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Ek Fankaar

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

 
> Ek Fankaar, any artist's life, filmography, Suraiya Jamaal Sheikh, S D Burman,
rashmi mehta
post Mar 20 2009, 06:37 PM
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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 dif‚­ferent 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 al‚­luring eyes matched her melodious voice and distinc‚­tive style to make her one of the greatest feminine icons of her time, attracting a gen‚­eration 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


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rashmi mehta
post Jul 3 2009, 08:13 PM
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majruh sultanpuri (c. 1919 - May 24, 2000),

Majrooh Sultanpuri's reputation as a poet was ironically overshadowed by his being a lyricist for popular Bollywood films.

It has happened very frequently that the real merit of a person is pushed into the background by some lesser work that is done for a medium with a bigger outreach or for some popular event.

Though Majrooh was a very successful lyricist and his "geets" were hummed by millions of people in continents where Indian cinema is the rage, yet it would be unfair to judge him based solely on this lesser work.

Little was know that this young man was destined to create not just ripples but storm in the Urdu Literary world with his phenomenal versatility in poetry and film song writing as Majrooh Sultanpuri.



Majrooh Sultanpuri is like a vintage coin with two exquisite sides - toss it either way and you win.

One face is that of the passionate shaayar - the man who ranks among the finest avant-garde Urdu poets of 20th century literature.

This is the man who writes unforgettable poetry like Main akela hi chala tha jaanib-e-manzil magar, Log saath aate gaye aur kaaravaan bantaa gayaa. (I set out alone towards my goal, but others kept joining me on the way and my journey became a procession).

The flip side finds the longest-lasting lyricist of Hindi filmdom, a man who began with Naushad, went on to write scores which established music directors like O.P.Nayyar, Usha Khanna, Laxmikant Pyarelal, R.D.Burman, Rajesh Roshan, Anand-Milind and Jatin-Lalit as frontrunners, and worked with youngsters like Leslie Lezz Lewis and AR Rahman.

It is here that we find a harfan moula (all-rounder) whose all-pervading versatility encompasses a spectrum of verse from Paanch rupaiya barah aana (Chalti Ka Naam Gaadi) to Hum hain mataa-e-kuchaa-o-bazaar ki tarah (Dastak), with Waadiyan mera daaman, raaste meri baahen (Abhilasha), Chalo sajana jahan tak ghata chale, lagaakar mujhe gale (Mere Humdum Mere Dost) and Ruk jaana nahin tu kahin haar ke (Imtihan) in between.

Majrooh Sultanpuri€™s unique genius has enabled him to sail in two theoretically divergent boats - poetry and film writing - with equal mastery.

The €™90s have seen Majrooh complete an elegant 80 in age and enter his 55th year as a songwriter with five generations of composers, singers, filmmakers and stars.

The decade has been replete with success and distinctions for the prime poet as well as the great geetkaar of Hindi movies, and his latest triumph comes in the form of a book penned by two fans - a US-based Indian called Baidar Bakht and his American associate Marie-Anne Erki.

Both these Majrooh-admirers have compiled an exquisite compilation of his ghazal couplets as a book called Never Mind Your Chains.

The title comes from Majrooh€™s classic work, Dekh zindaan ke pare, rang-e-chaman josh-e-bahaar, Raks karnaa hai to phir paon ki zanjeer na dekh. (The garden blooms bright, just beyond the cage, Dance if you must, never mind your chains.)

In a way, this beautiful ghazal epitomises Majrooh€™s career too - the poet€™s indomitable never-say-die spirit survived amidst the many chains which always were around to shackle the genius of Asrar-ul-Hasan Khan, the name given to Majrooh by his parents when he was born in 1919 in Sultanpur, UP.




Majrooh Sultanpuri was an Urdu poet, lyricist and songwriter.

He was one of the dominating musical forces in Indian Cinema in the 1950s and early 1960s and was an important figure in the Progressive Writers' Movement.

Majrooh Sultanpuri had written more than 8000 songs for over 330 films (including 3 in Bhojpuri).

In the 50 years span of his career as a lyricist, Majrooh was at ease with his songs and never did once his poetry ever tripped the thin line of decency. He was at ease with an emotional song like Utha e ja unke sitam aur jiye ja, or a light masti number like Panch Rupaiya Baraa Aanaa, romantic song like Ai phoolon ki rani baharon ki malika tera muskurana gazab ho gaya or a cabaret number like piya tu ab to aa ja.

Credit should go to Majrooh for introducing the dialogue styled lyrics in Hindi films of the 60's like Haal kaisa hai janab ka? Kya khayal hai aap ka? , from the film Chalti Ka Naam Gadi. Songs of the kind have stood the test of time and are still popular even today. Poets and film lyricists take refuge to this style of songs even today to get the situation lively, but the line of decency that was drawn by Majrooh has somehow disappeared.

He had the distinction of working at equal ease with two generations of producers, directors music directors like Raj Kapoor - Randhir Kapoor, S.D. Burman in Chalti Ka Naam Gaadi - R.D. Burman in Caravan. It was only because of Majrooh that Ghazal found a place in film songs. His poetry encouraged one to do his duty with a dream in mind and never bother about its outcome. His association had given recognition and popularity to music directors, he proved to be lucky mascot for new comers like O.P. Nayyar-Aar Paar, Khayyam-Footpath, LaxmikantPyarelal-, R.D.Burman-Teesri Manzil, S.Madan-Batwara, Rajesh Roshan-Kunwara Baap, Basu Chaakraborty-Sabse Bada Rupaiya, Anand Milind-Qayamat Se Qayamat Tak, Jatin Lalit-Yaara Dildara and Tushar Bhatia-Andaz Apna Apna. Singer Talat Mahmood also got a boost for his career after rendering a song in Sujata which was worded, Jalte Hai Jiske Liye Teri Aankhon Ke Diye.

A number of other films for which Majrooh Sultanpuri had written memorable and popular songs are : C.I.D., Paying Guest, Tumsa Nahi Dekha, Kali Topi Lal Roomal, Kala Pani, Aarzoo, Mere Sanam, Mohabbat Isko Kahte Hai, Mere Hamdam Mere Dost, Budha Mil Gaya, Aar Paar, Miss Coca Cola, Ek Kunwara Ek Kunwari, Bikhre Moti, Baat Ek Raat Ki, Aanchal, Salaam Mem Saheb, Kali Raat, Jinny Aur Johnney, Kehte Hain Mujhko Raja, Phir Kab Milogi, Jo Jeeta Wohi Sikandar, Abhiman, Pakeezah, Nau Do Gyara, Mamta, Bhigi Raat, Yadon Ki Baraat, Mr. & Mrs. 55, Ganga Ki Lehren, Phir Wohi Dil Laya Hoon, Aarti, Dilli Ka Thug, Solvan Saal, Kabhi Haan Kabhi Naa.



Majrooh Sultanpuri was born as Asrar ul Hassan Khan in Sultanpur, Uttar Pradesh on 1st October, 1919 in either 1919 or 1920.

Since his father was a police sub-inspector, he couldn't afford the expensive English education for his son.

Majrooh instead completed the seven year course of Dars-e-Nizami in Arabic and Persian, and went on to take the degree of becoming an Alim.

He then joined Lucknow's Takmeel-ut-Tib College of the Unani System of Medicine and graduated in 1938 as a 'hakim'.

He practised medicine for a year before he started his career as a full-time poet .

He was an established Hakim when he happened to recite one of his ghazals at a mushaira in Sultanpur.

The ghazal became famous with the audience and Majrooh decided to drop his prosperous medical practice and begin writing poetry seriously.

Young Hakim Asrar's interest in Urdu poetry rose and he started to pursue it leaving behind the lucrative and much settled profession of being a medicine man.

It was this quest for poetry that brought him into the limelight.

In association with progressive poets like Jigar Moradabadi, Moin Hasan Jazbi and Faiz Ahmed, he polished his pen and furnished it with biting edge of protest and national flavour.

It was during this period, when he had joined the band of nationalist poets that he was arrested and imprisoned.

Soon he became a fixture at mushairas and became great friends with the renowned Urdu poet, Jigar Moradabadi.

In 1945, Majrooh visited Bombay to attend a mushaira at the Saboo Siddique Institute.

Here his ghazals and poetry were highly appreciated by the audience.

He was a serious poet who made significant contributions to the development of a sensibility and an idiom, that was truly inspired by the Progressive Writers Movement.

In the early years after partition the poets felt hugely hemmed in by the their lack of reaching out to the people they were supposed to be addressing.

Though they had a steady audience, it was very tiny compared to that enjoyed by popular media including that of the cinema.

It was decided by a few poets and literary organisations to ride on the back of a popular medium to exploit the greater outreach of the cinema, and as it were, to spread the message.

Pardeep, Sahir Ludhianvi, Qamar Jalalabadi, Raja Mehdi Ali Khan, Shakeel Badayuni, Saghar Nizami, Rajinder Krishen and Majrooh Sultanpuri, were all sucked into the insatiable vortex of the film world with Sahir having remained the most outstanding but Majrooh Sultanpuri being a close second.

It may be said that when these poets agreed to write for the films the quality of poetry in the context of the film lyrics showed a vast improvement.

If it was a loss to urdu poetry it was surely a gain for the "filmi" song text and the vast divide of serious writing and popular writing was narrowed a little by the Bombay films.

Majrooh had earlier fought the hardest battle of his life as a ghazalgo.

It was an article of faith with the early progressive poets that the stylised form of ghazal with its well wrought and associated inferences was not suitable for the new sensibility which needed a new form.

Literature and the arts were seen in the framework of a one to one relationship and the entire effort seemed to be based on exclusion rather than incorporation.

But Majrooh did not tow the line and held the position that ghazal could retain its glory through its ability to say new things for the new age.

He was himself an outstanding ghazal poet and introduced new imagery and new diction into the heavily stylised format.

He was able to maintain the lyrical quality of the ghazal which is its real spirit and test without losing on the vigour that was supposed to be an integral part of this new poetic idiom.

The awareness of where the exploitation has taken the ordinary man and a whipping up of emotions for greater activism was the twin aim of these poets.

Majrooh was not alone in this struggle.

He had support from a contemporary, Faiz Ahmed Faiz, who too was not keen on losing the rich referential and allusive matrix of the traditional ghazal while talking about the main contradiction of the class divide that cut across board.

It was the awareness that the rejection of the ghazal would be a turning away from our tradition that made its acceptance and currency possible again by the fifties.

When Majrooh appeared on the scene Faiz's Naqsh e Faryadi, Majaz's Aahang, Ali Sardar Jaffery's Parwaz, Jazbi's Ferozaan and Makhdoom's Surkh Sawera had already been published with leading critics like Ehtesham Hussain and Doctor Alim, being the real opponents of the ghazal, wanting to do away with this archaic form as a critical canon.

Faiz and Majrooh gradually introduced the themes generally associated with the Progressive Movement, and transformed the ghazal without losing on its strength.

During the fifties ghazal was gradually and grudgingly accepted as a legitimate form of poetry even by Ehtesham Hussain who wrote about it then.

Poetry thus disengaged itself from being a mere slogan, and moved towards the lyrical and melodic richness generally associated with ghazal.

It abandoned the harsh declamatory style meant to exhort the listener to take up arms against the sea of troubles for a more introspective mood where awareness became part of a larger collective consciousness.

The Urdu poets found themselves being edged out in the new socio-cultural environment of India and saw their language shrink and the literate audience dwindle.

Amidst the growing demand of Hinduising Urdu Majrooh stood his ground and fought for the rightful place of his language with a rich heritage.

Perhaps history will judge Majrooh as a poet who partially frittered away his talent by writing for the films.

The limited opportunity and the constraints of the situation do not let the poet grow and prosper in the same manner when he is just writing poetry as a an autonomous form. But Majrooh's contribution in giving a new meaning to the ghazal will keep the torch of his name burning for quite some time.

The same rationale was also behind the movement known as the naturi shairi of the mid nineteenth century but it was sponsored from the top by the establishment.

Like all movements the Progressive Writers too took an extreme position and denounced much in the name of being a product of feudalism.

The government wasn't amused by his anti-establishment poems and he was jailed in 1949 along with other leftists like Balraj Sahni.

Majrooh was asked to apologise, but he refused and was sentenced to two years in prison.

In jail for his Leftist anti-Nehru writings in 1950-1, Majrooh wrote searing poetry like Shab-e-zulm nargah-e-raahjan se pukarta hai koi mujhe, Main faraaz-e-daar se dekh loon, kahin kaaravan-e-sahr na ho (Someone calls me in the night of tyranny from beyond the siege of the enemy, Let me see from the heights of the gallows, it may be the caravan of dawn and my sacrifice may not have been in vain.)

While he was in prison, his eldest daughter was born.

During this time his family experienced considerable financial difficulties.

It was after his released that he took to the pen name of Majrooh and his pen poured love and the bitter sweet pain of love.

Majrooh during this period was also lured by the advent of cinema as a media and thus he perceived his struggle towards cinema.

One of the impressed listeners was film producer A.R. Kardar.

It was A.R. Kardar who gave an opportunity to Majhrooh for his Shahjehan in 1949, and Majrooh never looked behind after that.

He contacted Jigar Muradabadi who helped him to meet Majrooh.

However, Majrooh refused to write for films because he didn't think very highly of them.

But Jigar Muradabadi persuaded him, saying that films would pay well and would help Majrooh to support his family.

Kardar then took him to music composer Naushad who put the young writer to test.

He gave Majrooh a tune and asked him to write something in the same metre, and Majrooh wrote Jab Usne Gesu Bikhraye, Badal Aaye Jhoom Ke....

Naushad liked what he wrote and Majrooh was signed on as the lyricist of the film Shah Jehan .

He made his film debut with Shahjehan, starring K.L. Saigal, The songs of the film became so immensely popular that K.L. Saigal wanted Jab Dil Hi Toot Gaya to be played at his funeral.

Shah Jehan was followed by S. Fazil's Mehndi, Mehboob's Andaaz (1949), and Shahid Latif's Aarzoo but his breakthrough film was Mehboob Khan's Andaaz and from then on there was no stopping him.

Majrooh Sultanpuri had written more than 8000 songs for over 330 films (including 3 in Bhojpuri).

In the 50 years span of his career as a lyricist, Majrooh was at ease with his songs and never did once his poetry ever tripped the thin line of decency.

He was at ease with an emotional song like Utha e ja unke sitam aur jiye ja, or a light masti number like Panch Rupaiya Baraa Aanaa, romantic song like Ai phoolon ki rani baharon ki malika tera muskurana gazab ho gaya or a cabaret number like piya tu ab to aa ja.

Credit should go to Majrooh for introducing the dialogue styled lyrics in Hindi films of the 60's like Haal kaisa hai janab ka? Kya khayal hai aap ka? , from the film Chalti Ka Naam Gadi.

Songs of the kind have stood the test of time and are still popular even today.

Poets and film lyricists take refuge to this style of songs even today to get the situation lively, but the line of decency that was drawn by Majrooh has somehow disappeared.

He had the distinction of working at equal ease with two generations of producers, directors music directors like Raj Kapoor - Randhir Kapoor, S.D. Burman in Chalti Ka Naam Gaadi - R.D. Burman in Caravan.

It was only because of Majrooh that Ghazal found a place in film songs.

His poetry encouraged one to do his duty with a dream in mind and never bother about its outcome.

His association had given recognition and popularity to music directors, he proved to be lucky mascot for new comers like O.P. Nayyar-Aar Paar, Khayyam-Footpath, LaxmikantPyarelal-, R.D.Burman-Teesri Manzil, S.Madan-Batwara, Rajesh Roshan-Kunwara Baap, Basu Chaakraborty-Sabse Bada Rupaiya, Anand Milind-Qayamat Se Qayamat Tak, Jatin Lalit-Yaara Dildara and Tushar Bhatia-Andaz Apna Apna.

Singer Talat Mahmood also got a boost for his career after rendering a song in Sujata which was worded, Jalte Hai Jiske Liye Teri Aankhon Ke Diye.

A number of other films for which Majrooh Sultanpuri had written memorable and popular songs are : C.I.D., Paying Guest, Tumsa Nahi Dekha, Kali Topi Lal Roomal, Kala Pani, Aarzoo, Mere Sanam, Mohabbat Isko Kahte Hai, Mere Hamdam Mere Dost, Budha Mil Gaya, Aar Paar, Miss Coca Cola, Ek Kunwara Ek Kunwari, Bikhre Moti, Baat Ek Raat Ki, Aanchal, Salaam Mem Saheb, Kali Raat, Jinny Aur Johnney, Kehte Hain Mujhko Raja, Phir Kab Milogi, Jo Jeeta Wohi Sikandar, Abhiman, Pakeezah, Nau Do Gyara, Mamta, Bhigi Raat, Yadon Ki Baraat, Mr. & Mrs. 55, Ganga Ki Lehren, Phir Wohi Dil Laya Hoon, Aarti, Dilli Ka Thug, Solvan Saal, Kabhi Haan Kabhi Naa.

But somewhere his subconscious was keenly aware that he had sacrificed some of his art for self, at least attention-wise, and so in Dastak he seized the chance to write - for Rehana Sultan€™s character of a fallen woman - the lines, Hum hain mataa-e-kuchaa-o-bazaar ki tarah, Uthti hai har nigaah kharidaar ki tarah (I am like goods for sale, they all look at me with appraising eyes of a prospective buyer.)

And yet few lyricists in Hindi films have offered the sort of goods Majrooh has.

Like the other greats of Hindi cinema, and probably to a surpassingly greater extent, he has incorporated poetry even in the most mundane situations, the results exceptional whenever his commercial chains gave him creative leeway, as in Deewana mujhsa nahin is ambar ke neeche, Aage hai qaatil mera aur main peeche peeche or Waadiyan mera daaman, raaste meri baahen, Jao mere siwa tum kahan jaaoge or even Mujhe dard-e-dil ka pataa na tha, Mujhe aap kis liye mil gaye, Main akele yoon hi maze mein tha, Mujhe aap kis liye mil gaye.


Raj Kapoor commissioned a song ("Ek din bike jayega maati ke mol") from Majrooh for which he paid him Rs. 1000.

Majrooh's political beliefs were further manifested when his second daughter married the son of the Urdu writer and socialist Zoe Ansari.

Toward the end both Majrooh and Zoe Ansari were disenchanted with the direction socialism had taken in the Soviet Union and China.

Their desire to better the lives of the masses found an outlet in their writings.

Majrooh Sultanpuri was the last of the group of lyricists that ruled Hindi cinema in the early 1950s and 1960s.

Out of Sahir Ludhianvi, Shailendra and Shakeel Badayuni, he alone outlived them all and worked right up to his death.


Majrooh Sultanpuri was among the foremost poets of modern progressive poetry.

He believed that no great art was possible without social content.

Ali Sardar Jafri in his foreword for Majrooh's book "Never Mind Your Chains" calls him "younger brother in poetry and struggle".

Majrooh was not always pleased with the association of his poetry with his film work.

However, this was more a reaction to society's hypocritical attitude of looking down on anything connected with the film world, than with any basis in fact.


His career spanned over 50 years and 350 films, many of them successful blockbusters.

Majrooh went on to write lyrics for popular films throughout the 1950s.

Along with Faiz Ahmed Faiz, Majrooh was considered the most notable ghazal writer.

Sultanpuri's work touched the soul.

Although Urdu poetry was his favourite, he wrote in simple Hindi, and could be understood by all classes.

Although Sultanpuri worked with top music directors - Anil Biswas, Naushad, Madan Mohan, O.P. Nayyar, Roshan and Laxmikant-Pyarelal - his best work was with S.D. Burman and R.D. Burman.

In fact his most outstanding work was in Nasir Hussain's frothy musicals like Teesri Manzil, Yaadon Ki Baraat and Hum Kisi Se Kum Nahin.

He continued to write youthful songs even in Hussain's son Mansoor Khan's films like the evergreen Qayamat Se Qayamat Tak.



The professional rift was to last for almost two decades - Naushad€™s prime phase, which was dominated by the formidable Shakeel Badayuni. This is also the reason why Majrooh€™s work in poetry did not get the endorsement it deserved on its literary merit. Majrooh always considered Mir Taqi Mir as the greatest master of the ghazal, but as Ali Sardar Jafri reveals, €œAs far as craft is concerned, Majrooh followed Ghalib€.

Majrooh€™s first and only published work, Ghazal was published as late as in 1956 - 17 years after he began writing verse, though it has since run into several editions, one of which was named Mashaal-e-Jaan.

As always forthright even in his self-appraisal, Majrooh decided to exclude from it all the topical poetry he had written in the 1948-51 period (which saw him participate very vigorously in the Communist movement) as well as any work he considered below his dignity as an outstanding literary poet. €œIt was only after four decades when my body of work just could not be ignored that I was given the prestigious Ghalib award in 1980,€ says the poet wryly.

As always prone to call a spade a spade, Majrooh was thus fully aware of his own strength and potential even while being a keen self-critic. Even as he did admit that he wrote in films because it meant €œgood money€, he never undervalued his tremendous work in that field and could not tolerate the condescending attitude many poets had towards lyricists without understanding the specialised art and skills needed to write in films.

When a noted poet-cum-public figure introduced Majrooh at a Delhi mushaira as the €œfamous lyricist from the film world of Bombay€, Majrooh drove his point home by addressing the man without his title, and requested him to listen to one of his filmi lyrics, unleashing the aforementioned work which has almost achieved the status of a proverb: €œMain akela hi chala tha!€

The man apologised for his gaffe and Majrooh graciously accepted the apology! In fact, Majrooh is all too well aware that few lyricists have inculcated sheer poetry in so many typically filmi songs with such consistent commitment and excellence as he did. €œIt was only in rare cases,€ reveals the bard, €œthat I was actually told to write as poetically as possible. Writer Krishan Chander and director Asit Sen wanted me to do so in Mamta, and so did V.Shantaram in the only film I worked with him on Jal Bin Machhli Nritya Bin Bijli.

Majrooh went on to pen songs like Rahe na rahe hum mehka karenge, Banke kali, banke sabaa, baagh-e-wafaa mein and Chhupa lo dil mein yoon pyar mera, Ke jaise mandir mein lau diye ki (Mamta) and Man ki baat mere man se nikli, Aise tadpoon ke jaise jal bin macchli and Baat hai ek boond si dil ke pyaale mein, Aate aate honthon tak toofan na ban jaaye for the latter film.

But Majrooh€™s skills at vivid imagery were unrivalled in their sheer genius - his poetry needed no spur to transcend the various chains put on a popular lyric writer. In a 1975 Chennai potboiler, even while writing to an unusual RD metre, Majrooh was to create one of his finest ever mukhdas, whose true beauty and depth strikes home only after giving the lines focussed time and thought, O hansini, o hansini, kahan ud chali, mere armaano ke pankh lagaake, kahan ud chali (O my beautiful swan, whither have you flown far away from me, using my very desire as your wings?).

One of the prime reasons why Majrooh could afford to take a principled stand and resist succumbing to the sleazy wave in the early €™90s was his superb ability to weave the most vivid images of physicality and passion within the fabric of his poetry. €œI have said it all in so many songs, without resorting to cheapness or blatant verse,€ said the poet. And he is not exaggerating either, if you consider songs like Baahon mein chale aao (Anamika), or that classic Doosara Aadmi antara from the song Aao manaaye jashn-e-muhabbat which goes, Yeh aalam hai aisa, uda jaa rahaa hoon, tumhein leke baahon mein, Hamare labon se tumhare labon tak, nahin koi raahon mein, Kaise koi ab dil ko sambhaale, itne haseen paigham ke baad, Shaam se pehle kaun yeh soche kya hona hai shaam ke baad.

Majrooh, as the most enduring songwriter in the annals of Indian - and probably world - cinema, has written them all to perfection - ghazals, qawwalis, mujras, bhajans, folk-based ditties, sad and comic songs, children€™s songs, cabarets and discos, romantic songs and every conceivable genre of film song. €œThat is why I felt that I deserved my Dadasaheb Phalke award more than anyone else,€ he told me without the slightest trace of arrogance. €œWhen I won it, there were dissident voices in my fraternity who felt that Pradeep deserved it more. Similarly Sahir got more recognition all along as a poet among us lyricists. But I sincerely feel that there is not only greater variety in my work but also more innovation.€

Comparing his body of work with any other lyricist, one has to admit that the Phalke award had no writer in Hindi films better qualified to receive it. In fact, in the €™50s, Majrooh€™s association with films like Aar Paar, Dilli Ka Thug, Chalti Ka Naam Gaadi, Nau Do Gyarah, C.I.D., Paying Guest and Tumsa Nahin Dekha earned him the reputation of a crassly commercial lightweight lyricist amidst names like Sahir, Pradeep, Kaifi Azmi, Bharat Vyas and even Shailendra from those who did not understand that such versatility was the primary quality of a brilliant lyricist.

His enduring and fruitful association with Nasir Husain began because Sahir criticised Nasir€™s commercial slant, causing an indignant Husain to drop the man saying, €œSahir wants every director to be another Guru Dutt!€ And Majrooh€™s comic lyrics were never tinged with the bitter satire and cynicism so typical of other Left-oriented writers.

He rose above his own opinions and views and thought solely of the character and the situations. Like all truly great creators in Hindi films, Majrooh approached every assignment honestly and impersonally - his job was to do the best for the character in the given situation.

His commercial work was neither a channel to air his own socio-political views, nor was it an avenue to show his expertise as a poet at the cost of credibility and the needs of the song. But it was decidedly his job to bring in as much of poetry and depth as possible if the film, its makers, the situation and the intellectual level of the characters permitted.

This, Majrooh did with exceptional brilliance in hundreds of his songs, like Ab kya misaal doon main tumhare shabab ki, Insaan ban gayi hai kiran mahtaab ki (Aarti) or Hui shaam unka khayal aa gayaa, Wohi zindagi ka sawaal aa gaya (Mere Humdum Mere Dost), even employing lesser-known words like pairhan, aib, hunar, rang-o-jamaal, sabaa and being responsible for bringing several Urdu words like jaanam, dilbar and mashallah into common usage.

Among Hindi words, he seemed to have a particular affinity for a few words like pyaare and the word diya (lamp or light) seemed to come in in its optimistic meaning in several lyrics of his, like Diye jalaaye pyar ke chalo issi khushi mein, Baras beeta ke aayi hai yeh shaam zindagi mein (Dharti Kahe Pukar Ke), Kya jaanoo sajan hoti hai kya gham ki shaam, Jal uthe sau diye jab liya tera naam (Baharon Ke Sapne) and Dil ka diya jalaake gayaa, yeh kaun meri tanhai mein (Akashdeep).

It€™s Urdu counterpart, chirag also found its way into way into many of his songs and poetry. Majrooh€™s film hits and creative triumphs are legion, as they cover a voluminous cavalcade of films from Shah Jehan in 1946 to Jaanam Samjha Karo, the album in 1998 and the film in 1999.

The range is awesome, the standards exacting even in the light verse, and the mission obvious - to grow beyond the chains and to write poetry that is like a perennial beacon for writers to come - Mere peeche yeh to mohaal hai ke zamana garm-e-safar na ho, Ke nahin mera koi naqsh-e-paon, jo chiraagh-e-raah-guzar na ho (It is unlikely that after me there will be no journeys: for I have not left a single footprint that isn€™t a beacon for those who will travel after me on this path).

Majrooh won his only Filmfare Award for the song "Chahunga mein tujhe sham savere" in Dosti.

He was also awarded the Dadasaheb Phalke Award in 1993.

He was the first lyricist to win the prestigious award named after Dadasaheb Phalke.

Association with Nasir Hussain

Majrooh and Nasir Hussain first collaborated on the film Paying Guest, which Nasir wrote.

After Nasir turned director and later producer they went on to collaborate in several films, all of which had huge hits and are some of Majrooh's best remembered works:

Phir Wohi Dil Laya Hoon

Teesri Manzil

Baharon Ke Sapne

Pyar Ka Mausam

Caravan

Yaadon Ki Baraat

Hum Kisi Se Kum Nahin

Zamane Ko Dikhana Hai

Qayamat Se Qayamat Tak

Jo Jeeta Wohi Sikander

Akele Hum Akele Tum

Majrooh also was instrumental in introducing R.D. Burman to Nasir for Teesri Manzil.

The trio worked in 7 of the above mentioned films.

Burman went on to work in 2 more films subsequent to Zamane Ko Dikhana Hai.

He published an anthology of Urdu poetry, appropriately titled "Ghazal," for which he received an award from the Maharashtra State Urdu Academy.

He was also a recipient of the Iqbal Samman from the Madhya Pradesh government and the Sant Gyaneshwar Puraskar of the Maharashtra government.

Majrooh Sultanpuri had a severe attack of pneumonia and died in Bombay on May 24, 2000.

Majrooh Saab's songs touched the core of human experience.

And although a product of the hoary adabi tradition of classical Urdu poetry, his film songs adhered to simple Hindustani, which struck a chord in both the commoner and the connoisseurs alike.

To quote another well noted lyricist Prem Dhawan...

"Majrooh blended popularity with purity of thought and expression"


Thursday, 25 May, 2000, 07:35 GMT 08:35 UK

Hindi film songwriter dies

The well-known Hindi film lyricist and Urdu poet, Majrooh Sultanpuri, has died in the western Indian city of Bombay.

He was 78.

Mr Sultanpuri had been suffering from a lung disease.

He won acclaim with his very first film "Shahjehan" and went on to write song lyrics for nearly three hundred and fifty films.

He was especially known for his romantic numbers.

Mr Sultanpuri was one of the founders of the progressive writers' movement.

In 1993 he was honoured with Indian cinema's highest accolade, the Dada Saheb Phalke award.

From the newsroom of the BBC World Service


Soundtrack:

2000s

1990s

1980s

1970s

1960s

1950s

1940s


Arranged: The Musical (2009) (lyrics: "Na Tum Hamen Jano")

Yaar Meri Zindagi (2008) (writer: "naache meraa pyaar dekho naa", "Piyaa tore nainavaa", "Raja ke anganaa aaee")

Monsoon Wedding (2001) (writer: "Chura Liya") ... aka Le mariage des moussons (France) ... aka Monsoon wedding - Matrimonio indiano (Italy)

Pukar (2000) (lyrics: "Kay Sera... Sera", "Sunta Hai Mera Khuda", "Humrahi Jab Ho Mastana", "Hai Jaana... Hai Jaana", "Kismat Se Tum Hum Ko Mile", "Ek Tu Hi Bharosa")

Cotton Mary (1999) (writer: "Aar Paar") ... aka Cotton Mary (France)

Aarzoo (1999) (lyrics: "Saj Rahi Gali Meri Maa (Kunwara (1974))"

Shikaar (1996) ("Mana Hai", "Yun To Ankhon", "Pyaar Hai", "Parde Me", "Pyaar Hai, Reprise")

Ek Ladka Ek Ladki (1992) (lyrics: "Kitna Pyar Tumhein Karte Hain, Aaj Humein Maloom Hua", "Dil Ki Baat.. Dil Jaane", "Chhoti Si Duniya", "Aao Jhoomein", "Pyar Yeh Nahin.. Armaan Hai Tera", "Ande Aayee Murgi Se.. Ya Murgi Se Aayee Ande")

Baaghi: A Rebel for Love (1990) (lyrics: "Inhi Logon Ne [Pakeezah (1971)]")

Dil (1990) (lyrics: "Papa Kehte Hain [movie: Qayamat Se Qayamat Tak (1988)]")


Janam Janam (1988) (lyrics: "Janam Janam Ki Pyasi Aankhiyan")

Jhutha Sach (1984) (lyrics: "Kya Karoon Main Nikhli Chupake", "Loot Gayi Main To Aaj O Rama", "Kaisi Lag Rahi Hoon Main", "Jahan Bin Hawa Ke Parda Hiley, Aaja Main Wohi Hoon Lag Ja Gale", "Kisi Ko Kho Na Kisi Ko Pana")

Khuda Kasam (1981) (lyrics: "Yun Mera Haath")

Khoon Aur Paani (1981) (lyrics: "Kanagana pahena maine ghunghroo wala, diya kisine liya hai maine, chori nahin to kee, daaka toh nahin dhalla, dhalla, kangana pahena maine ghunghroo wala")

Kudrat (1981) (lyrics: "Humen Tumse Pyar Kitna") ... aka Nature

Ladies Tailor (1981) (lyrics: "Jo Kabhi Na Huwa, Aaj Hoga", "Ab Yeh Jana Ke Ise Kehte Hain Aana Dil Ka", "Mere Mehboob.. Tum Ho Tumhi Ho", "Do Chahanewalon Ki Mulaqat Hai", "Ja Meri Behna, Tujhko Mubarak")

Noorie (1979) (lyrics: "Uske Khel Nirale") ... aka A Girl Called Noorie (India: English title)

Phaansi (1978) (lyrics: "Jab Aati Hogi Yaad Meri, Tera Dil To Machalta Hoga")

Jay-Vejay: Part - II (1977) (lyrics: "Mata Bhavani", "Sab Jaanu Re Tori Batiyan", "Teri Palkon Mein Kajal, Ae Haseena", "Jhamak Jham Jham Jham", "Sone Jaisi Tumhari Jawani", "Maine To Lakh Jatan Kar Dala", "Badi Door Se Chalkar Aaye Hain")

Dharam Karam (1975) (lyrics: "Ek din bik jaayega", "Mukh pe jo chhidka paani diya re", "No ho bas mein tere kuchh bhi maana", "Naachna nahin aawat keht angna tedha", "Tere ham safar geet hain", "Tu kahan gayi thi tera mar jaaye saanwariya", "Yeh baat thi yaar ek ber ki")

Kala Sona (1975) (lyrics: "Sun Sun Kasam Se")

Sagina (1974) (lyrics: "Chote Chote Sapne Hamar", "Aag Lagi Hamri", "Ghazab Chamkai", "Tumre Sang To Rain Bitayi", "Sala Main To Saab Ban Gaya")

Do Phool (1974) (lyrics: "Maaf Karo, Jane Do", "Oh Latloosh", "Muthukodi Kawadi Hada")

Zehreela Insaan (1974) (lyrics: "Saap Se Bad Ke Mera Zeher Hai", "Mere Dil Se Yeh Nain Mile Rehne Do", "O Hansini, Meri Hansini", "Yeh Silsila Pyar Se Chala", "Kali Masal Gayi Paon Tale")

Abhimaan (1973) (lyrics: "Meet Na Mila Re Man Ka", "Nadiya Kinaare", "Teri Bindiya Re", "Loote Koi Man Ka Nagar", "Ab To Hai Tumse Har Khushi Apni", "Piya Bina Piya Bina", "Tere Mere Milan Ki Yeh Raina")

Anamika (1973) (lyrics: "Jaoon toh kahaan jaaoon") ... aka Girl Without a Name (India: English title)

Anokhi Ada (1973) (lyrics: "Tere Dil Mein", "Ghoom Gai", "Jawan Jawan", "Sundari Hai Hai", "Hal Kya Hai")

Phagun (1973) (lyrics: "Piya sangh khelo Holi, Phagun aiyo re", "Kab maane ho dil ke mastane, samjane ko aaye chahey Allah miya bhi", "Sanhya jo aai, mann ud jaye")

Yaadon Ki Baaraat (1973) (lyrics: "meri soni meri tamanna jhooth nahin hai mera pyaar")

Pakeezah (1972) (lyrics: "Inhi Logon Ne", "Thare Rahiyo") ... aka Pure Heart ... aka Pure One (India: English title) ... aka The Pure

Do Chor (1972) (lyrics: "Mora Chota Sa Balamwa Bhi Pyar Na Jane", "Meri Jaan, Meri Jaan, Kehna Mano", "Chahe Raho Door, Chahe Raho Paas", "Yaari Ho Gayi Yaar Se", "Kali Palak Teri Gauri")

Buddha Mil Gaya (1971) (lyrics: "Aayo Kahan Se Ghanshyam", "Raat Kali Ek Khwab Mein Aayee", "Bhali Bhali Si Ek Soorat")

Caravan (1971) (lyrics: "Piya Tu Ab To Aaja", "Goriya Kahaan Tera Des Re", "Daiya Yeh Main Kahaan Aa Phasi", "Dilbar Dil Se Pyaare", "Chadti Jawaani Meri Chaal Mastaani", "Kitna Pyaara Waada Hai In Matwaali Aankhon Ka", "Ab Jo Mile Hain To", "Hum To Hain Raahi Dil Ke")

Dastak (1970) (lyrics: "O Balma, Baiyan Na Dharo O Balma", "Mai Ri, Maah Kahse Kahoon Peed, Apne Jiya Ki, Mai Ri", "Tumse Kahoon Ek Baat Paronse Halki, Halki, Halki, Halki", "Hum Hain Matay-E-Kuchao Baazar Ki Tarah, Uthti Hai Har Nigaha Karidhar Ki Tarah")

Raaton Ka Raja (1970) (lyrics: "Mere Liye Aati Hai Shaam", "Jhanak Jhan Ghungroo", "Door Say Tera Diwana", "Mohabbat Say Tujhe Dekha", "Aye Dekho Toh Yehaan")

Pyasi Sham (1969) (lyrics: "Awaara Maaji, Jayega Kahan, Uska Toh Saahil Tum Ho Jaahan", "Duniya Me Dilwale Honge Hazaron, Lekin Hamari Wafa, Dilruba Yaad Karoge", "Yaaron Mera Saath Nibhao, Roz Aisi Mehfil Kahan", "Yeh Kaisa Ghum Sajana, Pyasa Din Pyasi Sham")

Talash (1969) (lyrics: "Tere Naina Talash Karen")

Abhilasha (1968) (lyrics: "Yaaron Hamara Kya", "Munne Mere Aa", "Ek Janib Sham-E-Mehfil", "Wadiyan Mera Daman (male)", "Wadiyan Mera Daman (female)") ... aka Desire (International: English title: informal literal title)

Patthar Ke Sanam (1967) (lyrics: "Koi nahin hai phir bhi hai mujko na jaane kiska intezar, yeh bhi na jaanu laherake aanchal kisko bhulaye baar baar, na jaane kiska intezar", "Eh dushman jaan, chal diya kahan", "Tauba yeh matwali chaal, juk jaaye phoolon ki daal", "Mehboob mere, tu hai toh duniya kitni haseen hai, jo tu nahin toh kuch bhi nahin hai", "Bata du kya laana, tum laut ke aa jaana, yeh chotasa nazarana piya yaad rakhoge ke bhool jaoge", "Patthar ke sanam tujhey hamne mohabbat ka khuda jaana")

Daadi Maa (1966) (lyrics: "Chaley aaye re hum to chaley aaye re", "Usko nahin dekha hamne kabhi, par uski jaroorat kya hogi, eh Maa, eh Maa teri surat se alag, Bhagwan ki surat kya hogi, kya hogi")

Teesri Manzil (1966) (lyrics: "Deewaana mujhsa nahin is ambar ke neeche") ... aka The Third Floor

Oonche Log (1965) (lyrics: "Jaag Dil E Diwana", "Aaja Re, Mere Pyar Ke Rahi", "Teri Chanchal Nainva", "Ajab Teri Duniya, Ajab Insaan")

Mere Sanam (1965) (lyrics: "Haji haji haji arey haji baba") ... aka My Beloved (International: English title)

Teen Devian (1965) (lyrics: "Khwab Ho Tum Ya Koi Haqeeqat")

Dosti (1964) (lyrics: "Meri Dosti Mera Pyar", "Chahoonga Main Tujhe", "Rahi Manwa", "Mera To Jo Bhi Qadam", "Gudiya Kab Tak Na Hasogi", "Jaanewalo Zara") ... aka Friendship

Ishaara (1964) (lyrics: "Chori Ho Gayi Raat, Nain Ki Neendiyan", "Chal Meri Dil", "Dil Bekarar Sa Hai", "Hey Abdullah Naginwala Aa Gaya", "Dil Bekarar Sa Hai (female)") ... aka Sign

Akeli Mat Jaiyo (1963) (lyrics: "Thodi Der Ke Liye Mere Ho Jao", "Akeli Mat Jaiyo", "Raaste Mein Do Anjaane", "Yeh To Kaho, Kaun Ho Tum", "Woh Jo Milte The Kabhi", "Yeh Cycle Ka Chakkar", "Chal Chal Chal Mere Dil", "Yeh Hawa, Yeh Mastana Mausam")

Phir Wohi Dil Laya Hoon (1963) (lyrics: "Dekho Bijli Dole Bin Badal Ke", "Laakhon Hain Nigahon Mein", "Aji Kibla Mohtarma", "Aanchal Mein Saja Lena Kaliyan", "Aankhon Se Jo Utri Hai Dil Mein", "Phir Wohi Dil Laya Hoon", "Humdum Mere Khel Na Jaano", "Meri Berukhi Tumne Dekhin Hain Lekin")

Baat Ek Raat Ki (1962) (lyrics: "Na Tum Hamen Jano")

Burmah Road (1962) (lyrics: "Looton Maze Bahar Ke", "Zulfein Uljhi Hai Mere", "Humne To Diya, Yeh Dil Tumhe Diya", "Mausam Yeh Pukare", "Aankh Jhuki Si, Chaal Rukhi Si", "Banke Piya Kaho Ha Dagabaaz Ho")

China Town (1962) (lyrics: "China Town (Laakhon Haseenon Se Hai Gulzar China Town)", "Baar Baar Dekho Hazaar Baar Dekho", "Dekhoji Ek Baala Jogi Matwaala Jogi", "Hamse Na Poocho Ham Kahaan Chale", "Yamma Yamma (Sau Parwane Ek Shamma Bahaka Hai Har Dilwaala)", "Yeh Rang Na Chhootega Ulfat Ki Nishani", "Bada Qatil Hai")

King Kong (1962) (lyrics: "Jaata Hai Toh Jaa, Oh Jaanewaley Jaa", "Arey, Arey, Arey, Kya Ho Gaya", "Oh Oh Devata, Pyar Ke Devata")

Opera House (1961) (lyrics: "Dekho mausam, kya bahar hai, sarha alaam bekaraar hai, aise me kyon hum diwane ho jayen na", "Balma manne na, bheri chhup na rahey")

Bombai Ka Babu (1960) (lyrics: "Dekhne Mein Bhola Hai Dil Ka Salona", "Deewaana Mastaana Hua Dil", "Saathi Na Koyi Manzil", "Chal Ri Sajni Ab Kya Soche", "Pavan Chale Toh Uthe Man Mein Lehar Si", "Aise Mein Kachu Kaha Nahin Jaaye", "Takdoom Takdoom Baaje") ... aka Bambai Ka Babu (India: Hindi title: alternative transliteration)

Ardhangini (1959) (lyrics: "Tera khat leke sanam paon kahi raktey hai hum, Oh oh oh, kahin padtey hai kadam, kahin padtey hai kadam")

Sujata (1959) (lyrics: "Jalte Hain Jiske Liye Teri Aankhon Ke Diye", "Kaali Ghata Chhaye Mora Jiya Tarsaaye", "Bachpan Ke Din Bhi Kya Din The", "Tum Jiyo Hazaaron Saal, Saal Ke Din Ho Pachaas Hazaar", "Suno Mere Bandhu Re, Suno Mere Mitwa", "Nanhi Kali Sone Chali Hawa Dheere Aana", "Andhe Ne Bhi Sapne Dekha Kya Hai Zamaana... Waah Bhai Waah") ... aka Untouchable Girl

12 O'Clock (1958) (lyrics: "Tum Jo Hue Mere Humsafar", "Kaisa Jaadoo Balam Tune", "Main Kho Gaya Yaheen", "Saiyan Teri Ankhiyon", "Aji O Suno Toh", "Dekh Idhar Aei Haseena", "Arey tauba arey tauba")

Aakhri Dao (1958/I) (lyrics: "Tujhe Kya Sunao Main Dilruba", "Tuhi Aake Sambhal Ise", "Hai Unki Woh Nigahen", "Na Darr Sanam, Laga Bhi Le", "Humsafar Saath Apna Chod Chale", "Idhar To Haath La Pyare")

Chalti Ka Naam Gaadi (1958) (lyrics: "Hum The Woh Thi") ... aka That Which Runs Is a Car

Dilli Ka Thug (1958) (lyrics: "Hum To Mohabbat Karega")

Kabhi Andhera Kabhi Ujala (1958) (lyrics: "Surma Mera Nirala")

Kalapani (1958) (lyrics: "Nazar Laagi Raja Tore Bangley Par") ... aka Kala Pani (India: Hindi title: alternative transliteration)

Lajwanti (1958) (lyrics: "Koi Aaya, Dhadkan Kehti Hai", "Aaja Chhaye Kare Badra", "Chanda Re Chanda Re Chupe Rehna Soye Meri Maina (Happy)", "Chanda Re Chanda Re Chupe Rehna Soye Meri Maina (Sad)", "Ek Hans Ka Joda", "Gaa Mere Mann Gaa", "Chanda Mama Mere Dware Aana")

Solva Saal (1958) (lyrics: "Yeh Bhi Koi Rooth Ne Ka Mausam Hai Diwane", "Hai Apna Dil To Awara", "Yehi To Hai Woh", "Dekhoji Mera Haal, Badal Gayi Chaal", "Hazar Ki Katari Yeh Kaisi Chali")

Sone Ki Chidiya (1958) (writer: "Bekas ki tabaahi ke saamaan hazaaron hain")

Zimbo (1958) (lyrics: "Yeh Raatein, Yet Baatein", "Lo Chale Hum, Behke Kadam Aaj Khushi Se", "Yeh Mana, Dil Jise Dhoonde", "O Zalima.. Challa Kahan", "Yeh Kiya Tune Kaisa Jadu", "Yeh Raat Hai Mehtabi", "Soja Re Soja")

Apradhi Kaun? (1957) (lyrics: "Mera Dil Dil Dil Dil Na Dil Lekar Kidar Chala", "Hai Pyar Ke Do Matwale", "Baat Koi Matlab Ki Hai Juroor", "Koi Dekhen To Kahe Tujhko Kahin Diwana Na", "Phir Wohi Dard Hai")

Nau Do Gyarah (1957) (lyrics: "Kya ho phir jo din rangeela ho") ... aka Nine Plus Two Makes Eleven

Paying Guest (1957) (lyrics: "Maana Janaab Ne Pukaara Nahin", "O Nigaahen Mastaana", "Chaand Phir Nikla", "Chhod Do Aanchal Zamaana Kya Kahega", "Haye Haye Haye Yeh Nigaahen", "Chupke Chupke Rukte Rukte")

Tumsa Nahin Dekha (1957) (lyrics: "Tumsa Nahin Dekha (male)", "Dekho Kasam Se Dekho Kasam Se", "Jawaniyaan Yeh Mast Mast Bin Peeye", "Sar Pe Topi Laal Haath Mein Resham Ka Rumaal", "Aaye Hain Door Se Milne Huzoor Se", "Tumsa Nahin Dekha (female)", "Chupnewale Saamne Aa")

Bhagambhag (1956) (lyrics: "He Babu Yeh Hai Zamana Tera", "Chhod Chale Sare Duniya Ko") ... aka The Chase

C.I.D. (1956) (lyrics: "Jaata Kahaan Hai Deewaane")

Ek-Hi-Rasta (1956) (lyrics: "Chali Gori Pi Se Milan Ko Chali", "Sanware Saloni Aayi Din Bahar Ke", "Chamka Ban Kar Aman Ka Tara", "Bade Bhaiya Laya Hai London Se Chori", "Soja Nanhe Mere", "Kaisi Lagi", "Bekas Ke Aabroo Neelam Kar Ke Choda") ... aka The Only Way

Mr. & Mrs. '55 (1955) (lyrics: "Thandi Hawa Kaali Ghata", "Aei Ji Dil Par Hua Aisa Jaadoo", "Neele Aasmane", "Udhar Tum Haseen Ho", "Chal Diye Banda Nawaaz", "Jaane kahan mera jigar gaya ji", "Meri Duniya Lut Rahi Thi Aur Main Khamosh Tha")

Aar-Paar (1954) (lyrics: "Sun Sun Sun Sun Zaalima", "Ja ja ja ja bewafa", "Babuji Dheere Chalna", "Ye Lo Main Haari Piya", "Hoon Abhi Main Jawaan Aye Dil", "Mohabbat Kar Lo Jee Bhar Lo Aji Kisne Roka Hai", "Arey Na Na Na Na Na Na Tauba Tauba", "Kabhi Aar Kabhi Paar Laaga Teer-e-nazar") ... aka Across the Heart (International: English title: informal title) ... aka From One Side to the Other

Shama Parwana (1954) (lyrics: "Tune Mera Yaar Na Milaya, Me Kya Janu Teri Yeh Khudai", "Mera Dildar Na Milaya, Me Kya Janu Teri Yeh Khudai", "Woh Marnese Dartey Nahin")

Foot Path (1953) (lyrics: "So Jaa Mere Pyaare So Jaa", "Suhaana Hai Yeh Mausam Salona Hai Mera Balam", "Shaam-e Gham Ki Qasam Aaj Ghamgin Hai", "Piya Aaja Re Dil Mera Pukaare")

Andaz (1949) (lyrics: "Jhoom Jhoom Ke Nacho Aaj", "Koi Mere Dil Mein", "Hum Aaj Kahin Dil Kho Baithe", "Meri Ladli Re", "Tu Kahe Agar", "Uthaye Ja ke Sitam", "Toote Na Dil Toote Na", "Tod Diya Dil Mera", "YUn To Aapas Mein Bigadte Hain", "Dar Na Mohabbat Karle") ... aka A Matter of Style ... aka Beau monde

Music Department:

1980s

1970s

1960s

1950s

Ram Tere Kitne Nam (1985) (lyricist)

Shriman Shrimati (1982) (lyrics) (as Majrooh)

Khud-Daar (1982) (lyricist: songs) ... aka Khuddar (India: Hindi title: alternative transliteration)

Ladies Tailor (1981) (lyricist) (as Majrooh)

Jay-Vejay: Part - II (1977) (lyricist)

Inkaar (1977) (lyricist: songs)

Udhar Ka Sindur (1976) (lyricist: songs)

Benaam (1974) (lyricist: songs) ... aka The Nameless

Sagina (1974) (lyricist) (as Majrooh)

Abhimaan (1973) (lyricist: songs)

Anamika (1973) (lyricist) ... aka Girl Without a Name (India: English title)

Do Chor (1972) (lyricist)

Samadhi (1972) (lyrics)

Dastak (1970) (lyricist)

Shagird (1967) (lyricist: songs)

Oonche Log (1965) (lyricist)

Ganga Ki Lahren (1964) (playback singer)

Burmah Road (1962) (lyricist)

Bombai Ka Babu (1960) (lyricist) ... aka Bambai Ka Babu (India: Hindi title: alternative transliteration)

Aakhri Dao (1958/I) (lyricist) (as Majrooh)

Solva Saal (1958) (lyricist)

Zimbo (1958) (lyricist)

Mr. & Mrs. '55 (1955) (lyricist) (as Majrooh)

Foot Path (1953) (lyricist)

Writer:

Pyasi Sham (1969) (lyrics)

King Kong (1962) (lyrics)






This post has been edited by rashmi mehta: Jul 3 2009, 08:36 PM
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rashmi mehta   GEETA BALI Geeta Bali was a special actress. She ...   Apr 14 2009, 03:55 AM
rashmi mehta   majruh sultanpuri (c. 1919 - May 24, 2000), Majr...   Jul 3 2009, 08:13 PM
rashmi mehta   सारांश: प्रस्तुत ह...   Jul 3 2009, 08:38 PM
rashmi mehta   KAIFI AZMI Birthplace: Azamgarh, U.P. Profession...   Jul 3 2009, 08:49 PM
rashmi mehta   raja mahendi ali khan http://www.bollywoodblitz.c...   Jul 17 2009, 02:07 AM
rashmi mehta   raja mahendi ali khan http://www.bollywoodblitz.c...   Jul 17 2009, 02:09 AM
rashmi mehta   http://www.screenindia.com/old/jan14/music1.htm h...   Jul 17 2009, 02:11 AM
rashmi mehta   Tanuja Samarth (Marathi: ????? ?????), popularly k...   Jul 17 2009, 02:12 AM
rashmi mehta   Mala Sinha (Nepali: ???? ??????) (born November 11...   Jul 17 2009, 02:51 AM
madsur   Rashmiji, I ran into your post by accident. Absol...   Jul 17 2009, 05:03 AM
rashmi mehta   Thanks Sureshji I had seen your message today. ...   May 7 2010, 01:58 PM
rashmi mehta   AAMIR KHAN Date of Birth 14 March 1965, Mumbai, I...   May 6 2011, 10:30 PM
rashmi mehta   [b]Katrina Kaif Date of Birth 16 July 1984, Hong...   May 7 2011, 09:56 PM


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