Wednesday, March 19, 2008
Birthplace: Ludhiana, Punjab.
Profession: Poet, Bollywood Film song Lyricists
Abdul Hayie was born in Punjab in 1921. His formative years saw a lot of problems for the young man, the main being his villainous father and a major heartbreak during college. After getting his first work Talkhiyaan published from Lahore, Pakistan, Abdul Hayie, now known as Sahir Ludhianvi, had to flee Pakistan, after a warrant for his arrest was issued for writing explosive stuff in his editorial in Savera. An urge to succeed brought him to the land of dreams- Bombay. And thus started an illustrious career.
Sahir set the standards
Sahir, like his name, was a "magician" of words. He wove fascinating images in songs and ghazals, spellbinding his listeners and readers for decades. For about thirty years, he remained associated with the Hindi film industry. He composed hundreds of songs for Hindi/Urdu films. Most of his songs became hugely popular and are even today sung and hummed by people of all generations. Sahir`s most remarkable contribution is that through his lyrics, he catapulted the standards of Hindi film songs to a level that became the benchmark for quality poetry. His lyrics have immortalized many songs in the memory of Hindi film lovers.
For a moment, imagine and visualize the scene from Guru Dutt`s 'Pyaasa' (1957): "Jinhe naaz hai Hind par wo kahan hain!" The song succinctly portrays the decadence in Indian society, even as the accompanying visual is the camera tracking through a street of brothels. Or remember a dashing Devanand in 'Hum Dono' (1961), bellowing curls of smoke and singing. Take a romantic Amitabh Bachchan, ambling about a bed of flowers and crooning in the sylvan color riot of Yash Chopra`s 'Kabhi Kabhi' (1976).
'The Pyaasa' in Sahir Ludhianvi
Sahir Ludhianvi was basically a romantic poet. He had failed in love many times and therefore, his poetry is full of tragic emotions. He excels in portraying tragedy without going overboard. He talks of personal romance and the ensuing disillusionment. Then he talks of universal romance, and the inevitable frustration that follows it. His poetry is an amazing canvas of romantic shades.
The style is simple, straight, and direct. He minces no words. He expresses his thoughts directly without sublimating emotions. Sahir at times gets angry too. His anger can be against God or society. He challenges God and he challenges moribund traditions of society.
The best of Sahir Ludianvi
Jo Wada Kiya Taj Mahal
Kabhi Kabhi Mere Dil Mein Kabhi Kabhi
Chalo Ek Baar Phir Se Ajnabi Gumraah
Tum Na Jane Kis Jahan Me Kho Gaye Sazaa
Doob Gaye Aakash Ke Tare Angaarey
Zindagii Bhar Nahin Bhuulegii Barsaat Ki Raat
Allah Tero Naam Hum Dono
Woh Subah Kabhi To Aayegi Phir Subah Hogi
Maine Chaand Aur Sitaaro Ki Tamanna Ki Thi Chandrakantaa
Ai Merii Zoharaa-Jabiin, Tujhe Maaluum Nahiin Waqt
Abhi na jao Hum dono
Bichde sabhi baari baari Kaagaz ke phool
Aurat ne janam diya maradonko Sadhana
Choo Lene do naazuk Kaajal
Jaane woh kaise Pyaasa
Jo Baat tujhme hai Tajmahal
Kiska rasta Dekhe Joshila
Laaga Chunari me daag Dil hi to hai
Mein Pal do Pal Shayar hoon Kabhie kabhie
Man re Chitralekha
Na to Kaarvan ki talaash Barsaat ki raat
Pao choo lenedo Taj Mahal
Yeh Mahalo Pyasa
Ye raat Ye chandni Jaal
HIS LYRICIST IN THE MOVIES OF SUPER STAR RAJESH KHANNA :
1) Dhanwan - 1981
2) Daag - 1973
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, UP, Kaifi Azmi was fortunate in having a liberal and modern father. His father took up a job as a tahsildar in various small towns in Uttar Pradesh. 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. He soon ran into trouble with the authorities there, organizing a union and launching a strike, which ran one-and-a-half years. 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.
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, Kaifi's poetry cannot be called plain propaganda. It has its own merits; intensity of emotions, in particular, the spirit of sympathy and compassion towards the disadvantaged section of society are the hallmarks of his poems. Kaifi's poems are also notable for their rich imagery and in this respect his contribution to Urdu poetry can hardly be overstated.
Azmi Saab's stint in film includes working as lyricist, writer and almost an actor! 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).
Kaifi Azmi - Film career
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. Some other notable films for which he wrote the lyrics include 'Uski Kahani' (1966), 'Bawarchi' (1972), 'Pakeezah' (1972), 'Hanste Zakhm' (1973) and 'Razia Sultan' (1983). He also played a memorable old man 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.
Kaifi Azmi passed away in Mumbai on May 10, 2002 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.
The Best of Kaifi Azmi
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
Award Contribution towards
Uttar Pradesh Urdu Academy Award Aawara Sajdey
Soviet Land Nehru Award Aawara Sajdey
Sahitya Academe Award Aawara Sajdey
Maharashtra State Urdu Academy's Special Award Urdu literature
Lotus Award Afro-Asian Writers' Committee
LYRICIST IN THE MOVIES OF SUPER STAR RAJESH KHANNA :
2) Bawarchi (1972) (Released)
1) Aakhri Khat (1967) (Released)
Birth: 3rd August 1916
Birthplace: Badayun, Uttar Pradesh, India
Profession: Poet, Bollywood Film song Lyricists
Born at ‘Badayun’ in Uttar Pradesh on August 3, 1916, Shakeel Ahmed Shakeel Badayuni made his mark on the Hindi film industry in the days to come. His father was a Maulana himself and made it a point that he teaches him Arabic, Farsi, Urdu, Hindi and Hindustani at home itself. Other than one of his ancestors called Khalifa Mohammad Wasil, none of his other relatives were concerned with poetry. Mushaiyaras and sher - o - shairi were and still are one of most popular cultural and artistic symbols with which Lucknow is associated. The cultural landscape always dotted with these literary and poetic exercises gave the background to young Shakeel’s growth as a poet.
Poetry in his times was uni-dimensional, a purely literary activity followed both with conceit and rigour by the then poets. Untouched by daily experiences, which distill art, it remained pedantic in its conservatism.
One of the early influences of Shakeel Badayuni was the works of Hazrat Maulana Zia - Ul - Qadri, whom he heard in various mehfils (poetry recitation sessions) and also sought his guidance at regular intervals.
Shakeel Badayuni's urge for writing
By the time he had joined the Aligarh University in 1936 he had gained considerable exposure at the mushaiyaras reciting his own poetry. Poetry in pre - Independent India, like other arts, was striving to gain its own voice and this led to the growth of a progressive poet’s movement, which later manifested in various forms such as IPTA. The progressive poets consisted of Majaaz, Jazbi, Jaan Nissar Akhtar, and Masud Akhtar Majaal whereas Raaz Muradabadi, a disciple of Jigar Muradabadi, led the traditionalists. Raaz, Jigar and his clique used to concentrate mainly to composing Ghazals. Shakeel, who later became a student of Jigar was introduced by Raaz who was his intimate.
Raaz and Shakeel were the proteges of Maulana Ahsan Marharwi, their lecturer of Urdu at college. In the inter - varsity mushaiyara competitions, Aligarh University used to win hands down to the envy of others because of these two exemplary poets. Their benign and encouraging professor, Maulana Ahsan used to keep them informed about literary meets and accompanied personally on such tours.
The heady days of youth were spent in honing up one’s first flowering of talent and Shakeel’s powerful outpourings on social issues in later years were then grappling with more tender emotions of Love.
Shakeel's first job
His first job was with the supplies department at Delhi in 1942, which he joined immediately after passing his graduation. He continued in this profession for four years till 1946. Literary sycophancy was scaling new heights with the followers of Jigar donning the clothes of their teacher and adopting his mannerisms while talking and reciting their verses.
This cultural slavery was unacceptable to Shakeel and forged his own identity with a distinct individuality. Touring extensively to recite his ‘kalaam’ (writing), his growing appreciation also brought to the fore the qualities needed for a poet and his / poetry to be accepted by the audience. The poets personality, the tone of voice, literary and poetic balance and the right mix of humour and wit, both idiomatic and colloquial were his prescriptions for a successful acceptance by the public and patrons.
The recipe of success as it were hit him when he arrived in Mumbai in 1946. The cinematic requirements of writing according to a given situation, mood, place and even tune while enforcing artistic restrictions gave him insights into the aspect called ‘mass communication’ and its essentials. Ideas and ideals, both could be maintained if one gave up the notion that literary flights were the true signs of a genius. For Shakeel, simplifying was obviously different from simplistic.
Shakeel's tour with bollywood
With Naushad as composer and Mohammad Rafi giving vocals, Shakeel penned the greatest bhajan of Hindi films ‘O Duniya Ke Rakhwale’ and other songs of Baiju Bawra. He won two Film Fare awards, but retained a low - profile inspite of his literary and cinematic stature as a poet.
Jigar Muradabadi opined, 'Shakeel is a poet by nature and he was not made and shaped to be a poet. Whatever he speaks is intimately associated with the real facts of life like a mirror image. He is peerless while building magical palace of words.’
According to late Sahir Ludhianvi, another of his legendary compatriots, 'Shakeel should be credited for selecting the genre of ghazals after the greats like Jigar and Firaaq in which he showed his charismatic abilities making beautiful ghazals. His ghazals adhere to the traditional spirit while highlighting contemporary values. His ghazals have reflected the ideas related to the transformations in literature and the changes of values of life giving it new meanings, colours and directions.'
His ghazals were sung by most of the prominent artistes outside the cinematic gamut while his lyrics used extensively in the films.
Filmfare - 1960 Chaudhvin Ka Chand
Filmfare - 1961 Gharana
Filmfare - 1962 Bees Saal Baad
The Best of Shakeel Badayuni
Door Ke Musafir Hamko Bhee Saath Le Le Udan Khatola
Aaj Purani Rahon Se Aadmi
Kahin Deep Jale Kahin Dil Bees Saal Baad
Suhaani Raat Dhal Chuki Dulaari
Pyaar kiya tho darna kya Mughal -E-Azam
Dhoondo Dhoondo Re Saajna Ganga Jamuna
Duniya Ke Rakhwale Baiju Bawra
Aaj Mere Man Me Sakhi Baansuri Bajaaye Koi Aan
Ye Zindagi Ke Mele Duniya Kam Na Honge Mela
Chhod Babul Kaa Ghar Mohe Pee Kaa Nagar Babul
Kaahe Jiya Dole Ho Kaha Nahi Jaaye Anokhi Adaa
Jogan Ban Jaungi Saiyan Tere Kaaran Shabaab
Chandan Kaa Palnaa Resham Ki Dori Shabaab
Zindagi Dene Waale Sun Dil - E - Nadan
HIS LYRICST IN SUPER STAR RAJESH KHANNA MOVIES :
Aurat - 1967
Birth: 1st October 1919
Birthplace: Sulatanpur, U.P.
Profession: Poet, Bollywood Film song Lyricists
Think of an individual who has been in the Indian film music industry for the last five decades and been contributing continuously. One can come up with name like Lata Mangeshkar and …. Yes next name has to be Majrooh Sultanpuri. Changing with the pace of the times but still retaining the simplicity of the words and lyrics makes this man a true master worker of songs in Indian Film Industry.
Majrooh's parents wanted him to be a physician, but he preferred to be a poet, and touch many more lives that he would have, had he been a physician. He used poetry as a medium to express his communist views before he was drawn into the world of Hindi film lyrics. He was one of those lyricists with a never-say-die spirit, and who has entralled us over the past 50 years with his fine lyricism. His lyrics ranged from soft melodies, ghazals, romantic duets, rock-n-roll, pop, qawaalis to bhajans.
Majrooh Sultanpuri gets noticed
Majrooh Sultanpuri was first noticed at a mushaira at Bombay's Saboo Siddik Institute ground in 1945. The young poet was a protege of Jigar Moradabadi. The young poet after patiently awaiting his turn got the chance to step on to the podium. With his black sherwani buttoned to the throat, snow-white, full width Lucknowi pajama, fair complexion, and handsome countenance, he had a definite presence and commanded attention.
The cultured, well-modulated voice and the obvious beauty of craft and thought-content of the ghazal caught the audience unawares. There among the audience was A.R. Kardar, the famous motion picture producer and director. He was so impressed that he invited the young poet to see him after the mushaira. This was how Majrooh was signed for the unforgettable Kardar film, ‘Shahjahan’. Naushad set his lyrics to tune and K.L.Saigal sang them.
Majrooh saab penned eight out of ten lyrics for ‘Shahjahan’, and needless to say all of them were super hits. But before he could react to the large-scale, appeal created by these lines, he fell ill. The harsh Bombay weather made him leave the city and return to his hometown in the North.
Success eludes the talented poet and he gets arrested for his provocative writing: It was now 1947. The film industry remained idle for six months in the aftermath of the partition. However, as some semblance of sanity and peace returned to the nation, the film industry also started taking stock of its affairs. Sultanpuri came back to Bombay and, on the recommendation of Naushad, was contacted by director Mehboob Khan for the Dilip Kumar-Nargis-Raj Kapoor starrer, ‘Andaz’.
The year in Jail
The Iyrics of ‘Andaz’ are now history. But, again, Sultanpuri failed to cash in on this hit film. For, by this time his political activities as a communist and his literary pursuit as a member of the Progressive Writers Association (PWA) had convinced the Korari Desai government that this was one writer to be taken care of. An arrest warrant was issued and Majrooh saab went underground and remained so for a year. But he could not resist participating in a function protesting the arrest of Sajjad Zahir for his alleged involvement in the so-called Rawalpindi conspiracy. Sultanpuri recited a few of his fiery ghazals and, while coming down from the dais, was apprehended by the police. After that he spent a year in the Byculla jail.
After his release from jail, Kamal Amrohi asked him to write for his film ‘Daayra’. Then came his association with Guru Dutt and O.P. Nayyar. With O.P. Nayyar the rapport between the composer and lyricist were complete. It was also during this period that Asha Bhosle had her best to offer to the film industry as a singer. Songs like ‘Yeh hai reshmi zulfon ka andhera na ghabraiye’ and ‘Jaiye aap kahan jaenge, yeh nazar laut ke phir aayegi’ from ‘Mere Sanam’ and songs from several other films where Nayyar and Majrooh saab collaborated were a rage. This was also the time when the lyricist contributed at least 20 new words or sets of words hitherto unheard of in the film-lyrics vocabulary. These were words typical of the Urdu culture.
His other innovation in film-lyrics was what came to be known in film music circles as ‘romantic comedy duets’. In one of the usual filmi parties, S.D.Burman was discussing with him the futility of investing precious time in composing tunes for duets, which seemed to have lost the ear of cine-goers. Sultanpuri, by now had established his reputation as a person who did not mince words. He plainly told Burman that it was the fault of the Lyricists rather than the music directors if duets were losing popularity. In his typical challenging way, he promised that he would write a duet soon and make it a success. Burman smiled and said, ‘Then why not write that duet for me?’ This was how S D Burman and Sultanpuri teamed up and, together, gave us such beautiful lyrics as heard in ‘Paying Guest’, ‘Nau do Gyaarah’, ‘Kala Paani’, to mention a few.
Sadly for the great man he has not found appreciation easy to come by. Majrooh saab has won only one Filmfare award. He won it for the song ‘Chahoonga main tujhe saanjh savere’ from the film ‘Dosti’ in 1964. He is also the only lyricist to have been awarded the Dadasaheb Phalke award.
Majrooh Sultanpuri has worked with everybody
Probably, Majrooh has worked with more music directors than any other lyricist. Not a mean achievement for a lyricist, who has to cope up with the varying styles of different MDs. While, for other lyricists their writing style or ego came in their way of working with any Music Directors, Majrooh had no such problems. He was versatile and a thorough professional and above all a nice person, as vouched for by many of his colleagues.
Here is a partial list of music directors with whom Majrooh has worked with: Anand-Milind, Anil Biswas, Chitragupta, Khaiyaam, Kishore Kumar, Laxmikant-Pyarelal, Madan Mohan, N.Dutta, Naushad, O.P.Nayyar, R.D.Burman, Ravi, Roshan, S.D.Burman, and Salil Choudhury He has also worked with Anu Mallik, Bappi Lahiri, Basu Chakravarty, C.Ramachandra, Ghulam Mohd., Hemant Kumar, Husnlal-Bhagatram, Kalyanji-Anandji, Mukul Roy, Rajesh Roshan, S.Madan, Shanker-Jaikishan, Tushar Bhatia, Usha Khanna and Vasant Desai.
Many believe that he hasn’t been popular because he is not media savvy unlike his contemporary lyricists were or are. Even today one will never find Majrooh saab socializing with people from the film industry. His friends are books and books and more books, maybe also a few poets and writers. Majrooh saab is not just a film lyricist he is a poet to the core having written some outstanding poetry. His anthology titled, ‘Ghazal’, was published in 1959 and contained 33 ghazals created in the period from 1944 to 1953. They are still among the best-known Urdu ghazals, which had already earned the status of presenting a new idiom of progressive poetry.
The Best of Majrooh Sultanpuri
Babuji dhire chalna Aar Paar
Aankhon hi aankhon mein ishara ho gaya C.I.D.
Mana janab ne pukara nahi Paying Guest
Chahunga mein tujhe Dosti
Kabhi to milegi Aarti
Jaane kahan mera Mr. & Mrs. 55
Aankhon hi aankhon mein C.I.D.
Kabhi aar kabhi paar Aar Paar
Ab kya misal doo Aarti
Chod do aanchal Paying Guest
Udhar tum hasin ho Mr. & Mrs. 55
Baar baar ohe kya samjhye Aarti
Yaad aa gayi o nashili nigahen Manzil
Chori ho gayi raat Ishaara
Iqbal Samman Madhya Pradesh Government's highest literary award
Dada Sahab Phalke Award Government of India's highest award conferred on an artiste associated with films
Film Writers Association Award Indian Film Industry
Film Journalist Award Writing for Films
Uttar Pradesh Hindi-Urdu Sahitya Award Hindi and Urdu Literature
All India Journalist Award Writings
HIS LYRICIST IN THE MOVIES OF SUPER STAR RAJESH KHANNA :
10) Babu - 22-11-1985
9) Ram Tere Kitne Naam - 15-2-1985
8) Zamana - 1985
7) Dharam Kanta - 6-8-1982
6) Kudrat - 3-4-1981
5) Aanchal - 18-9-1980
4) Phir Wohi Raat - 15-8-1980
3) Janta Hawaldaar - 27-4-1979
2) Mere Jeevan Saathi - 1972
1) Baharon Ke Sapne - 1967
Birthplace: Jhansi, Uttar Pradesh
Profession: Poet, Bollywood Film song Lyricists
The man who penned the title track for the Rajesh Khanna – Sharmila Tagor hit, ‘Safar’, ‘Zindagi ka safar, Hai yeh kaisa safar Koi samjha nahi … Koi jaana nahi …’ is Indeevar. Unluckily enough, Indeevar didn’t get many opportunities like this to pen down these quality songs. His career span is spread over four decades with a quantum of chartbusters only. The very reason could be his compromise on quality on work for his survival in this Indian Music Industry.
Born in Jhansi, Madhya Pradesh as Shyamalal Bahu Rai, he came to the city of dreams, Mumbai with the clear intention of being a lyricist. He got his first assignment for the movie called ‘Double Face’ (1946). To be in the business, he took every assignments and grabbed every film that came his way and didn’t mind working for ‘B’ and ‘C’ grade projects. He got his first big break in the form of ‘Malhaar’ (1951). ‘Bade Armaan Se Rakha Hai Balam Teri Kasam’, a popular composition that retains a refreshing feel even today. But even this song couldn't ensure instant success.
He finally shot into the big league with Babubhai Mistry's musical extravaganza, Parasmani (1963), which also launched the career of music duo Laxmikant-Pyarelal. In subsequent years, Indeevar forged a strong bond with a select set of filmmakers and music directors, that resulted in a repertoire of music that was eminently hummable, subtly evocative and definitely unforgettable.
One of his most creative and fruitful alliances was with Manoj Kumar, who first signed him on for Upkar (1967). Indeevar and Kalyanji-Anandji injected the film with a fine blend of soulful emotion and patriotic euphoria through songs like ‘Kasme Vaade Pyaar Wafa’. Equally powerful were compositions like ‘Dulhan Chali, O Pehen Chali’ and ‘Koi Jab Tumhara Hriday Tod De’ from Purab Aur Paschim (1970). Earlier, in 1968, he had culled an awesome collection of soulful lyrics for Govind Saraiya's Saraswati Chandra.
Together with his long-standing partners, Kalyanji-Anandji he produced unforgettable numbers such as ‘Chhod De Saari Duniya Kisi Ke Liye’, ‘Chandan Sa Badan’ and ‘Main To Bhool Chali Babul Ka Des’.
Indevaar Mera Naam
In direct contrast to this classic score, the trio set an upbeat mood for Vijay Anand's musical hit, Johny Mera Naam (1970) with zany songs like ‘Nafrat Karne Walon Ke’ and ‘Pal Bhar Ke Liye Koi Hame Pyaar Kar Le’ and ‘O, O Mere Raja’.
Two of Indeevar's best-remembered films were made the same year. While Manmohan Desai's Sachcha Jhootha produced ‘Meri Pyaari Beheniya Banegi Dulhaniya’, which has since become a permanent fixture in every wedding band, Asit Sen's Safar had Indeevar's poetic juices churning out wonders like ‘Jeevan Se Bhari Teri Aankhen’ and ‘Jo Tumko Ho Pasand’. Throughout the 1970s, his winning combination with Kalyanji-Anandji grew stronger and continued all the way up to Qurbani's' (1980) ‘Hum Tumhe Chaahte Hain Aise’.
With the arrival of the disco beat and the Bhappi Lahiri wave, Indeevar put poetry on the backburner and stood up to the task of delivering mindless lyrics. There was a preset combination for all these Southern-style 'pots-n-pans' hits: Jeetendra, Sridevi, Jaya Pradha, Bhappi Lahiri and Indeevar. All the way from Himmatwalas' (1983) ‘Nainon Mein Sapna’ to Tohfa's nonsensical title song, Indeevar willfully accepted and adapted to the changing trends in film music.
All Time Hits of Anand Bakshi
Song - Track Movie
Tum Mile Dil Khile Criminal
Yeh Teri Aankhen Jhuki Jhuki Fareb
Jab Koi Baat Bigad Jaye Jurm
Jati hoon mein Karan Arjun
Laila O Laila Qurbani
Kya Dekhte hoo Qurbani
Aap Jaisa Koi Qurbani
Kya Khoob Lagti Ho Dharmatma
Award Song - Movie
Filmfare Award - 1975 Dil Aisa Kisine - Amanush
HIS LYRCISTS IN THE MOVIES OF SUPER STAR RAJESH KHANNA :
1) Bandhan - (1970)
2) Safar (1970)
3) Sachcha Jhutha - (1970)
4) Chhoti Bahu (1971)
5) Aaj Ka Mla Ramavatar - (1984)
6) Maqsad - (1984)
7) Naya Kadam - 1984)
8) Master Ji - (1985)
9) Bewafai - (1985)
10) Aakhir Kyon - (1985)