Hindi film industry’s lyric writers have to be saluted for giving words to the most memorable moments of our lives. The verses of Sahir Ludhianvi, Shailendra and Shakeel Badayuni covered a wide range of subjects and emotions. It is indeed difficult to pick anyone as a favourite since all three provided us rare, incredible insights in to life’s intricate happenings.
But as we pay tribute to Shakeel Badayuni, whose birth centenary is still being celebrated by his fans, one has to confess that Shakeel was a bit different since he didn’t “colour” his muse whereby his verses were unalloyed pieces of his feelings. From romance to grief, Shakeel poured forth what he felt and though his other two colleagues also created sublime poetry, they were on occasions guilty of painting their “perspectives” upon their verses! For sheer literary enchantment, Shakeel Badayuni provides the ideal combination of beauty, romance and pathos in most easy to remember lines.
Listen to his vast repertoire and you’d agree that his poetry may be uncomplicated but is not devoid of profound thought. Say when a woman’s beauty has ever been complimented better than “Chaudhvin Ka Chand Ho” (“Chaudhvin Ka Chand”) or “Jaane Bahaar Husn Tera Bemisal Hai” (“Pyaar Kiya To Darna Kya”). And with “Zindagi Dene Waale Sun” (“Dil-e-Nadaan”), he made us cry as easily since he had the gift to mould ordinary, everyday words into lofty contemplations that suited all moods and occasions. Songs from “Mela”, “Mother India”, “Baiju Bawra”, “Gunga Jamuna”, Mughal-e-Azam”, “Kohinoor”, “Mere Mehboob”, “Saheb Biwi aur Ghulam”, “Gharana”, “Phool aur Pathar”, “Do Badan” and many other are in a class of their own for simplifying weighty ideas in easiest of terms. Shakeel’s songs enchant yet satisfy our deeper yearnings and the simplicity of verses, without taking away the gravity of reflection, makes them extremely hummable for “common singers”!
A major contributor to Naushad’s success, Shakeel also forged fruitful partnerships with Ghulam Mohammed, Ravi and Hemant Kumar that prove versatility of his muse. The charm of “Bees Saal Baad” owes much to his “Kahin Deep Jale Kahin Dil”, depicting how he plucked simple words to weave effective lines and as you rewind to its stanza “Na Main Sapna Hun Naa Koi Raaz Hun, Ek Dard Bhari Awaaz Hun”, it exhibits how his uncomplicated verses could enhance nuances and qualities of a story. He was one of the few “shayaars” (poets) who had equal command over Hindi and Urdu that allowed him to cater with ease to our finest pluralistic traditions.
Wholesome gems
It is this dexterity that gave us wholesome gems like “Dukh Bhare Din Beete Re Bhaiya” or “Gaadiwale Gaadi Dheere Haank Re” (“Mother India”) or “Madhuban Main Raadhika Naache Re” (“Kohinoor”) that drip with the fragrance of our secular heritage without compromising on Hindi grammar. If “Baiju Bawra” remains an all time musical classic, it is thanks to Shakeel’s finely crafted poetry that showcases “Man Tarpat Hari Darshan Ko Aaj” and “O Duniya Ke Rakhwale” as the finest bhajans of all time; not just our film screen but also of Hindi literature. From literary syntax to devotion, these supremely endearing bhajans rate second to none of any of the illustrious poets of Bhakti movement.
A graduate of Aligarh Muslim University, Shakeel was a much applauded poet of the era when poets read their verses on stage before large audiences. That’s why this poet from Badayun was equally gratifying in his non film nazms and ghazals that people adore till date. While some like “Ae Mohabbat Tere Anjaam Pe Rona Aaya” and “Mere Hum Nafas Mere Ham Nava” have been rendered immortal by Begum Akhtar, his poetry collections like “Shabistaan”, “Dharti Ko Akash Pukare” and “Raanaayian” still delight enthusiasts of pristine Urdu poetry. One of the badminton playing quartet along with Naushad, Mohammed Rafi and Dilip Kumar, this three time consecutive Filmfare award winner died young, leaving us longing for more.
Timeless hits
Suhani Raat Dhal Chuki (Dulari)
Tu Ganga Ki Mauj Mein (Baiju Bawra)
Pyar Kiya To Darna Kya (Mughl-e-Azam)
Ye Zindagi Ke Mele (Mela)
Na Jaao Sainyyan (Saheb Biwi aur Ghulam)
Bhanwra Bada Naadaan Hai (Saheb Biwi aur Ghulam)
O Door Ke Musafir (Uran Khatola)
Mujhe Duniya Waalon Sharaabi Na Samjho (Leader)
Bhari Duniya Mein Aakhir Dil Ko Samjhaane (Do Badan)
Mere Mehboob Tujhe (Mere Mehboob)