So, for a long time, poetry in songs was considered to be pedestrian and humdrum until the Midas touch of a Sahir or Majrooh lent a magical twist and tenderness to exquisite creations.Ĭan you forget Majrooh’s ‘Rahein na rahein hum mahka karenge.’ (from ‘Mamta’, 1966, composed by Roshan Lal Nagrath), ‘Thaare rahiyo O Banke Yaar’ (from ‘Pakeezah’, 1972, composed by Ghulam Mohammad), ‘Kabhi toh milegi, kahin toh milegi, baharon ki manzil ‘ (from Aarti, 1962, and sung by Lata Mangeshkar), ‘O mere dil ke chain.’ (from ‘Mere Jeevan Saathi’, 1972, and music by R D Burman) or ‘Raat kali ek khwaab mein aayee’ (from ‘Buddha Mil Gaya’, 1971, by Kishore Kumar)? Film music was always looked down upon by the high-brow connoisseurs of music and poetry. That you don’t get to listen to songs like ‘Koi sone ke dil wala’ (in film ‘Maya’, 1961) or ‘Tukde hain mere dil ke’ (in film ‘Mere Sanam’, 1965) in today’s cacophonous musical scenario is inconsequential.īut there was a time when a cascade of sublime numbers ensued from the quills of the poet-lyricists like Sahir Ludhianavi, Shakeel Badayuni, Kaifi Azmi, Qamar Jalalabadi, Hasrat Jaipuri and Majrooh Sultanpuri. Music with soulful poetry has been the backbone of Hindi cinema. By the way, his nom de guerre means ‘wounded’ (‘zakhmi’ or ‘ghayal’) in Arabic but figuratively it means ‘smitten’.
Yes, the beginning really augured well for Asrar ul-Hassan Khan ‘Majrooh’ Sultanpuri.
When a poet-lyricist begins his career with immortal numbers like ‘Jab dil hi toot gaya’ and ‘Gham diye mustaqil’ (both from the film ‘Shahjahan’, 1946) and someone of K L Saigal’s stature lends his voice to them, one can say that the beginning is indeed auspicious.
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