Saturday, June 18, 2005

Saahir - The man who didn't want the world

Here is an article i found over net, about the life-and-times of legendary Sahir. After the intense discussions over his style and works(involving ryzers Jaya, Madhavan, Richa, Ghizala...), I thought it would be nice to share some more about what went into making his voice the most revolutionary and anti-establishment at a time when everybody was singing the happy tunes of New-Found-Freedom. Thanks to Asha Ahuja for writing this article and letting it float over the Net-Sea for petty fishermen like me to net and display it for everybody's net-gain..!! Here it goes:

Ludhiana, October 24

Though his body lies buried in a graveyard in Bombay, he lives in the hearts of lovers of poetry, music and arts. His poetry is identified with truth, beauty and goodness!These lines eulogise one of the greatest poets of India, who by linking his name with Ludhiana has immortalised this city.

He is Sahir Ludhianvi whose 21st death anniversary falls tomorrow.Sahir’s relevance in today’s world is greater as he had advocated world peace and championed the cause of the downtrodden and the have nots. The progressive movement fired his imagination and he longed for peace, justice and universal love. Sahir appeared on the scene of Urdu poetry when giants like Firaq, Faiz and Majaz were at the height of their popularity. With such stalwarts around, he could not escape their influence but his own sensibilities and his powerful imagination soon weaned him from their influence and he came to his own.

He was born in an atmosphere of tyranny. The Bengal famine, and the atrocities of the British on Indians induced him to write against the British. The British, scared of the power of his poetry banned his work.Born in a feudal family of Ludhiana , Abdul Hayee ‘Sahir’ had a childhood draped in affluence but soon the hedonistic orgies of his father, made him leave the house and he chose to stay with his dejected mother in penury. His father tried to get him liquidated but his mother protected him fiercely. This incident sowed in him the seeds of hatred and revulsion for the feudalistic order, and that shaped the course of much of the future events of his life.

Left alone to earn his living, Sahir had a chequered career. His education was cut short when he was asked to leave Government College for Boys at Ludhiana as a penalty for an amorous adventure and his unorthodox views. His first anthology ‘Talkhiyan’, projected Sahir as a poet who echoes the sentiments of the younger generation. Talkhiyan has remained the most popular of his anthologies. Principal Azad Gulati says of “Talkhiyan”: “Sahir’s intensity of perception, subtle power of observation, soundness and solidity of thematic content coupled with meterical musicality, his knack of choosing appropriate words and the sensuous freshness of his imagery make the poems in this anthology a thing of real beauty.” “Parchhaiyan” is Sahir’s unique achievement as a long anti-war poem. This poem is a veritable paean of human soul hungering for a life free from the harrowing shadows of war.

His other anthology ‘Aao Key Koi Khwab Bunien” raises a voice against political tyranny.Sahir found the cinema to be a potent vehicle for conveying his ideas and urges to the masses. He raised film songs to new heights, and through them depicted the aches and thrills of life.In one of his couplets Sahir has said, “I return back to the world whatever it has bestowed on me in the form of experiences and tragedies.”Sahir’s poems have crossed national limits. The list of his rewards is endless. He was given the Padmashri. His books have been translated into English, French, Arabic, Persian and Russian.

The Ludhianvis hold mushairas on his death anniversary.Khwaja Ahmad Abbas, paying a tribute to Sahir has written. “A revolutionary in his thoughts, He was a mortal by birth He is still remembered by all specially by the fair sex Unmarried, he died But pretty girls still Put roses on his grave on his Birthdays As at the statue of Pushkin in Moscow."

Apni Kahaani Chhorh Ja (Movie Review: Do Beegha Zameen)

The 'Haath Gaadis' of Calcutta were haunting me much before I could see one in real...!! The intricacies of a relationship, flagging and still strong, familial and still strange, painful and still pleasurable, were troubling me even before I could cross the proverbial age of understanding them..!! The words and tune of 'Mausam Beetaa jaaye..' followed me into my youth and I am sure, will follow me into my next birth, if I successfully complete this one.

'Do Bigha Zameen' was more of a fascination and less of a film for me and I still can't place what I liked the most when I first watched it at the age of 10. The successive attempts though made the answer a bit easy for me. It would have been the honesty of the theme and poignancy of the story, never to forget,done with the magical touch of Bimal Roy, that made its way through a heart as crude as the small town of UP I lived in. The story of Shambhu Mahto (Balraj Sahni), who comes to the Big City 'Calcutta' in his pursuit to earn money and save his 'Do Bigha Zameen' (10 feet of land) from Zamindar's ill intentions was a take on the contemporary problem of Serfs in Bengal. A socio-economic issue weaved into a story of a struggling father-son duo in the big bad city, while the lady-of-the-house struggles back in the village had some memorable performances by Balraj Sahni, Nirupa Roy, Master Ratan and Nana Palsikar (as the grief-stricken old man of the family).

The last scene of the movie, where the Mahto family stands across a mesh-wire with the horror, of losing their land to the Industry being built at the same place, writ large and wide in their eyes is one of the most frightfully piercing shots in the Hindi film History. The old man's (Nana Palsikar) lunatic laugh as his hut is being bullzdozed by the landlord brings instant tears to the heart and says a loadful about the plight Industrial revolution brought for the common gullible farmer in less developed parts of the nation. Salil Da's music and Shailendra's lyrics added beautifully to the pain and perfection of this 1953 classic. Though people say, 'It's the tale and not who tells it', but in this case, it mattered a lot that Bimal Da was at the helm of affairs and the tale would never fade...