Gulzarian creations : tread softly, fly high and dive deeply and leave long lasting impression
Zara Aawaz ka Lehja to badlo,
Zara Maddham karo is aanch ko Sonaan
Ke jal jaate hain Kungre narm Rishton ke
Zara Alfaaz ke Nakhun tarasho
Bahot Chubhte hain jab Narazgi se baat karti ho
————————————————————-[ Change the tone of your sayings
lower down this heat
as it may burn the soft filaments of the relationship
cut the nails of your harsh words
because they pierce a lot
when you talk in anger ]
When he recites something in his deep voice then words become more significant and they open many new meanings before us.
When he pens down something on paper and these words come across our eyes then our mind goes on a wonderful trip in all possible directions and no time machine is required then as mind can reach in any era as words cover a very broad horizon where a villager woman making Uplaas from Cow Dung or making the Bitorha (a kind of hut to preserve these Uplas) may appear as an artist. Or most modern kind of man and his feelings may be described by his words.
An old man’s coughing act may appear as part of a poem or a child’s open laughter and woman’s seeing from the corner of her eyes before she blushes away may enrich the scenes in his films.
An old woman may look like mother earth when she blesses the whole younger generation in his film.
A woman may appear as a most desirable woman to marry when he shows her as a lover in his film.
Sadh-Snatah (freshly bathed) women can be there. Water droplets will be shining in their open and wet hair, their face will be shining like anything and beauty, which comes in bounty, fills the entire screen with its dazling presence.
Vijay Anand and Gulzar Saab, two directors have been there who appear as die hard romantics. Both have been well versed in bringing the eroticism in most subtle way and in quite a feminine manner between lovers (and husband and wife).
One becomes suddenly conscious about what these two gentlemen are showing on screen? This is never obvious and fulfills the saying that something beautiful always has feminine side in it.
Every relation appears as an interesting relation in his films. He may not show the child even in a single scene but through the dialogues and relationship between the parents, audience may feel the constant presence of that child (who is absent from the screen- e.g Aandhi).
Small but important things in the life of any human being are potrayed in his films. There come many moments when an alert audience may jump from the chair because s/he has witnessed something very small but very precious in the film which no other filmmaker has ever tried to show. It can be a romantic thing or a humurous thing but it touches the audience deeply. One may go on thinking journey to admire the Man’s observation power, how come he notices such a small and hidden thing and how come he successfully shows this trait on screen as it needs something special to portray these small things?
At times, while watching a Gulzarian film, one may feel to be left alone to enjoy the film in utter solitude as it creates that kind of effect. At times one may feel to stop the film at that particular moment and to rush to a close person or friend to share that experience. Both desires (solitude and sharing with someone who understands the films and poems etc) may occur to same person at different times. Such is the power of Gulzarian cinema.
Gulzar saab has got a tremendous talent of Observing things deeply. He and his creation are not believers or followers of slogan based, show off kind of behavior but they both make statement in their own manner. Social and political comments come in his creation at proper time. And these statements are matured statements and may come only through a person who has been having a deep observation power.
His creation strongly suggests that he does not let die the experiences through which he has suffered in his life or all those things which he has seen in his life remain alive in his memory somewhere and he uses all those things at appropriate places. Even if he has taken a plot created by others, he will insert many things of his own and final dishes come out as his own.
And he has command on almost every aspect of human feelings. If romanticism can appear anytime at any place then humor also does not shy away and it appears anytime and through any character. Often small characters are able to make their presence visible and noticeable because they are given good scenes and good dialogues.
Gulzar shines differently and though he has never been associated with blockbusters because his language is not slogans based language and he deals things silently, subtly and esthetically and market is never interested in promoting such things. But he is always visible in whatever he does. Many a times his creative input in the films which are not directed by him and where he has given his poems only, looks like Taat mein makhmal ka paiband.
Gulzarian characters seldom shout and when they shout then its necessary to do so and is done with a purpose. His characters are sensitive and don’t go for extremities. Symbols are special part of his cinematic vision and narration.
His spectrum or spectrum of his creation is very broad.
It does not matter that other poets and Saints have written some things because they are represented by Gulzarian Cinema and it appears as if Gulzar Saab was also present when these creators were creating something.
All people like Kabir, Soor, Tusli, Meera, Rabia, Roomi, Sahjo, Dadu, Paltu, Nanak, Mir, Ghalib , Nida Fazli and Basheer Badr and Harivansh Rai Bachchan and Neeraj etc, and their creations can be reflected by Gulzarian cinema. The meaning which is found in the creation of above mentioned names and many others, can be found in the cinema of Gulzar saab.
Another person might have written the line
Haath chhoote bhee to rishte nahin toota karte
but this line has been represented by Gulzarian films in true sense. He has explored this line in many of his films.
His work is traditional and at same time it is utterly modern and yet in every condition its free from any bondage. There are no boundaries covering his creative work. Religions make into mapping in his creative work and a Sufi is combined with a monk adoring Krishna or Shiva, and it is done in an effortless manner.
Characters are not always ideal but they remain interesting in any case. They do make mistakes like real life people but they are not prototype in doing this. They may be following literature based plots but they will be given real life dose in their attitude and nobody gets when surreal world is intermingled with the sweaty and tough real world and this combination brings out a world which keeps an amazing appeal to the audiences.
He does not seem revolutionary on the surface but its an false impression because he is interested in the people on individual basis and he is not interested in crowd. Crowd mentality is a Sheep mentality and become bore and slogan based after sometime. Individuals can be changed and ultimately they make crowd. To bring a change individual has to be changed.
A revolutionary or a big leader can be failed at home as far as personal relationship is concerned and this area has been the area of interest for the social researcher Gulzar. Through these one man and two women or one woman and two men , or one man and one woman, he has tried to search deeply the different phases of relationships.
While as part of a crowd, a man can cut the throat of a person belonging to different cast, religion and nation and ideology but same person perhaps can not do this when he is alone with his opponent and he has to decide on his own because now he is not covered with the strong veil of ideology or any sect.
This single individual is seen in the films of Gulzar. A woman may be woman by her gender in his films but she may follow a most modern outlook even if she is living in the era of 1890s. She may speak what a woman in 2008 should/may speak. That awareness is there.
His cinema covers “what should prevail” more than the “what is prevailing” and this is the difference between a filmmaker who is well versed in story telling and a filmmaker who is dependent on newspapers reportings to have some idea.
Rivers, sea, mountain, snow covered mountains, tress, leaves, green and having an alive association with the branches or plants and trees, or dry falling from the trees and flying in the air or resting in the soil, sun rays, sun rise and sun set, moon and its different phases, moon light and rain, water droplets on the leaves of trees and grass, big and small windows, transparent, opaque and blind, mirrors, doors, walls, inner court, bed, bed sheet, chair , table, table cloth, curtains, flower pot, cup, plate, utensils, pen, pencil, paper, hair clip, Chimta (Tong), Chulha (fire place- a kind of stove), wood, barsati (balcony), roof, record, cassette, CD, Radio, TV, computer, grandfather and mother, father and mother, uncles and aunts, sons and daughters, sisters and brothers, husband and wife, lovers, friends, enemies, knife, gun, tank, atom bomb, balloons etc etc can be seen in his written words.
Many young journalists have often complained about his reserve nature. They say sometimes he does not show interest when they approach him. He is an artist of that caliber where he should be given enough space by others. He has never been interested in making camps or following any camp in the cine industry. He has been busy silently in utilizing his creative energies. He has not been hankering after the stars to make him popular in the market.
He is not simply a lyricist, poet, writer, or director. His creative space has been divided among many forms and 24 hours are less for such a man. There should not be any wonder if we get to know that he works more than 14-16 hours on daily basis. Without that kind of involvement one can not give the huge among of creativity which he has given.
Unfortunate are those actors who have not worked in the films, directed by Gulzar Saab.
His contribution to the different areas of film making is great and its difficult to find any other man in his 70s who has given so much quality based creativity to the hindi cinema. If he is given Dada Saheb Phalke award now then all those people who have already got it and all those who will get it later, will be honored to find such a highly creative member among them.
Long Live Gulzar Saab. Many Happy Returns of The day.
May God keep alive the source of his creative energies and we enjoy everything he creates.
Some posts done in the past
Khushboo
More through the posts on his films!
Tags: Aandhi, Basheer Badr, Dadu, Ghalib, gulzar, Hari Vansh Rai Bachchan, Kabir, Meera, Mir, Nanak, Neeraj, Nida Fazli, Paltu, Rabia, Sahjo, Sur, Tusli, vijay anand
Anurag Kashyap
Abhay Deol
Dibakar Banerjee
Hansal Mehta
Khalid Mohamed
Kundan Shah
Anish Kuruvilla
Jaideep Verma
Manish Gupta
Navdeep Singh
Bhavani Iyer
D. Santosh
Onir
Ashvin Kumar
Ramu Ramanathan
Sudhir Mishra
Pankaj Advani
Revathy
Saurabh Shukla
Shilpa Shukla
Sujoy Ghosh
Suparn Verma
Santosh Sivan
Shashank Ghosh
Shivajee
Pavan Kaul
Partho Sen-Gupta
Prroshant Naryannan
Sam Langoria
Satish Kasetty
RK: Brilliant article as always. A small correction in the opening lines. It should be ‘lehja’ instead of ‘lehza’. Both are valid urdu words, but while lehja means “tone, accent”, lehza means “moment”.
I’m a die-hard Gulzar fan. He is one person responsible for my exposure to the world of urdu adab. Among all his countless imageries, I’m particularly fascinated by his fascination for the moon. Gulzar’s Moon is a ‘bahroopiya’ who keeps changing itself like a magician. I had written briefly about this facet of his poetry some time back:
http://urgetofly.blogspirit.com/archive/2006/08/03/gulzar-s-moon.html
Thanks RK for the post.I am a die hard fan of Gulzar and really enjoy your writing.The creative team of Gulzar,Asha Bhonsle,R.d Burman and Kishore have given us immortal gems.You know I always wanted him to direct Rakhee who was a competent actress too but that never hapenned.But why did he stopped making films?In today’s times we desperately need people like him to make films.And I think now he should only be associated with quality projects instead of working with people like Sanjay Gupta(Dus Kahaniyan) who can never do justice to his creations.
Is Gulzar saab currently working on any projects???
Thanks Rk for such a beautiful post on Gulzar Saab! Long live Gulzar Saab! Happy Birthday!
@Vikram (3)
Here are some of his forthcoming offerings..
1. Yuvraj : ARR, Releasing in Winters
2. Bharatbala’s Next : ARR, A romantic musical (and poetic) film (on the lines of Kalidasa’s Meghdootam in style not content).. Sir is also doing Screenplay and Dialogs.. so looking forward to it..
3. Slum Dog Millionaires : ARR, Danny Boyle’s Next, a hollywood comical (a take on Kaun Banega Karodpati), Gulzar saab has penned an interesting song “Jai Ho”, sung by Sukhwinder
4. Manirathnam’s Next : With ARR ofc
5. Billoo Barbar : Pritam (Sir has penned a song on Cinema itself)
6. Do Paise Ki Dhoop Chaar Aane Ki Baarish : Sandesh Shandilya (Deepti Naval’s directoril debute, Sir has penned Theme/Title song which goes like this (not exact lyrics, writing from what I recall)
“Baaramaas Mausam Bechta hoon
Do paise ki dhoop chaar aane ki baarish”
7. SRK (Tentitive Title) : Illaiyaraja ( Debutatant Direct Ajoy Verma is getting IR and Gulzar together again.. Roop Kumar Rathod has sung the film version of “Mujhko itne se kaam pe rakh lo” (Locket)
8. Dumkata : Shankar Ehsaan Loy (Everything is ready with thi Amol Palekar film.. but no sight of a release.. waiting since Feb 08.. )
9. Vishal’s Ishqiya and Kameeney : Sir has penned theme song for Ishqiya while would be penning songs for Kameeney
10. Meghna’s Next 36.24.36 : MD not known as yet
11. Sanjay Gupta’s Alibaug : No update for long
RK,
Thanks a lot for a fantastic read!!!..
Pavan
Anyone Interested in wishing him can send wishes at :
http://www.gulzaronline.com/gulbd08.htm
Bravo!!! RK Saab..fantastic read
“At times, while watching a Gulzrian film, one may feel to be left alone to enjoy the film in utter solitude as it creates that kind of effect. At times one may feel to stop the film at that particular moment and to rush to a close person or friend to share that experience. Both desires (solitude and sharing with someone who understands the films and poems etc) may occur to same person at different times. Such is the power of Gulzarian cinema. ”
Wow…brilliantly put…my exact same reactions watching Ijjazat alone…i didnt want to be disturbed by anyone, and after finishing the movie i was like a kid..calling up everybody and discussing things…PERFECTLY put RK saab
Editor Note: Please do not post the same comment on multiple posts.
when I saw Ijazat, I felt the same and the song “khali hath Sham Ayi hai” picturized on Rekhs is like poetry written all over the Screen…………..
This creativity is not driven by market forces ; thats what sets gulzar sahab apart
@Aditya,
Thanks for correction. I have corrected it. Its difficult to differentiate when using roman script. In Devnangri this differenmce is easily followed.
Read your fascinating selection of Gulzar Saab’s poems on Moon.
Please think always to share such pieces with PFC and its members and readers and do consider my request.
@Anindya,
Gulzar Saab, Lata Ji and Pancham Da is also a very fascinating trio and this tikrhi has givcen us many memorable songs.
Re: Rakhee’s physical presence in Gulzar Saab’s films-
Perhaps its difficult for some people to work with family members. Many doctors dont prefer to cure their own family members. Before marriage it could have been possible for Gulzar Saab to direct Rakhee but after marriage it may be little awkward. I dont know what is the truth. Only gussing in general terms, because that happens with many creators.
But at same time I would like to mention that Rakhee is always present in Gulzar Saab’s films. Most of the heroines of his films are Bengali (on screen) and general atmosphere in all his films is very much bengali, from interior decoration to dresses etc or traits of characters inside their homes. Angoor shows places of Maharashtra but inner side of home of SK + Maushumi Chaterjee is very much bengali and they follow bengali life style also.
Rakhee’s impact is quite visible on Gulzar Saab’s films.
and another factor is Gulzar Saab learnt art of film making from bengali masters and worked mostly with Bimal Roy, Shakti Samant, Tapan Sinha, Hriskesh Mukharjee, Asit Sen etc.
@Anindya,
Perhaps he did not stop making films but mafia type film Producers stopped his path. And he has been active in making quality serials for DD in all these years after Hu Tu Tu. At DD he got the required freedom which an artist of his caliber needs.
Functioning of Hindi cinema industry is not professional. Its not easy for his kind of man to make films there. Given his achievements it can not happen that he is going to knock door to door to convince producers and finacers.
Moreover due to some strange reasons he was found quoting that directing the films was never his first priority. Perhaps he is more happy in writing.
And its a strange thing because almost EVERYBODY wants to become a director in Hindi cinema because that is seen as the most powerful chair till a film is under construction.
Given the quality work Gulzar saab has done in direction area, it should be the duty of actors, who want to do quality works to apparoch him. Fortunate will be those actors who will work under his direction as that will enhance their acting skills and their understanding to know their characters in better way.
Today market considers the stars and those saleable stars, who earn Millions and millions of Rupees, should try to make atleast one quality film in a year time.
@Vikram,
He always writes lyrics but have no idea if he is writing screen plays and dialogues for any film and that will be a day to celebrate when he will join again the direction.
@32,
Long live Gulzar Saab and his creative imaginations and skills.
@Pavan,
Thanks for all the information and link to send wishes to Gulzar Saab.
@Om,
Thats the beauty of powerful creations that people sitting at different locations, watching in different times and eras, may get similar kind of feelings. and creators of such creations are certainly great.
@Umesh,
Gulzar Saab’s talent is spread in many areas and that may be the reason that his creativity has not taken an effect from the market’s cruel handling else many talented people are sidelined by market controllers because they were skilled in one specialised area and they were unable to compromise in that chosen area and market sent them in depression or in oblivion.
The beauty of Gulzar’s poetry/lyrics/direction is such that you can’t articulate it . You’ll have to have another Gulzar to describe that beauty. I can’t think of a better way to compliment him than this.
@Neeraj,
I am bit confused with that comment of yours. If we always need another Gulzar to describe beauty in Gulzar Saab’s creation then how come we like and appreciate that?
If we can not understand then how we can appreciate?
Or I am missing the real meaning behind your comment?
RK: I think the key word in Neeraj’s comment is “articulate”. What he probably means is that while we ‘understand’ his work and appreciate it, it is sometimes difficult to explain. I think there is some veracity in this observation. For example, his song “Atthani Si Zindagi”. You can easily understand the import behind the song and appreciate the similies and metaphors, but try explaining “Tamghe lage ke milti hai, masoomiyat si khilti hai….” or “sheeshe ke martabanon mein dukaan par padi dekhi….” You will find yourslef struggling to ‘articulate” it.
@RK
I mean you will require Gulzar’s lingo/poetry/imagination to praise his work. Ordinary people like me can’t describe the beauty unless I have such depth. His work is so superior that he can only articulate the beauty of his work. Hope I am clear.
PS: one of his lines I like: millon se din chod aaye, saalon se raat leke chale.
@Aditya,
I always believe and carry this impression that Gulzar Saab plays opposite game also. While he is a champion director in transforming words in to visual manner, he so many times turns the side of this craft other way round also and being a master writer he translates a visual picture/scene/image into the words and if audience has passed through that scene sometimes in his life then he can listen and read it as such as its described and it may not have some deeper meaning than that. and if the description of this image is not seen, heard or experienced by the audience and he can not imagine also about the scene then its difficult to articulate it.
He could have written/used Chavani or barah aane see Zindagi, but he used athani si zindagi and others can not spend energies in searching a deeper meaning in this selection. It can be a random selection or few may argue that its about 50% chances which are always with a decision because a person has taken it himself.
Now Tamghe laga ke miltee hai can be explained but ” Sheeshe ke martbanon mein dukan par padee deekhi” is an image. If we force more we can search some meaning in it as we can find children finding immense happiness by seeing toffees and chocolates and other such eating items etc kept in glasswares in the shops or an adult can be happy to see pickles or somether thing in such transparent vessel.
But some times this effort to articulate everything he writes is not necessary.
Perhaps at PFC only, people were busy in an endless discussion that in the song Mera Kuch Saman tumhare pass pada hai– Ek tumhare kaandhe ka til” has something to do with pyaj(onion) as its a marathi word. If one has not seen the film, s/he can interpret it in any manner simply on the basis of words and India has so many languages which have similar roots and words can be interchanged but if one has seen the film then one knows exactly that this is related with mole on Naseer’s left shoulder and Rekha standing behind him observes it when he reads Maya’s letter.
@Neeraj,
Requirement of Gulzar’s lingo/poetry/imagination toi praise his work. True to some extent but Its true with every creator. First we have to accept his/her existence and existence of his/her creation as s/he has created it and then only we can get some meaning in it. Audience may not always go to that level on which a creator has based his creation and then audience will go there as per his own mind set at that time.
To appreciate and to understand completely and then appreciate are two different things. and often second case is not required because watcher has limitations and he may not get the exact original meaning with which creator had created the thing and creator was not facing this limitation while creating and he was flying freely with his imagination and people sometimes search a different meaning which a creator had never thought while creating something and in this case creation itself covers a bigger horizon and it was beyond the capacity of the creator but he created somehow. It was a natural process. Thats why many big poets have said it since ages that they never wrote or thought anything and poetry be fell upon them. They became a medium.
They still become the medium. so many things happen on their own. rather all great things happen and they cant be done.
RK(23): You’re so right. It’s not necessary to articulate evything Gulzar saab writes. You absorb his poetry and react depending on how you interpret, visualize or relate to it.
Talking about the ‘visual’ nature of his poetry, I love the way one of his recent songs is written – O Saathi Re from Omkara. The antara is so ‘visual’ and there’s no need to delve into deeper meanings. It’s extremely beautiful even at the surface level.
Thaka thaka suraj jab nadi se ho kar niklega
hari hari kaee pe paon pada to phislega
tum rok ke rakhna main jaal giraoon
tum peeth par lena main haath lagaoon
din doobe na
@Aditya,
Yes that is quite visual and which is impossible to show by a camera. words themselve accelerate the visual imagination.
and he has been doing it in this present era when beat is the master and music directors certainly will not be demanding lyrics where,if audience is ready to go little deeper and read the words in print then can find that people are keeping them away from a wonderful thing called poetry.
He is giving valauble lyrics to otherwise quite average films like JBJ and he does not give good lyrics to slow song like Bol na halke halke but to fast beat songs also like Jhoom barabar jhoom and ticket to hollywood.
For superficial people, rhymed mukhdas are given and for people who want good words good antars are created.
My God what a fan club!I was till now unaware of this wonderful world of understanding my most favourite person on earth-Gulzar saab!Am a person of little understanding but would be trying to see life in SIR’s works in different perspective by reading your interpretations!Glad to have peeped in!
@Vandana,
Welcome.
Share and enjoy and let others enjoy that sharing.
Alert for the lovers of Gulzarian literature:
November issue of Naya Gyanodya, a monthly Hindi magazine of Bhartiya Jnanpeeth, has publsihed Gulzar Saab’s new poems, which are based on themes (peepal, aam, amaltas, Khumani, akhrot, Imali, sabj lamhe etc) and his column has got a title “Mera Kuch Saman“.
Famous author Kanyaha Lal Nandan Ji has written an article on Gulzar Saab. (Gulzar: ehsaas ke gamlon mein uge huye sapne)
and Gulzar saab has written one article himself also. its title is,
“Mein kuch kehta nahin khud se”
This article is ended with a poem.
Few lines from that poem.
————————————————————
Mein Kuch kehta nahin khud se
kahin koi galatfehmi na ho jaye
……
Mein sazde mein chala jata hun par yaad rehta hai
ki meri peeth mein jo dard nikla
to kai ratein jagayega
zara sa kam hee jhukta hun
…
bahut kuch jee mein aata hai kahun lekin….,
mein kuch nahin kehta khud se
kahin koi galatfehmi na ho jaye
———————————————————–