiya after reigning actresses Noor Jehan and Khursheed Bano migrated to Pakistan during the 1947 partition. the last remembered for her haunting rendition of Jab Tumhi Nahin Apne.Her pairing with the then superstar Dev Anand was a huge hit and the two went on to star in many successful movies together - Afsar, Shayar and Jeet etal.

Nadira, who later costarred with Suraiya in Waris, says, "My father went repeatedly to the theatre to watch Suraiya sing Socha tha kya. He would walk out the moment the song ended."

Suraiya had an edge over her contemporaries Kamini Kaushal and Nargis because she could sing her own songs. The years 1948-49 were the best of her career - The 1948-49 phase saw her rise to her peak. After three hits Pyar Ki Jeet (1948), Badi Bahen and Dillagi (1949), she became the highest paid female star. At her peak, Suraiya generated hysteria comparable only to Rajesh Khanna in the late 1960s and early 1970s. Shop owners would down their shutters to see her starrers on the first day itself, crowds would throng outside her residence at Marine Drive in Bombay just to get a glimpse of her and actor Dharmendra recalls going to see Dillagi 40 times! Her songs from the above films Tere Nainon Ne Chori Kiya, O Door Jaanewaale (Pyar ki Jeet), Woh Paas Rahe Ya Door Rahe, O Likhnewaale Ne, Bigdi Bananewaale (Badi Bahen) and Tu Mera Chand, Murliwaale Murli Bajaa (Dillagi) were hummed in every nook and corner of the country. Her reign at the top was brief and her films started flopping in the 1950s. She made a comeback with Waaris and Mirza Ghalib (1954) in which she played the role of the married Ghalib's lover.She made a short-lived comeback with Waaris (1954) and Mirza Ghalib (1954). The latter saw her finest dramatic performance as she made alive and vivid the role of the married Ghalib's lover, a courtesan. Ghalib also saw some of her finest singing - Aah ko Chaihiye Ek Umar, Nuktacheen Hai Gham-e-Dil, Dil-e-Nadaan Tujhe Hua Kya Hai, Yeh Na Thi Humari Kismet etc. Her singing is till date regarded as the definitive Ghalib. In fact India's then Prime Minister Jawaharlal Nehru paid her the ultimate compliment by telling her " Tumne Mirza Ghalib ki Rooh ko Zinda Kar Diya" (she had brought Mirza Ghalib to life). In Nitin Bose's Waris (1954), Suraiya costarred with singing star Talat Mehmood (incidentally, she played heroine opposite another singer who tried to be an actor, Mukesh, in 1953's Mashuqa, too). With the sonorous melody, Rahi matwale, Anil Biswas and Suraiya proved their continuing relevance in a new age. Her last film was Rustom Sohrab (1963) following which she kept away from films. A spate of indifferent films followed. Suraiya had grew bulkier but her songs were still exquisite --- Aap se pyar hua jaata hai in Shama (1961), or the serene duet with Talat, Man dheere dheere gaye re in Maalik (1958). In 1963, to the strains of Yeh kaisi ajab dastaan ho gayee hai, the Sajjad jewel from Rustom Sohrab, Suraiya bade farewell to the studios. Suraiya Jamaal Sheikh's legend has endured for over four decades after her retirement post Rustom Sohrab (1963). It is fuelled by her one-time Dev Anand association, her repertoire of lilting songs and an air of mystique.

She stayed at "Krishna Mahal", her Marine Drive residence in Mumbai til her death. The walls and mirrors of Krishna Mahal flat on Marine Drive, are the only objects that set their eyes on this star of yesteryears. But she broke her self-imposed exile when she made a rare appearance at the Screen Videocon awards when Sunil Dutt presented her the Lifetime Achievement award. Radiant in a white salwar kameez she carried herself with the grace of a much younger woman.

The gentle sway of her hips spoke of her delicate style of dancing. The only thing that had remained completely unchanged was her voice. Tremulous with emotion, Suraiya's voice was choked with emotion when she took her award. She spoke of her long association with the film world and she was deeply touched that audiences still remembered her. But when Javed Jaffery pressed her to sing or just hum -- she refused. As a star shestill remembers the meaning of letting a legend live. Heroines are captured forever on the silver screen and the public's memory must never be updated.

Personal life

But her luck did not hold out in her personal life and Suraiya faced her biggestdisappointment. She first met Dev Anand in 1948, when she was just 19 years old. They were co-starring in the film Vidya and on the second day itself cupid struck. During the shooting of a song, a boat capsized and Dev Anand saved Suraiya from drowning. . And when he saved her from drowning during the filming of the song `Kinare Kinare Chale Jayenge', Suraiya was convinced that she had met her cosmic mate. She fell in love with him. Suraiya was romantically involved with actor Dev Anand and the two of them did six films together between 1948 and 1951. but her grandmother opposed the relationship. They were romantically linked and were all set to marry when her strict grandmother put her foot down and broke their relationship. She banned meeting, telephone calls and even talking on the sets. The entire affair was conducted in a clandestine manner with friends like Durga Khote and Kamini Kaushal going out of their way to engineer secret rendezvous. On the sets of the film Jeet, Dev Anand finally proposed to Suraiya and gave her a diamond ring worth Rs 3,000 -- a princely sum for a fledgling star. But even that memento was snatched away from her when her grandmother saw the ring and threw it away into the sea. She also burnt all of Dev Anand's letters in front of Suraiya's eyes. Her objection to the romance: (Dev Anand is a Hindu while Suraiya is a Muslim). A hunt for a Muslim husband began but marriagewas not in Suraiya's fate. In 1951, Dev Anand married Kalpana Kartik -- ending one of the silver screen's greatest romances. The heartbroken Suraiya never married though many leading men of her time were interested in her.Surraiya's idol was Gregory Peck and he visited her by surprise during a night of 1954 while in transit at Mumbai on his way to Srilanka for shooting. He was much impressed by her simplicity.Dev Anand molded himself in postures of Gregory Peck but after long awaiting he married Kaplna Kartak.Suraiya remained unmarried all her life.

Dev Anand accepts his love for Suraiya

the unmarried Suraiya lives alone in her plush Marine Drive apartment. Rarely does one see a bejewelled Suraiya at a party. Even after her strict grandmother, who kept suitors at bay and producers at arm's length, passed away, Suraiya continued to be inaccessible to the hoi polloi.

Her decision to reside in an ivory tower has added to her mystique, while her resolve to shun character roles ensured that she is always remembered as a heroine. Most quaintly, Suraiya also chose not to sing any new film song in the last 40 years.

Death

She died in 2004 of old age at 75. In 2004, during the Sansui Awards, actress Jaya Bhaduri received the Lifetime Achievement Award and while she was on stage, she was disappointed that no one gave a tribute to the legendary actress Suraiya who had passed right around that time.

Suraiya's dastaan, ajeeb but fascinating, continues to thrive on lore, speculation and memories.


http://en.wikipedia.org/wiki/Suraiya

http://www.chakpak.com/celebrity/suraiya/biography/8847

http://www.bollymood.com/biography/suraiya/

http://www.indianmelody.com/suraiyaarticle1.htm


Filmography

Actress:

* 1960s
* 1950s
* 1940s

1. Rustom Sohrab (1963) .... Shehzadi Tehmina
2. Shama (1961) .... Roshan Ara

3. Malik (1958)
4. Trolley Driver (1958)
5. Mr. Lambu (1956)
6. Inaam (1955)
7. Bilwamangal (1954)
8. Mirza Ghalib (1954) .... Chaudvin
9. Shama Parwana (1954) .... Sahebzadi Aalam
10. Waris (1954) .... Shobha ... aka Heir
11. Mashooka (1953)
12. Deewana (1952)
13. Goonj (1952)
14. Khubsurat (1952) ... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952)
16. Moti Mahal (1952)
17. Do Sitare (1951)
18. Rajput (1951)
19. Sanam (1951)
20. Afsar (1950) .... Bimala ... aka Officer
21. Badi Bahen (1950) ... aka Elder Sister
22. Dastan (1950) .... Indira
23. Kamal Ke Phool (1950)
24. Khiladi (1950)
25. Nili (1950)
26. Shaan (1950)
27. Jeet (1949) .... Jeet
28. Amar Kahani (1949)
29. Badi Bahen (1949)
30. Balam (1949)
31. Bombay (1949)
32. Char Din (1949)
33. Dillagi (1949) .... Heer ... aka Mischief (International: English title)
34. Duniya (1949)
35. Lekh (1949)
36. Naach (1949)
37. Shair (1949) .... Rani
38. Shayar (1949)
39. Singaar (1949)
40. Aaj Ki Raat (1948)
41. Gajre (1948)
42. Kajal (1948) ... aka Eyes (International: English title)
43. Pyaar Ki Jeet (1948)
44. Rang Mahal (1948)
45. Shakti (1948)
46. Vidya (1948) .... Vidya
47. Bhatakti Maina (1947)
48. Dak Bangla (1947)
49. Dard (1947)
50. Do Dil (1947)
51. Do Naina (1947)
52. Naatak (1947)
53. Parwana (1947) .... Gopi
54. 1857 (1946) ... aka Eighteen Fifty-Seven
55. Anmol Ghadi (1946) .... Basanti ... aka Precious Time
56. Chehra (1946)
57. Jag Biti (1946)
58. Main Kya Karun (1945)
59. Phool (1945)... aka The Flower
60. Tadbir (1945) .... Saguna
61. Hamari Baat (1943)
62. Ishara (1943)
63. Station Master (1942) .... Usha
64. Tamanna (1942)
65. Taj Mahal (1941) .... Child Mumtaz

Music Department:

* 1960s
* 1950s
* 1940s

1. Do Dil (1965) (playback singer)
2. Rustom Sohrab (1963) (playback singer)
3. Shama (1961) (playback singer)
4. Malik (1958) (playback singer)
5. Taqdeer (1958) (playback singer)
6. Trolley Driver (1958) (playback singer)
7. Mr. Lambu (1956) (playback singer)
8. Bilwamangal (1954) (playback singer)
9. Mirza Ghalib (1954) (playback singer)
10. Waris (1954) (playback singer)
... aka Heir
11. Mashooka (1953) (playback singer)
12. Deewana (1952) (playback singer)
13. Goonj (1952) (playback singer)
14. Khubsurat (1952) (playback singer)... aka Khubsoorat (India: Hindi title: alternative transliteration)
15. Lal Kunwar (1952) (playback singer)
16. Moti Mahal (1952) (playback singer)
17. Rajput (1951) (playback singer)
18. Sanam (1951) (playback singer)
19. Afsar (1950) (playback singer)... aka Officer
20. Badi Bahen (1950) (playback singer)... aka Elder Sister
21. Dastan (1950) (playback singer)
22. Kamal Ke Phool (1950) (playback singer)
23. Nili (1950) (playback singer)
24. Shaan (1950) (playback singer)
25. Jeet (1949) (playback singer)
26. Amar Kahani (1949) (playback singer)
27. Badi Bahen (1949) (playback singer)
28. Dillagi (1949) (playback singer)... aka Mischief (International: English title)
29. Duniya (1949) (playback singer)
30. Lekh (1949) (playback singer)
31. Naach (1949) (playback singer)
32. Shair (1949) (playback singer)
33. Singaar (1949) (playback singer)
34. Gajre (1948) (playback singer)
35. Rang Mahal (1948) (playback singer)
36. Shakti (1948) (playback singer)
37. Vidya (1948) (playback singer)
38. Dak Bangla (1947) (playback singer)
39. Dard (1947) (playback singer)
40. Do Dil (1947) (playback singer)
41. Naatak (1947) (playback singer)
42. Anmol Ghadi (1946) (playback singer)
... aka Precious Time
43. Jag Biti (1946) (playback singer)
44. Tadbir (1945) (playback singer)
45. Kanoon (1943) (playback singer)
... aka The Law (International: English title)
46. Sharda (1942) (playback singer)

Soundtrack:

1. Malik (1958) (performer: "Man Dhire Dhire Gaye Re Malum Nahin Kyon")
2. Mirza Ghalib (1954) (performer: "Dil-e-nadan Tujhe", "Aah Ko Chahiye Ek Umar",

"Nukta Cheen Hai", "Jahan Koi Na Ho", "Yeh Na Thi Hamari Qismat")

Producer:

1. Shagoon (1964) (producer) (as Suraiya Mubin)

Thanks:

1. Lorie (1984) (grateful acknowledgment)

songs of suraiyaji movie details n lyrics

1] Anmol Ghadi (1946) starring Amir Banu, Anwari, Leela Mishra, Murad, Noor Jehan, Suraiya, Surendra & Zahoor.
Lyrics composed by Tanvir Naqvi.
Music composed by Naushad Ali.
This movie had some very popular songs sung by Noor Jahan and Suraiya. Here are the Suraiya songs:

[1]mai dil mei dard basaa laayi

lyrics for mai dil mein dard basa laayi, nainon se nain mila aayi, unko apne man ki baatein bina kahe samjha aayi.

[2]man leta hai angdayi jawani chhayi

lyrics for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

lyrics in Hindi for man letaa hai a.Nga.Daaii, jIvan pe javAnI chhaaI.

[3]sochaa thaa kyaa, kyaa ho gayaa

lyrics for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

lyrics in Hindi for sochaa thaa kyaa kyaa ho gayaa. apnaa jise samjhe the hum afsos vo apnaa na thaa.

2] Badi Bahan (1949) starring Suraiya, Geeta Bali, Rehman & Pran.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]tum mujhko bhool jaao ab hum na mil

[2]wo paas rahen yaa duur rahen nazron

lyrics for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

lyrics in Hindi for vo paas rahen yaa duur rahen nazaron me.n samaaye rahte hain. itnaa to bataa de koii hame.n, kyaa pyaar isii ko kahate hain.

3] Bilwamangal (1954) starring Suraiya, Ulhas, Nirupa Roy & Asha Mathur.
Producer: Minal Movies
Director: D. N. Madhok
Lyrics: D. N. Madhok
Music Director: Bulo C. Rani

[1]hum ishq ke maaron ko do dil diye

[2]parwane se preet seekh li shamaa se

4] Dillagi (1949) starring Suraiya, Shyam, Amar, Amir Banu & Chanda Bai
Producer & Director: Kardar
Lyrics: Shakeel Badayuni
Music Director: Naushad

[1]char din ki thi chandni phir andher

[2]duniyaa kyaa jaane meraa afsaanaa

3]le ke dil chupke se kiyaa majboor

[4]murliwale murli bajaa sun sun murli

[5]niraalaa mohabbat kaa dastoor dekha

[6]tera khayaal dil se bhulaya na jaye

5] Gajre (1948) starring Suraiya, Agha, Geeta Nizami, Maruti, Moti Lal & Sangeeta
Director: RD Mathur
Lyrics: G. S. Nepali
Music Director: Anil Biswas

[1]duur papiha bola raat adhi rah gayi

[2]jalne ke siwaa yahaan kya rakha hai

[3]reh reh kar teraa chaand rulata hai

6] Goonj (1952) starring Suraiya, Suresh, Bhagwan, Madan Puri, Manju, Randhir, Ravikant & Sapru.
Lyrics composed by D. N. Madhok.
Music composed by Sardul Kwatra

[1]chale ja rahe ho jo nazren churaaye

[2]dil me umangen sajan nainon me rang

7] Jeet (1949) starring Suraiya, Dev Anand, Bhagwan, Durga Khote, Habib, Kanhaiya Lal & Madan Puri
Director: Mohan Sinha
Producer: Raj Kirti Chitra
Lyrics: Prem Dhawan
Music Director: Anil Biswas

[1]ban jao hindustani ab kaisi manmani

[2]kaam karo bhai jag me apna naam kar

[3]kuch phool khile armaano ke par jee

[4]tum mann kee peedaa kyaa jaano

[5]tum meet mere tum shyam mere yug ke

8] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Music composed by Ghulam Mohammad.
The movie was about the legendary poet Mirza Ghalib and his poems have been sung here.

[1]aah ko chaahiye ek umar asar hone

[2]nuktachin hai gam-e-dil usko sunaye

[3]rahiye ab aisi jagah jaha koi na ho

[4]ye na thee hamaari kismat ki wisal

9] Mr. Lambu (1956) starring Suraiya, Minu Mumtaz, Helen, Bhagwan, N. A. Ansari & Sheikh Mukhtar
Director: NA Ansari
Producer : Sheikh Mukhtar Prod.
Lyrics: Jan Nisar Akhtar
Music Director: O. P. Nayyar

[1]yaad karun tori batiyaa ro ro bitau

10] Nayi Duniya (1942)starring Suraiya
Lyrics: Tanveer Naqvi
Music Director: Naushad Ali

[1]boot karun mai polish babu boot


11] Pyar Ki Jeet 1948) starring Suraiya & Rehman.
Lyrics composed by Rajinder Krishan.
Music composed by Husnlal Bhagatram.

[1]o duur jaanewaale wada na bhul jana

lyrics for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

lyrics in Hindi for o duur jaane vaale vaadaa na bhuul jaanaa. raate.n huI andherii tum chaa.Nd ban ke aanaa.

[2]tere naino ne chori kiya mera chota

lyrics for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

lyrics in Hindi for tere naino.n ne chorI kiyA, morA chhoTA sA jiyA paradesiyA.

[12] Rustom Sohrab (1963) starred Suraiya as the shehzadi. Prithviraj Kapoor portrayed her husband Rustom & Premnath portrayed her son Sohrab. Mumtaz was also in the movie.

This was Suraiya's last film. After this she retired.
Lyrics composed by Qamar Jalalabadi.
Music composed by Sajjad Hussain.

[1]ye kaisi ajab daastaan ho gayi hai

lyrics for ye kaisi ajab daastaan ho gayi hai, chhupaate chhupaate bayaan ho gayi hai.

13] Shaan (1950)starring Suraiya & Rehman
Lyrics: Rajinder Krishan
Music Director: Hansraj Behl

[1]o pardesi balma ab na tadpa o zalim

[2]tadap ai dil tadapne se zara aarsam

[3]kaho ji kis ki sachchi shaan
majboor hoon mai nashaad hoon mai

14] duets Suraiya sang with Mohammad Rafi in the movie Shaan:

[1]dil ke dhoke mei na aanaa

[2]hum bhee akele tum bhee akele

[3]hum tum se wafa karte tum hum se wafa karte

15] Shama (1961) starring Suraiya, Nimmi, Kumud Tripathi, Leela Mishra & Vijay Dutt
Producer : Tasweeristan
Director: Lekhraj Bhakri
Lyrics: Kaifi Azmi
Music Director: Ghulam Mohammed

[1]mast ankhon mei shararat kabhi aisi

16]Shama Parwana (1954)starring Suraiya & Shammi Kapoor.
Lyrics composed by Majrooh Sultanpuri.
Music composed by Husnlal Bhagatram.

[1]meraa dildaar naa milaayaa

[2]o jaan-e-tamannaa alvidaa alvidaa

17] Vidya (1948) starring Suraiya, Dev Anand, Amirbai Karnataki, Cuckoo & Madan Puri.
Director: G. Tridevi
Producer: Jeet Prod.
Music Director: S. D. Burman
Lyrics: Shanti Swaroop and Y. N. Joshi

[1]aaj meraa dil kisi pe aa gayaa

[2]jhoom rahi khushiyon ki naaow aaj

[3]kinare-2 chale jayenge jeewan naiya

[4]kise maalum tha 2 din me sawan beet

[5]o Krishna Kanhaai aashaon ki duniya

[6]laayi khushi ki duniyaa hanste hue

Suraiya was joined by Mukesh in the above song. One of the few duets they sang together.

18]Waris (1954) starring Suraiya, Talat Mahmood and Nadira.
Lyrics: Qamar Jalalabadi
Music Director: Anil Biswas

Suraiya and Talat Mahmood sang the songs both on and off screen. Please note that the duet version of this song is more popular and can be found at the Suraiya and Talat Mahmood duets page by using the following link.

[1]raahi matwaale tuu aa jaa ek baar

19] Dard (1947) starring Suraiya, Shyam, Badri Prasad, Husn Bano, Munawar Sultana & Nusrat.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]beech bhanvar mei aan phasa hai dil

lyrics for beech bhanvar mein aan phansa hai dil ka safeena shaah-e-madeenaa

[2]chale dil ki duniya jo barbad karke

[3]dil dhadke aankh mori phadke

lyrics for dil dhadke aankh mori phadke. chale jaana na dekho ji bichhad ke.

20] Dastan (1950)starring Suraiya, Raj Kapoor, Murad, Pratima Devi & Veena.
Lyrics composed by Shakeel Badayuni.
Music composed by Naushad.

[1]aayaa mere dil mei tu ban ke dil ki

[2]ai shamma tu bata tera parwana kaun

The song 'ai shamma tu bata tera parwana kaun hai' is preceded by some dialogues. Raj Kapoor's voice seems to be heard here.

[3]mohabbat badhaa ke judaa ho gaye

[4]naam tera hai zubaan par yaad teri

[5]naino mei preet hai hothon pe geet

[6]ye mausam aur ye tanhaai

21]Maalik (1958) starring Talat Mehmood & Suraiya.
Lyrics composed by Shakeel Badayuni.
Music composed by Ghulam Mohammad.
Suraiya and Talat Mehmood sang the song and it was also filmed on them.

[1]mann dhire gaye re malum nahin kyon

lyrics for man dheere dheere gaaye re, maaloom nahi kyon. bin gaaye raha na jaaye re, maaloom nahi kyon.

22] Mirza Ghalib (1954) starring Suraiya and Bharat Bhushan.
Lyrics were composed by Mirza Ghalib in late 18th century.
Music composed by Ghulam Mohammad.
Suraiya sang her own songs and Talat Mehmood was playback singer for Bharat Bhushan.

[1]dil-e-nadan tujhe hua kya hai akhir

lyrics for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

lyrics in Hindi for dil-e-naadaa.n tujhe huaa kyaa hai. aakhir is dard kii davaa kyaa hai

23] Waaris (1954) starring Talat Mehmood With Suraiya & Nadira.
Lyrics composed by Qamar Jalalabadi.
Music composed by Anil Biswas.
There was no playback singing since both Talat Mehmood & Suraiya sang for themselves.

[1]duur hote nahi jo dil me raha karte

[2]ghar tera apna ghar lage jaye kahan

[3]raahi matwaale tu ched ek baar mann

lyrics for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.

lyrics in Hindi for raahii matavaale, tuu chhe.D ik baar, man kaa sitaar. jaane kab chorii-chorii aaii hai bahaar chhe.D man kaa sitaar.

[url=http://suraiya-songs.tripod.com/]http://suraiya-songs.tripod.com/

This post has been edited by rashmi mehta: Jun 1 2011, 08:24 AM

[rashmi mehta]

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, in the small town of UP, as Syed Athar Hussain Rizvi Kaifi Azmi was fortunate in having a liberal and modern father.

His father Syed Fateh Hussain Rizvi, though a landlord, took up employment first in a small native state called Balharah as a tahsildar and later, he worked in other areas of Uttar Pradesh.

He decided to send his sons to schools imparting modern education, including English, against the stiff opposition of his relatives.

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.

However, Azmi could not get this opportunity because his elders wanted him to become a theologian.

He was admitted to Sultan-ul-Madaris, a reputed seminary in Lucknow.

However, his nonconformist nature created many problems for the authorities of the seminary.

He formed a students' union and asked all the students to go on strike to get their demands fulfilled.

The strike continued for a year and a half.

Once the strike was called off, Kaifi Azmi was expelled and there ended his relatives' ambitions.

This was the end of his elder's dream of training him to become a theologian.

Azmi could not seek modern education but he passed various examinations in Lucknow and of Allahabad universities that helped him acquire command over Arabic, Persian and Urdu.

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.

At age eleven, Kaifi Azmi wrote his first ghazal Itna To Zindagi Mein Kisi Ki Khalal Pade and somehow managed to get himself invited to a mushaira and over there, he recited a ghazal, rather a couplet of the ghazal which was very much appreciated by the president of the mushaira, Mani Jaisi, but most of the people, including his father, thought he recited his elder brother's ghazal.

When his elder brother denied it, his father and his clerk decided to test his poetic talent.

They gave him one of the lines of a couplet and asked him to write a ghazal in the same meter and rhyme.

Azmi accepted the challenge and completed a ghazal.

This particular ghazal was to become a rage in undivided India and it was immortalized as it was sung by legendary ghazal singer, Begum Akhtar.

Kaifi abandoned his studies of Persian and Urdu during the Quit India agitations in 1942 and shortly thereafter became a full time Marxist when he accepted membership of the Communist Party of India in 1943.

He had expressed his view towards social system of our country at that time.

In the Flim called "Payasa" he wrote a song which also made Mr. Jawahar Lal Nehru,Prime Minister Of India that time, to feel a pain.

Some of the lines of this poetry were very significant in the consequence of our social system.

During this period, the leading progressive writers of Lucknow noticed him.

They were very impressed by his leadership qualities. They also saw in him a budding poet and extended all possible encouragement towards him.

Consequently, Azmi started to win great acclaim as a poet and became a member of Progressive Writers' Movement of India.

At the age of twenty-four, he started activities in the textile mill areas of Kanpur.

As a full time worker, he left his life of comfort, though he was the son of a zamindar.

He was asked to shift his base to Bombay, work amongst the workers and start party work with a lot of zeal and enthusiasm and at the same time would attend mushairas in different parts of India.

In Bombay, he joined Ali Sardar Jafri in writing for the party’s paper, Qaumi Jung.

In 1947, he visited Hyderabad to participate in a mushaira.

There he met, fell in love with and married a beautiful woman named Shaukat.

Shaukat Kaifi later became a renowned actress in theatre and films. They had two children together, Shabana Azmi (b. 1950), a renowned actress of Indian cinema and Baba Azmi, a noted cameraman.

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, his poetry cannot be called plain propaganda.

It has its own merits; intensity of emotions, in particular, and the spirit of sympathy and compassion towards the disadvantaged section of society, are the hallmark of his poetry.

His poems are also notable for their rich imagery and in this respect, his contribution to Urdu poetry can hardly be overstated.

Kaifi’s first collection of poems, Jhankar was published in 1943.

His important works including anthologies of poetry, were Aakhir-e-Shab, Sarmaya, Awaara Sajde, Kaifiyaat, Nai Gulistan, an anthology of articles he wrote for Urdu Blitz, Meri Awaaz Suno, a selection of his film lyrics, and the script of Heer Ranjha in Devanagari.

His best known poems are Aurat, Makaan,Daaera,Saanp, and Bahuroopni.

Azmi Saab's stint in film includes working as lyricist, writer and almost an actor!

Kaifi wrote his first lyrics for the film Buzdil, directed by Shaheed Latif, in 1952.

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).

While directors like Khwaja Ahmad Abbas and Bimal Roy strove to create the “New Cinema�, writers like Sahir Ludhianvi, Jan Nisar Akhtar, Majrooh Sultanpuri, and Kaifi changed the tenor and vocabulary of the Hindi film song, creating a fresh new wave in Hindi film lyrics that lasted many years.

His greatest feat as a writer was Chetan Anand's Heer Raanjha (1970) wherein the entire dialogue of the film was in verse.

It was a tremendous achievement and one of the greatest feats of Hindi film writing.

Azmi 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.

Azmi also wrote the dialogues for Shyam Benegal's Manthan (1976) and Sathyu's Kanneshwara Rama (1977).

As a lyricist and songwriter, though he wrote for numerous films, he will always be remembered for Guru Dutt's Kaagaz Ke Phool (1959) and Chetan Anand's Haqeeqat (1964), India's greatest war film.

Some other notables films for which he wrote lyrics include Kohra (1964), Anupama (1966), Uski Kahani (1966), Saat Hindustani (1969), Shola Aur Shabnam, Parwana (1971), Bawarchi (1972), Pakeezah (1972), Hanste Zakhm (1973), Arth (1982) and Razia Sultan (1983).

He also played a memorable role of Naseem's grandfather 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.

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.

Kaifi Azmi passed away in Mumbai on May 10, 2002 at around the age of eighty-three, 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.

He was survived by his wife, daughter and son.

His autobiography is included in a collection of his works, Aaj Ke Prashid Shayar: Kaifi Azmi.

Kaifi Azmi was the subject of a documentary film called Kaifi Azmi (1979), directed by Raman Kumar.

In 1997, he recited his own poems for Kaifiyaat, an audio book on his collected works.

Kaifi Aur Mein, a play based on his life, his works and the memoir of his wife, Shaukat Azmi - Yadon Ki Rahguzar (Down Memory Lane), was written and performed by Javed Akhtar and Shabana Azmi, and performed in India as well as abroad in 2006. Another play, directed by Rani Balbir, Waqt Ne Kiya Kya Hasin Sitam, based Kaifi Azmi’s life and writings was staged in 2005, and received rave reviews.


LIBRARY OF CONGRESS NEW DELHI OFFICE

He died in Mumbai on May 10, 2002, fifteen months after recording for the Library of Congress in New Delhi.

At the time of his death he was one of the last remaining representatives of the Progressive Writers Association, a writers' association that wielded unparalleled influence during India's freedom struggle.

His poetry remains solidly rooted in the tradition of Urdu poetry with its ardent longing for intense emotions and passionate espousal of radical causes.

His poems celebrate love, compassion and human equality. The lyrical beauty and powerful expression of his film songs have captivated millions.

Despite the political and economic shifts in India, he retained his idealism and remained to the end optimistic of a socialist future for India.

This optimism was reflected in poetry replete with dreams of a socialist egalitarian society in which the voice of another fellow human being will be felt like melodious music.

"I was born in enslaved India, have lived in independent secular India, and God willing, I will die in socialist India."

(The Indian Express, September 9, 1998)

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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

He was the recipient of Padma Shri one of the Indian Government's highest civilian awards.

Besides he was awarded the Uttar Pradesh Urdu Academy Award and the Sahitya Akademi Award for his collection Awaara Sajde, Special Award of Maharashtra Urdu Academy, Soviet Land Nehru Award, Lotus Award from the Afro-Asian Writers' Association, and President’s Award for national integration.

In 1998, Government of Maharashtra conferred the Jyaneshwara Award on him.

He was also honoured with the prestigious Sahitya Academ Fellowship for lifetime achievement.

In 2000, he was conferred the first Millennium Award by the Government of Delhi and the Delhi Urdu Academy.

He has also been honoured with a doctorate from Vishva Bharati University, Santiniketan.


1975: Sahitya Akademi Award: Awara Sajde

2002: Sahitya Akademi Fellowship (Immortals of Literature)

1970: National Film Award for Best Lyrics: Saat Hindustani

1975:Filmfare Best Dialogue Award: Garam Hawa

1975:Filmfare Best Screenplay Award: Garam Hawa (with Shama Zaidi)

1975:Filmfare Best Story Award: Garam Hawa (with Ismat Chughtai)


Aaj ki raat bahut garam hawa chalti hai
Aaj ki raat na neend aayegi
Hum sub uthen, main bhi uthun, tum bhi utho
Koi khidki isi deewar mein khul jayegi
- Makaan

Tu jo bejaan khilonon se behel jaati hai
Tapti saanson ki haraarat se pighal jaati hai
Paaon jis raah mein rakhti hai fisal jaati hai
Banke seemaab har ik zarf mein dhal jaati hai
Zist ke aahni saanche main dhalna hai tujhe
uth meri jaan mere saath hi chalna hai tujhe…
- Aurat (Woman)

* Waqt Ni Kiya Kya Haseen Sitam
Hum Rahe na Hum, tum rahe na tum.
- Film Kaagaz Ke Phool 1959

Tum Itna Kyun Muskuraa Rahe Ho
Kya gum hai jisko Chupa rahe Ho.
- Film Arth (1982)

zindeji bhar mujhe nafrat si rahi asko se
Meri khwabo ko tum asko me dubote keu ho?
Jo meri tarha jia karte hai kab marte hai
Thak gaya hu mujhe solene do rote keu ho?
Soke bhi jagte rahte hai janbaz suno.
.......keu sazai ho chandan ke chita mere liey
mai koi jism nahi jalao ge mujhe
rakh ke saath bikhar jaunga dunia me


thokar jahan khaogey waha paogey mujhey



Kaifi Azmi: The End of an Era

Meera Kabir

It was 1998. A time when Mr. Bal Thackeray and his Shiv Sainiks decided the fate of every individual who lived in Mumbai. Photographs of respectable people touching Bala Sahib’s feet adorned every publication, journalists who wrote against him could suddenly find their offices vandalized, artistes could have their art destroyed, and even sports clubs were not exempt.

It was, as I said, 1998 and we were marching to protest against another one of those unreasonable acts. Several speakers spoke but one in particular stood out. An old, frail man, wrapped in a shawl, who had to be carried to the dais, who should have been in bed resting after a long, weary struggle but who chose instead to join our protest. He looked wan and weak but when he spoke, his voice rose strong and clear and fearless. A lifetime of living by his convictions giving him the strength to challenge the might of Mr. Thackeray and his gang. That was the last time I saw Kaifi.

It was not, however, the first. I had seen him countless times earlier, at ‘mushairas’, sharing the dais with my grandfather. He would beam with childlike glee when his ‘nazms’ were appreciated, throw a twinkling repartee at a heckler, accept criticism with grace and poise – but never, ever change his stance.

Born Akhtar Hussain Rizvi, in an obscure hamlet near Azamgarh, U.P., his family had intended him to become a shia theologian. But Kaifi had other plans and soon proved to be too much of a handful for the seminary he had been sent.

It was a period of intense political turmoil in the history of this country. On one hand was the Mahatma with his philosophy of non-violence, on the other was the rising spectre of communal hatred and violence. And caught in the midst of all this were several brave and idealistic young men and women.

Kaifi, coming from a family of some literary traditions, was naturally drawn to the Progressive Writers’ Movement pioneered by Sajjad Zaheer. Romance and the beauty of a hard-hearted beloved were no longer the only subjects that interested the young poet. He wanted to talk about social justice, about oppression and about the beautiful dream of freedom. He joined the Communist Party and was sent to Bombay to take care of the ‘Qaumi Jung’, an Urdu newspaper taken out by the party. Then came the partition – the breaking of a nation that Kaifi and his contemporaries had fought for, made sacrifices for, and tried to build with their blood and sweat. It was a happening so unprecedented, so momentous, so soul-destroying that no one who was caught in the tumult of that moment could escape unscathed. Everyone who could write – wrote – about human beings turned animals, about the vitriolic hatred which surrounded them and most of all, to lament the breaking of the dream they had all cherished.

The destruction of an ideal is a difficult fact to live with and several of the Progressive Writers gave in to cynicism and despair. But there were still the stalwarts – Kaifi, Sardar, Faiz and my own grandfather Ghulam Rabbani Taban, who refused lay down their banner of protest. These people, the hopelessly hopeful, the doggedly determined, turned away from the lure of a soft life and continued in the path they had chosen. It was clear that their fight was still not over and all that they had to guide them was their hope and the burning beacon of their faith. Kaifi wrote :

Ek diya naam ka yakjehti ke,
Roshni is ki jahan tak pahunchi,
Qaum ko ladte-jhigadte dekha,
Maan ke aanchal mein hain jitne paiwand,
Sab ko ek saath ujhadte dekha.

(The lamp which I lit in the name of unity, Wherever its light did fall, it saw people fighting, as if all the mending in a mother’s breast-cloth had come undone at once).

Bujh gaye saare diye,
Haan magar ek diya,
Naam hai jiska ummeed,
Jhilmilaata hi chala jaata hai.

(All the lamps died out, but there was just one lamp, which I had named Hope, which keeps burning on).

But their courage and hope were to be tested again and again. Wars, scandals, the break-up of the Communist Party, affected them deeply but still they carried on. Kaifi, especially was extremely active. As a poet, in Indian Peoples’ Theatre Association and as a whole-timer of the Communist Party, he played many roles with finesse and never faltered once – not in his definition of an ideal India and not in the vigorous style of his poetry. He continued writing, for publication as well as for films. He went so far as to write the entire script of ‘Heer Ranjha’ in verse. He even acted in ‘Naseem’, another film. He wrote beautiful lyrics and he continued to be heard, in every possible forum.

In 1993, when Mumbai was torn by riots in the aftermath of the demolition of the Babri Masjid, Kaifi refused to vacate his home in Janki Kutir, Juhu. Even when he received threats. Even when a concerned daughter tried to persuade him to do so. He only said that he had full faith in the people of this country – nothing would happen to him. And nothing did.

When Gujarat burned while its protectors stood by and watched, Kaifi was ailing and hospitalised. From his deathbed, the old soldier issued a last, anguished battlecry: Suno Jaanbaaz Suno, Meri Awaaz Suno, Pyaar ka Raag Suno.

(Listen O brave-hearted, listen to my voice, listen to the song of Love)

Now, Kaifi is no more. He closed his eyes on the 10th of May, still dreaming of a better India. But his legacy lives on - through his daughter and through anyone who has ever read or been inspired by his words. In his own words :

Kar chale hum fida jaano-tan saathiyon; Ab tumhaare hawaale watan saathiyon.

(We bid adieu having sacrified our lives for this country comrades, This nation we leave in your safekeeping).

poems

अंदेशे / कैफ़ी आज़मी

अज़ा में बहते थे आ�सू यहा� / कैफ़ी आज़मी

अब त�म आग़ोश-�-तसव�व�र / कैफ़ी आज़मी

आवारा सजदे / कैफ़ी आज़मी

इतना तो ज़िन�दगी में किसी की ख़लल पड़े / कैफ़ी आज़मी

इब�ने-मरियम / कैफ़ी आज़मी

�क द�आ / कैफ़ी आज़मी

� सबा! लौट के किस शहर से तू आती है? / कैफ़ी आज़मी

कभी जमूद कभी सिर�फ़ इंतिशार सा है / कैफ़ी आज़मी

कल चले हम फ़िदा / कैफ़ी आज़मी

कोई ये कैसे बता� / कैफ़ी आज़मी

कोई ये कैसे बता ये कि वो तन�हा क�यों हैं / कैफ़ी आज़मी

खार-ओ-खस तो उठें, रास�ता तो चले / कैफ़ी आज़मी

��की ��की सी नज़र बेक़रार है कि नहीं / कैफ़ी आज़मी

त�म इतना जो म�स�क�रा रहे हो / कैफ़ी आज़मी

त�म परेशां न हो / कैफ़ी आज़मी

दायरा / कैफ़ी आज़मी

दूसरा वनवास / कैफ़ी आज़मी

दो-पहर / कैफ़ी आज़मी

नज़राना / कैफ़ी आज़मी

पत�थर के ख़�दा वहा� भी पाये / कैफ़ी आज़मी

पशेमानी / कैफ़ी आज़मी

पहला सलाम / कैफ़ी आज़मी

बस इक �ि�क है यही / कैफ़ी आज़मी

मकान / कैफ़ी आज़मी

मशवरे / कैफ़ी आज़मी

मेरे दिल में तू ही तू है / कैफ़ी आज़मी

मैं ढू�ढता हू� जिसे वो जहा� नहीं मिलता / कैफ़ी आज़मी

वक�त ने किया क�या हंसी सितम / कैफ़ी आज़मी

वतन के लिये / कैफ़ी आज़मी

वो कभी धूप कभी छा�व लगे / कैफ़ी आज़मी

सदिया� ग�जर गयीं / कैफ़ी आज़मी

स�ना करो मेरी जा� / कैफ़ी आज़मी

हाथ आकर लगा गया कोई / कैफ़ी आज़मी


Soundtrack:

1990s

1980s

1970s

1960s

1950s

Such a Long Journey (1998) (writer: "Thare rahiyo") ... aka Un si long voyage (Canada: French title)

Arth (1982) (lyrics: "Tum Itna Jo Muskura Rahe Ho...") ... aka The Meaning

Dhoop Chhaon (1977) (lyrics: "Ek Shehri Chora Teer Kaleje Maar Gayo Re")

Faslah (1974) (lyrics: "Zindagi, Cigarette Ka Dhuan") ... aka Faasla (India: Hindi title: alternative transliteration) ... aka The Distance

Pakeezah (1972) (lyrics: "Chalte Chalte") .. aka Pure Heart ... aka Pure One (India: English title) ... aka The Pure

Chhoti Bahu (1971) (lyrics: "Kanhaiya, Kisko Kahega Tu Maiya")

Parwana (1971) (lyrics: "Chale Ladkhada Ke", "Jis Din Se Maine Tumko Dekha Hai", "Piya Ki Gali", "Simti Si Sharmai Si", "Yun Na Sharma Phailade")

Saat Hindustani (1969) (lyrics: "Aandhi Aaye Ki Toofan Koyee Gam Nahin") ... aka Seven Indians

Satyakam (1969) (lyrics: "Do Din ki Zindagi, Kaisi Hai Zindagi", "Zindagi Hai Kya Bolo, Zindagi Hai Kya", "Abhi Kya Sunoge, Suna Toh Hasoge, Ke Hai Geet Adhura, Tarana Adhura")

Naunihal (1967) (lyrics: "Tumhari zulf ke saaye me shyam kar lunga, safar ik umra ka pal me tamam kar lunga", "Patthar ke Bhagwan pigalja, aaj pigalna hoga", "Meri awaaz suno, pyar ka raaz suno, meri awaaz suno")

Anupama (1966) (lyrics: "Ya Dil Ki Suno Duniyawalo", "Bheegi Bheegi Faza", "Dheere Dheere Machal", "Kyon Mujhe Itni Khushi", "Kuchh Dil Ne Kaha")

Haqeeqat (1964) (lyrics: "Zara Si Aahat Hoti Hai", "Mast Mein Chhed Ke Tarana", "Mein Yeh Sochkar", "Aayi Ab Ke Saal Diwali", "Hoke Majboor Mujhe", "Ab Tumhare Hawale Watan Saathiyo")
... aka Reality (India: English title: literal title)

Kohraa (1964) (lyrics: "Jhoom Jhoom Dhalti Raat", "Beqaraar Dil Ho Chuka Hai Mujhko Aansuon Se Pyaar", "Yeh nayan Dare Dare", "Raah Bani Khud Manzil")

Shama (1961) (lyrics: "Insaaf Tera Dekha", "Sach Kehte Ho Tum", "Woh Sadgi Kahe Isse, Deewangee Kahe", "Meri Mehmoob Tujhe Pyar Karoon, Ya Na Karoon", "Aap Se Pyar Hua Jata Hai", "Dil Gaya To Gaya, Dilruba Mil Gaya", "Mast Aankhon Mein", "Dharakte Dil Ki Tamanna", "Yaas Ke Dhar Pe Jhuka Jata Hai Sar Aaj Ki Raat", "Is Jurm Karke Humne", "Dil Gham Se Jal Raha Hai")

Kaagaz Ke Phool (1959) (lyrics: "Dekhi Zamaane Ki Yaari, Bichhde Sabhi Baari Baari", "San San San Jo Chali Hawa", "Hum Tum Jise Kehta Hai Shaadi", "Ek Do Teen Chaar Aur Paanch", "Waqt Ne Kiya Kya Haseen Sitam")
... aka Paper Flowers

Lala Rukh (1958) (lyrics: "Aana hi padega, sar ishq ke qadmon pe", "Alvida jaane vafa", "Hai kali kali ki lab par tere husn ka fasaana", "Le jaa meri duaayen daaman chhudaanewaale", "Pyaas kuchh aur bhi bhadka di jhalak dikhlaake tujhko parda rukh-e-roshan", "Thi ek shaahzaadi", "tujhko parda rukh-e-roshan se hataana hoga")

Writer:

1970s

1960s

1950s

Kanneshwara Rama (1977) (dialogue)

Manthan (1976) (dialogue) ... aka The Churning (UK)

Garam Hawa (1973) (dialogue) (screenplay) (story adaptation) ... aka Hot Winds

Naina (1973) (writer)

Heer Raanjha (1970/I) (dialogue)

Shama (1961) (dialogue)

Heer (1956) (dialogue)

Music Department:

Satyakam (1969) (lyricist: songs)

Haqeeqat (1964) (lyricist) ... aka Reality (India: English title: literal title)

Shama (1961) (lyricist)

Actor:

Naseem (1995) .... Naseem's Grandfather ... aka The Morning Breeze (International: English title)



B B C NEWS

Urdu poet Kaifi Azmi dead

The renowned Indian poet and lyricist, Kaifi Azmi, has died in a Bombay hospital at the age of 82.

A Communist Party member and committed social activist, Azmi felt the poet's role was to inspire people to bring about changes in society, and wrote many poems about the plight of the exploited.

His work reflected the social and political realities of the time, and was rooted in the tradition of Urdu poetry with its longing for intense emotions.

As a child, Azmi's family despaired when he showed no interest in taking over the family estate.

Instead he sympathised with the rural poor, even refusing to wear new clothes at festivals so as not to embarrass them.

He wrote his first poem when he was eleven, and it became a hit across the sub-continent for the singer Begum Akhtar.

Kaifi Azmi said he didn't remember his date of birth, and that all he could say with confidence about himself was that he had been born in the enslaved India, became old in the Independent secular India and hoped to die in the Socialist India.

The president, K.R. Narayanan, was among those who paid tribute, saying Azmi's commitment to secular values should be a source of inspiration at a time when sectarian violence was still going on.

From the newsroom of the BBC World Service

http://en.wikipedia.org/wiki/Kaifi_Azmi
http://www.kavitakosh.org/kk/index.php?tit...़मी
http://www.imdb.com/name/nm0044340/
http://www.loc.gov/acq/ovop/delhi/salrp/kaifiazmi.html

This post has been edited by rashmi mehta: Jun 1 2011, 08:04 AM