A Review in the eyes of a Director “Sach hai duniya waalon, ke hum hain anari…..”

Shri Dinesh Shankar Shailendra’s  DIRECTOR’S CUT series on Hrishikesh Mukherjee and the song is  “Sach hai duniya waalon, ke hum hain Anari…..”

 

Shailendra had moved with his wife and four children into a rented flat in Khar… The fifth child ( yours truly was to be born there…) It was a ground floor flat on what was then called 14th A road. (Now called Ahimsa Marg) It was a quiet neighborhood…. Khar, at that time, was a distant suburb of Bombay !

Late one night, the peace was shattered by the incessant sound of a car horn….. Disturbed, people were looking out of their windows…. screaming at the driver…. An uncle of mine went out to see what the matter was and was stunned ! Seated in a flashy Chevrolet ‘Impala’ was a drunk Raj Kapoor…. All he kept muttering was ” Mere Kaviraj ko bahar bulaao….”

Shailendra was woken up and told what the matter was… He went out…. As soon as RK saw him, he left the horn, jumped out of the car and rushed to embrace Shailendra….. RK muttered ” Mainey abhi Anari ka gaana sunaa…. jeeyo mere Pushkin…” !
Before the half asleep Shailendra could even react, RK got back into his car and drove away…. Raj Kapoor was talking about this song…. which would fetch Shailendra his second Filmfare award in a row !!!

The situation was simple, yet complicated…. Raj Kapoor has discovered that Nutan, who he is madly in love with, has actually lied to him about her status…. He is shattered by her deceit…. Nutan is remorseful as she loves him too….. She wanted to play a prank on him and it spiralled out of control….
He is attending a party at Nutan’s house and is asked to sing a song…The music is suited for the occasion … The words are what Raj Kapoor is feeling…. the turmoil of being deceived…. He pours out the pain and anguish he feels….

Hrishikesh Mukherjee knows he has a winner in this song…. He does not indulge in any fancy shots…. He depends totally on the music, the words and the performances ( excellently underplayed by RK and Nutan ) to keep the audience enthralled… He succeeds in his endeavour…. !

Starting with the introduction music of the accordion, a dancer makes her way down the stairs…. The camera on a crane, follows her down to catch RK. The dancer exits the frame as Raj Kapoor starts singing….

” Sab kuchh seekha humne, na seekhi hoshiyaari…”

A little accordion piece follows on which the camera moves forward on Nutan … the words are sinking in… Cut back to RK as he sings the full ‘mukhda’…

” Sab kuchh seekha humne,
na seekhi hoshiyaari,
sach hai duniya waalon,
ke hum hain anari…..”

He has a smile on his face while he sings, but we can feel his pain in his heart….
On the interlude violins, a top angle shot establishes the crowd and the girl dancing… RK slowly moving back…. as if wanting to isolate himself from the festive atmosphere… An eye-level shot of the dancer… the interlude music ends and we see RK….
RK sings the complete verse in one shot… the director does not want to distract the audience from the words….

“Duniya ne, kitnaa samjhaaya,
kaun hai apna, kaun paraaya,
phir bhi dil ki chot chhupaakar,
humne aapka dil behlaaya….”

On a little accordion piece, we see Nutan… she puts her head down…. RK continues…

” Khud hi marr mitney ki,
yeh zidd hai hamari….
khud hi marr mitney ki,
yeh zidd hai hamari…”

The dancer’s hands cast a shadow on his smiling face…. In a wider shot, RK has his back to the camera and we see Nutan, Motilal and other guests… RK sings

” Sach hai duniya waalon ke hum hain anari…”

Close of the dancer’s feet on the mandolin piece of the interlude…. Camera pulls back on the accordion and reveals the full figure of the dancer and the other guests….On the violins, a close shot of RK looking lovingly at Nutan…. a counter shot of Nutan…. she puts her head down, unable to face him…. At the end of the interlude, the dancer crosses RK and exits…
He sings…

“Dil ka chaman ujadtey dekha,
pyar ka rang, utartey dekha,
humne harr jeeney waaley ko,
dhan daulat pe martey dekha…”

He moves towards the camera as he sings…the crane moves down so that RK dominates the frame on these great lines…. On the accordion, we see Nutan in close… the lines are affecting her… A wide shot…. Nutan’s back…RK moves towards her as he sings…

” Dil pe marney waaley,
marengey bhikhaari,
dil pe marney waaley,
marengey bhikhaari,
sach hai duniya waalon ki hum hain anari….”

He bows looking at Nutan… she puts her head down in shame….

Close of Nutan as the violins of the interlude play…she looks up at him…. love and repentance expressed beautifully… Close of RK…. his half-hearted smile…. A shot of the dancer moving towards the camera… A shot of Shobha Khote cowering in a corner…. RK enters the frame.. she was a partner to Nutan in the deceit…she cannot look him in the eye… RK turns…Camera tracks along with him as he moves behind the guests singing….

” Asli naqli chehrey dekhey,
dil pe sau sau pehrey dekhey,
mere dukhtey dil se poochho,
kya kya khwab sunehre dekhey…”

At this point, he reaches where Nutan is seated… he puts his hand on her backrest…. Close of Nutan’s face and his hand…. on the accordion, the camera tilts up to RK’s face… he sings….

” Toota jis taarey pe, nazar thi hamari… “

He moves towards Nutan on the lines

” Sach hai duniya waalon ki hum hain anari…”

On the end music, the accordion piece, a wide shot as he folds his hands towards the guests as they applaud…. He turns and moves towards the exit….the camera moves slightly higher to make him more suppressed and smaller… he walks faster…. the audience cannot see his face, but the way he moves, his shoulders drooping, his body language conveys that he has broken down…
The song is over…

Hrishida and Shailendra have scored a perfect ten ! So have Shanker Jaikishen, Nutan and Raj Kapoor….

Years later, it will be discovered that Shailendra has, in this song, actually predicted the pattern his life will follow….

The ‘anari’ producer….. heart-broken by the deceit of those he trusted…..

And the bitter truth behind the lines….

” Dil pe marney waaley, marengey bhikhaari…”

YOUTUBE.COM

Raj Kapoor’s Hits Song – Sab Kuch Seekha Humne – Anari, HD

Old is gold. Bollywood classical music, Hindi Romantic song.

DIRECTOR’S CUT – Satyen Bose

by

Dinesh Shankar Shailendra 

DIRECTOR’S CUT

Satyen Bose

When Nargis decided to produce a film called ‘Raat aur Din’, box-office gains would have probably been the last thing on her mind…There was no way that any sensible person could believe that the Indian film-goer, the general audience, would even understand and believe that an ailment called Multiple Personality Disorder ( MPD ) even existed…

But creative people, artistes in the true sense, rarely have monetary pursuits in their minds when they plunge into something they believe in…. Nargis was in love with a story, and, finally when she could produce and act in it, it was the role of her lifetime… She won the National Award for her performance…

Nargis roped in the great Satyen Bose to direct the film…. and for the music and songs, her old friends and associates, Shanker Jaikishen, Hasrat and Shailendra… The ‘fab four’, gave her an album that would be eternally famous… For it’s music, and it’s lyrics….

The situation : A married woman, Varuna, dresses up differently ( unlike the housewife that she is ) and goes to a club…. Her personality undergoes a drastic change, as she introduces herself as Peggy and plays an extrovert to the hilt !

Shanker Jaikishen’s introduction music starts with an accordion, joined by violins and cellos…. The music is almost suspenseful in nature…. Something is about to happen…. We see the people in the club reacting…
Satyen Bose cuts to a pair of legs…. slightly unsteady….intoxicated….

As the people in the club stand, Nargis enters the frame…. The music dies down and she starts singing, accompanied by drums with a lilting waltz rhythm….

” Dil ki girah khol do,
chupp na baitho,
koyi geet gaao….”

Lata Mangeshkar, in her own magical way takes it to the next lines… the music and the rhythm undergo a change too…

” Mehfil mein ab kaun hai ajnabi,
tum merey paas aao…”

An accordion brings up the interlude, joined by violins and cellos…The arranger Sebastian is in his elements….
The rhythm is again waltz…. ……………..As the violins fade out, a great tabla pick-up ( Courtesy Dattaram ) changes the tone of the song…
We see Feroze Khan getting up and coming towards Nargis..

” Milney do ab dil sey dil ko,
mitney do majbooriyon ko,
sheeshey mein apney dubo do,
sab faaslon, dooriyon ko,

aankhon mein muskuraaun, tumhari,
jo tum muskuraao…”

Feroze Khan expresses his interest in dancing with her, and the move on the floor along with the others in the second interlude which starts with violins and cellos… ending with the crystal clear tabla pick-up….

Manna Dey sings for Feroze Khan…

” Hum tum, na hum tum rahey ab,
kuchh aur hi ho gaye ab,
sapnon key jhilmil nagar mein,
jaaney kahan kho gaye ab…

humraah poochhey kissisey,
na tum apni manzil bataao…”

Accordion, violins and cellos bring up the next interlude…

Nargis sings….

” Kal humsey poochhegaa koyi,
kya ho gaya tha tumhey kal…”

Feroze Khan answers…

” Mudkar nahin dekhtey hum,
dilney kahaa hai chalaa chal…”

They sing together…

” Jo door, peechhey,
kahin reh gaye,
ab unhein matt bulaao….”

The ‘mukhdaa is repeated and the song ends….

The director, Satyen Bose shoots like the professional, no-nonsense director he was always known to be….Not a shot out of place…

Nargis and Feroze Khan play their parts to perfection….

Manna Dey sings excellently…. But Lata Mangeshkar steals the show, everytime she reaches the higher notes with her PERFECT ‘aalaaps’

Satyen Bose wants a song to establish the change in Nargis’s personality…
This is his brief to Shanker Jaikishen and Shailendra….

Shanker Jaikishen, ably aided by Sebastian and Dattaram, bring that change very subtly in their music…. The shift of rhythm, from drums to tabla is so well done that one has to marvel at something one has heard a million times earlier….Listen to the major shift, achieved with simplistic ease…. Listen again…. NO ONE can ever repeat this seemingly simple feat with such subtlety…..

Shailendra writes like only he could…

Starting from the ‘mukhdaa’….

” Dil ki girah, khol do,
chupp na baitho,
koyi geet gaao,
mehfil mein ab kaun hai ajnabee,
tum merey paas aao…”

The simple housewife, Varuna has transformed into the extrovert Peggy !!!

Then, with every verse, he brings about that change in her character….
Take every line, every word and weigh them in gold… they are worth much more…

Within four minutes, Satyen Bose, Shanker Jaikishen and Shailendra have made the audience wonder why she is behaving this way…. as the story unfolds, her fight with her Multiple Personality Disorder will unfold….

The foundation has been laid by these great people….

Remember, we are talking about the sixties…

YOUTUBE.COM

dil ki girah khol do..Lata_Manna Dey_Shailendra_S J..a tribute

Song : dil ki girah khol do, chup na baitho, koyi geet gao.. Film: Raat Aur Din,1967, Singers : Lata…

Poets often specialise in one genre, but Shailendra’s sheer diversity made him unique.

by

Kisiki muskuraahaton pe ho nisar
Kisika dard mil sake to le udhar
Kisike vaste ho tere dil me pyar
Jeena isi ka naam hai

Anyone growing up in India in the 1950s and 1960s, in fact, anyone living in India even today would most certainly have heard one or more of Shailendra’s songs. Writer of numerous hits, many of his songs have become anthems of modern India. ‘Awara hoon’ and ‘Mera jooota hai Japani’ are perhaps the most recognisable Hindi songs of all time, not just in India, but the world over. His name is associated with most of the big hits of the of the ‘50s and the ‘60s.

His easy to understand, catchy and folksy lyrics made Shailendra an instant success in big bad Bollywood, from his very first film song ‘Barsaat mein humse mile tum’. Films and film music were the only pan Indian cultural thread then. Cinema had not reached the interiors of India, but due to the radio’s popularity, millions of people hummed his songs, even if they may not have been aware of the writer’s name.

Shailendra’s forte was his ability to write songs which were easy to sing, but had a hook which led you to a deeper meaning. The finesse with which he could switch from the philosophical to the trivial is extraordinary. His songs talk about nature, childhood, romance, melancholy, pain, love, optimism, spirituality and occasionally with humour and irony – his diversity is unmatched even today. (This makes him, for me, the best film lyricist of all time.)

Many of his contemporaries also have hits that have eternal appeal, but if you were to compile a list of Hindi film song favourites between 1948 and 1966, Shailendra’s songs will perhaps find the most mentions.

A tough childhood

Shailendra was born in Rawalpindi (now in Pakistan) to a poor family. He had a tough childhood, which he spent in Mathura, where his family had migrated to. It is not widely known that he was a Dalit (he never ever talked about his caste). He was a good student and started writing poetry at a young age. His familarity with UP folk and mythological traditions and his love for literature aided him throughout his career.

In 1947, he got a job as a welding apprentice in Central Railways and was transferred to Mumbai. While he worked at the Matunga Railway Workshop, he started attending mushairas and kavi sammelans. Around this time, the Indian Peoples Theatre Association(IPTA) became active in the city and Shailendra became a member. It was at the IPTA that he befriended composer Salil Chowdhary, a friendship which would last a lifetime; they collaborated for many films and also recorded a couple of songs for the IPTA.

However, like Sadat Hasan Manto, he was never considered a part of the Progressive Writers Group. Shailendra in his early years had left leanings, and much of his literary output and some of his film songs had a socialist theme that was so popular in post-independent India.

Around the same time, his poem ‘Jalta hai Punjab’ on the Partition had become quite popular in literary circles. Raj Kapoor heard him recite this poem at an IPTA function. Kapoor was planning his first directorial film Aag and thought that the poem would be ideal. He offered to buy the rights from Shailendra for a princely sum of Rs 500. The poet in his idealism refused.

Entering the film business

A few months later, in a state of financial emergency, Shailendra remembered Kapoor’s offer. He went to the film maker and said he was willing to write for him. Kapoor, who was shooting Barsaat, asked the poet to write two songs. ‘Barsat mein humse mile tum’ and ‘Tirchi nazar hai’ were the result. The songs and the film were both a hit. An enduring and rewarding relationship developed between Raj Kapoor, Shankar-Jaikishan, Shailendra and another struggling poet, Hasrat Jaipuri. Shailendra would write some of RK Films’s most iconic songs, until his untimely death in 1966. Raj Kapoor would affectionately call him Kaviraj and Pushkin.

In a career spanning 17 years, Shailendra wrote about 900 songs. He worked the most with Shankar-Jaikishan (over 400 songs in about 70 films), followed by Salil Chowdhary, S.D. Burman and Roshan, though he also collaborated with veterans like Anil Biswas and youngsters like R.D. Burman. He wrote the dialogues for Bimal Roy’s Prem Patra. Many of his contemporaries told me that he had a good grasp over filmmaking, as well as of music, which may have helped him compose his songs.

Poets often specialise in one genre, but Shailendra’s sheer diversity of thought is quite unique. Some of his songs are romantic (‘Yeh raat bheegi bheegi’, ‘Tere mere sapne’), some metaphysical (‘Wahan kaun hai tera’, ‘Zindagi khwab hai’, ‘Sajan re jhoot mat bolo’, ‘Jao re Jogi’) others of longing (‘Aja re Padesi’, ‘Oh jaanewalae ho sake’, ‘O basanti pawan pagal’) anguish (‘Kya se kya ho gaya’, ‘Dost dost na raha’, ‘Sajanwa bairi ho gaye’), abandon (‘Mud mud ke na dekh’, ‘Suhana Safar’, ‘Aaj phir jeene ki’), or even nonsensical (‘Tin kanastar’, ‘Chuhe mama’).

But they are always evocative (‘Pyar hua’, ‘Kisi ki muskarahaton pe’, ‘Uparwala jaan kar anjan hai’, ‘Raat ke humsafar’, ‘Main gaon tum so jao’). The list is endless. He was also perhaps the first lyricist to use folk motifs in his songs (‘Chad gayo papi bichua’).

When you talk of Shailendra, it is impossible to slot him into a genre, a style, a mood or philosophy. On the face of it, Shailendra’s lyrics are simple. You don’t need to dive for the dictionary every now and then to search for the meaning of his words. Simplicity is his hallmark.

But is that all there is to his poetry? Far from it. Those seemingly simple lines are layered with meaning, with purpose and with the deepest thoughts, feelings, emotions memories and dreams.

When I began my professional association with movies in the late sixties, a few of my icons had already passed on: Mehboob Khan, Bimal Roy, Guru Dutt and my favorite lyricist Shailendra among them. It was much later, after writing a couple of hundred songs myself and seriously listening to film music that I realised Shailendra was much more than a mere lyricist – he was a balladeer of Hindi Cinema.

Although other contemporaries like Majrooh, Sahir, Kaifi, Shakeel, Jan Nisar Akhtar were regarded as poets who drifted from literature to film songs, Shailendra was generally thought primarily as a lyricist. Besides, Urdu writers dominated the language of films. A few Hindi poets like Gopal Singh Nepali, Pradeep, Bharat Vyas had ventured into lyric writing, but most of the top writers were Urdu poets (though some of them went on to write some memorable songs in chaste Hindi, such as Sahir Ludhianvi in Chitralekha).

Urdu and Hindu poetry

Urdu poetry has a definite structure based on a fixed behar (meter) and kafiya (rhyme) and is limited to 19 such patterns. Hindi (derived from Sanskrit) has a wider range of over sixty rhythmic meters. Shailendra was the first to combine the two distinct patterns.

Shailendra was not a lesser poet than any of his contemporaries either in Hindi or Urdu. However, his film repertoire unfortunately always overshadowed his literary output. Shailendra wrote several outstanding poems. Read this, written in 1945.

Jis din arun adhron se
Tumne hari vyatheyein
Kardi preet geet mein mein pramint
Meri karn kathayen
Us din priye hi priye janam janam ki
Saadh ho chuki poori
Jis din tumne bahon mein bhar
Tan ka tap mitaya
Pran kar diye punh
Safal kar di mitti ki kaaya
Us din priye hi priye janam janam ki
Saadh ho chuki poori

Or some of the songs he wrote as a member of IPTA in the forties.

Buri hai aag pet ki,
Bure hain dil ke daag ye
Na dab sakenge
Ek din banenge inquilab ye
Girenge zulm ke mahal
Banenge fir naveen ghar
Agar kahin hai swarg toh
Utaar laa zameen par
Tu Zinda hai,
Tu Zindagi kii
Jeet par yekeen kar
Agar kahin hai swarg to
utaar laa zameen par

Uthta hai toofan zanmana badal raha
Jaga Hindutan zamana badal raha
Kaali Kutiyaon se dekho
Phoote hai Ujyale
Thar thar thar thar
Kanp rahe hain
Gori chamdi wale

Har zo zulm ki takkar mein hartal hamara nara hai
Tumne mangen thukrai jhain,tumne toda har wada hai
Chheni hamse sasti cheezen,tum chhatni par aamada ho
Toh apni bhi tayyari haitoh haumne bhi lalkara hai
Har zo zulm ki takkar mein hartal hamara nara hai

Shailendra has the largest vocabulary ever in Hindi film songs (I was always of conscious to use newer words in my songs, perhaps inspired by Shailendra subliminally) and would usually come up with unusual similes or imagery. Look at songs like ‘Dum bhar ju udar muh phere’, ‘Ai mere dil kahin aur chal’, ‘Chad gayo papi bivhua’, ‘Khoya khoya chand’, ‘O basanti pawan pagal’, ‘O re Majhi’, ‘Ajeeb dastan hai’, ‘Bahut diya denwale’, ‘Yeh raten yeh mausam’, ‘Chand sa aaj kal mein dhal gaya’, ‘Tadap yeh din raat ki’, ‘Jin raton ki bhor nahin’, ‘Jeena yahan marna yahan’ or even ‘Jungle mein mor nacha’.

Over the years, everyone I have spoken to about Shaiendra – S.D. Burman, Lata Mangeshkar, Kishore Kumar, Vijay Anand, Majrooh Sutltanpuri, Gulzar or Javed Akhtar – spoke of him with great respect and fondness.

I was told about an incident from 1964, when a Filmfare award for best lyricsist went to Sahir for the song ‘Jo wada kiya wo’ from Taj Mahal. Ludhianvi went up to the stage and announced that the true winner of the award ought to be Shailendra for the song ‘Mat ro mata’ from Bandini, which Sahir termed as the best patriotic song he had ever heard. He called a reticent Shailendra to the stage and handed him his trophy.

Also Read: How the Partition Saga ‘Buniyaad’ Captured the Imagination of the Entire Nation

His son Shaily Shailendra (also a popular lyricist in the 70s and 80s) became a friend of mine in 1972 and I visited the poet’s home Rim Jhim in Khar a few times. I met his wife, three sons and two daughters. One could see the values ingrained in them by the late poet – humility and grace. His youngest son Dinesh is a filmmaker now .

Shailendra turned a producer in 1963 and launched Teesri Kasam directed by debutante Basu Bhattacharya, who was Bimal Roy’s assistant and Shailendra’s close friend, starring Raj Kapoor and Waheeda Rehman. The film was inordinately delayed and the poet was suddenly under a cloud of debt. Though the film won a National Award, it was only after he passed away. He was disconsolate at the problems of producing a film. His legacy is immortal – as he said in his famous song from Do Beegha Zameen, ‘Apni kahani chhod ja, kuch toh nishani chod ja’.

My favourite Shailendra songs

Its very difficult to curate a list of my favourite Shailendra songs. It is too long. I present it in no order of preference.

‘Awara hoon’ (Barsat)
‘Mera Joota hai Japani’ (Shree 420)
‘Dharti kahe pukar ke’ (Do Bigha Zamin)
‘Kisi ne apna bana ke mujhko’ (Patita)
‘Ai mere dil kahin aur chal’ (Daag)
‘Ye raat bheegi bheegi’ (Chori Chori)
‘Jeena isi ka naam hai’ (Anari)
‘Yeh mera diwnapan hai’ (Yahudi)
‘O re majhi’ (Bandini)
‘O jaanewale’ (Bandini)
‘Uparwala jaan kar anjaan hai’ (Kala Bazar)
‘Koi Humdum na raha’ (Jhumroo)
‘Aa ab luat chalen’ (Jis Desh Mein Ganga Behti Hai)
‘Sajan re jhoot mat bolo’ (Teesri Kasam)
‘Bahut diya denewale ne tujhko’ (Soorat Aur Seerat)
‘Dost dost na raha’ (Sangam)
‘Aaj phir jeene ki tamnna’ (Guide)
‘Wahan Kaun hai tera’ (Guide)
‘Ghar aja ghir ayee’ (Chote Nawab)
‘Raat ke humsafar’ (An Evening in Paris)
‘Main gaon tum so jao’ (Brahmachari)

 

Source : https://thewire.in/film/remembering-lyricist-shailendra

Hum to jaate apne gaam

The fatefulday of 14th December when Shailendra bid farewell to this selfish world and that happened to be birthday of his good friend Raj Kapoor.
#Jaikishan and #Shankar are pal bearers of their friend lyricist #Shailendra

 

 

SHAILEY SHAILENDRA (FULL SONG LIST)

This compilation is by

Nikhil E Iyer on Friday, 29 March 2013 at 10:27

 
Mera Naam Joker(1970) (Music- Shankar Jaikishan)

1) Jeena Yahan Marna Yahan (Mukesh)

Kal Aaj Aur Kal(1971) (Music-Shankar Jaikishan)

2) Hum Jab Honge Saat Saal Ke (Kishore, Asha)

Dil Daulat Duniya(1972) (Music-Shankar Jaikishan)

3) Saath Mera Pyar Sathi Hai (Kishore Kumar)

Midnight(1972) (Music- Subir Sen)

4) Tumsa Meet Mila (Talat Mahmood, Geeta Dutt)

Vachan(1974) (Music-Shankar Jaikishan)

5) Dil Ka Guldasta (Kishore Kumar, Sharda)

Jaan Hazir Hai(1975) (Music-Jaikumar Parte)

6) Sawan Aaya Badal Aaye(Dilraj Kaur)

7) Arre Meri Chamak Challo (Amit Kumar, Usha Timothy)

8) Hum Na Rahenge Tum Na Rahoge (Dilraj Kaur, Manhar Udas, Amit Kumar)

9) Yeh Shehri Mohe Dekho (Amit Kumar, Dilraj Kaur)

10) Bhandey Phoot Jayenge (Amit Kumar, Manhar Udas)

Romeo In Sikkim(1975) (Music-Vishwanath)

11) Hai Dil Mein Dard Utha (Suman Kalyanpur)

Aap Ki Khatir(1977) (Music-Bappi Lahiri)

12) Pyara Ek Bangla Ho (Bappi, Lata)

13) Sidhi Saadhi Shehzadi (Kishore Kumar)

14) Bambai Se Aaya Mera Dost (Bappi Lahiri)

15) Aap Ki Khatir (Lata Mangeshkar)

16) Shola Re Bhola Re (Shailendra Singh, Lata, Bappi)

Aangan Ki Kali(1979) (Music-Bappi Lahiri)

17) Tumhe Kaise Kahun (Lata)

18) Saiyan Bina Ghar Suna (Bhupinder Singh, Lata)

19) Meri Munni Bata (Dilraj Kaur, Shivangi Kolapure)

20) Jai Ho Mata Tumhari (Aarti Mukherjee, Chandrani Mukherjee)

21) Dhoop Bhi Dekhi (Aarti Mukherjee)

22) Na Ro Munni (Kishore Kumar)

23) Deewana Hai Kar Gayi (Bappi Lahiri)

Tere Pyaar Mein (Music-Bappi Lahiri)

24) Ankhon Mein Tum (Bappi, Sulakshana Pandit)

25) Bhool Gaye Hum Sab Kuch (Bhupinder Singh, Bansari Lahiri)

26) Aankhon Mein Hain Aansoon (Chandrani Mukherjee)

27) Aa Meri Jaan (Shailendra Singh, Preeti Sagar)

28) O Yamma (Mahendra Kapoor, Mahesh Kumar)

Do Hawaldar(1979) (Music-Bappi Lahiri)

29) Main To Hoon Raja Jaani (Bappi, Lata)

30) Bombay Ki Kelewali (Usha Mangeshkar)

31) Mere Bhole Hawaldar (Usha)

32) Bhadak Uthi Hai Dil (Kishore Kumar)

33) Babua Rootha (Mahendra Kapoor, Usha)

Bhula Na Dena(1981) (Music-Bappi Lahiri)

34) Dil Le Gayi (Bappi Lahiri)

Kaala Suraj(1986) (Music-Bappi Lahiri)

35) Apni Bahon Ka Haar De (Yesudas, Sulakshana Pandit)

36) Aap Kya Aaye (Sharon Prabhakar)

Kahan Hai Kanoon(1989) (Music-Bappi Lahiri)

37) Do Jism Ek Jaan (Bappi, Asha)

38) Do Jism Ek Jaan (Asha Bhosle)

39) Do Jism Ek Jaan (Bappi Lahiri)

Danga Fasad(1990) (Music-Dhiraj Kumar)

40) Shaam Ki Milna Hai (Amit Kumar)

41) Chicky Chicky (Amit, Kavita Krishnamoorthy)

Namcheen(1991) (Music-Anu Malik)

42) Lift Band Hai (Anu Malik, Kavita)

Dil Ka Doctor (Music-Bappi Lahiri)

43) Bandh Darwaze Khuli (Kumar Sanu, Lehora Issac)

Miss 420 (Music-Anu Malik)

44) Memsaab O Memsaab (Anu Malik, Sheeba)

Le Chal Apne Sang(2000) (Music-Ram-Laxman)

45) Haseena Haseena (Udit Narayan, Asha Bhosle)

Umar(2006) (Music-Shamir Tandon)

46) Kumari Chadti Utar Gayi (Jagjit Singh)

47) Akele Mein Hum To (Babul Supriyo)

48) Aankhon Mein Tum (Hariharan, Sunidhi Chauhan)

49) Duniywalon Ko Nahi Kuch Bhi Khabar (Manna Dey, Sonu, Kavita, Shabib)

Chorni (Music-Shankar Jaikishan)

50) Chorni Chorni Hoon Mein (Lata)

51) Toot Gaya Tho Mil Jaayega (Lata)

52) Hai Re Ye Nasha (Asha Bhosle)

Akele Hum Akele Tum (Music-Anu Malik)

53) Aisa Zakhm Diya Hai (Udit Narayan, Shankar Mahadevan)

Pyar Ke Rahi(1981) (Music-Aziz Naza)

54) Hum Hain Rahi Pyaar Ke (Jaspal Singh, Dilraj Kaur, chorus)

Oh Sweetheart (Non-Filmy) (Music-Amit Kumar)

55) Mana Meri Ae Zindagi (Amit Kumar)

56) Samne Hai Tu Tera Khayal Hai (Amit Kumar)

57) Zara Suno Jana (Amit Kumar)

Damad Chahiye (1985) (Music-Ajit Verman)

58) Aa Se Aan (Shailendra Singh)

Jeete Hain Shaan Se(1987) (Music-Anu Malik)

59) Salaam Seth Salaam Seth (Anu Malik)

Dil Ki Baazi(1992) (Music-Ram-Laxman)

60) Ye Badal Aasmaan Pe Kyon (SP Balasubramaian, Lata)

61) Ruk Bhi Jao Jaana (Udit Narayan, Lata)

Non-Filmy (Bhajans) (by Anup Jalota) (Music-Dhananjay)

62) Seeta Pooche Ramse

63) Utar Pada Lo Rath Se Arjun

64) Duniya Ko Kyon Tyag Raha

65) Saare Jag Ko Dekh Ke Jana

66) Bhaj Man Raam

Non-Filmy (Dance Songs for Children) (Music-Bappi Lahiri)

67) Chandrama (Rema Lahiri)

Disco Deewane and Superuna (Music-Bappi Lahiri)

68) Suno Suno Meri Ye Kahani (Runa Laila)

Disco Hits of Bappi Lahiri (Non-Filmy)

69) Pukaro O Kanha Tum (Runa Laila)

Radha Ka Sangam(1992) (Music-Anu Malik)

70) Banna Mera Aaya Hariyala (Nitin Mukesh, Suresh Wadkar, Anuradha)

2 more movies in which Shailey Shailendra penned songs were–

1) Yaar Dilbar

2) Socha Na Tha (both these movies are very rare)

DIRECTOR’S CUT by Dinesh Shankar Shailendra on Lekh Tandon

by

 

 

Lekh Tandon

I do not think this is the actual video of this song…. I have seen Amrapali ages back… What is really interesting about this song is how it was born… This was narrated to me by Lekh Tandon himself…
Lekh Tandon’s dream project, Amrapali was in progress…

Famous Recording Studio Tardeo….. Shanker Jaikishen, Lekh Tandon and Shailendra were present while Shanker Jaikishen’s 100 piece orchestra rehearsed the music for the song… Everything was in place… Suddenly, the phone in the recording studio rang…. Shanker was summoned….Raj Kapoor was on the line. He asked Shanker to let him hear the song, which Kaviraj had written. Shanker sang the words on the phone while the orchestra played…It was “Kaatey na katey rainaa…”…. As soon as the song got over, Raj Kapoor told Shanker…. ” Please hand over the phone to Lekh ” As Lekh Tandon spoke to Raj Kapoor, the others saw the blood draining from his face. He finally kept the phone. When the others asked him what the matter was, Lekh told them…. ” Rajsahab wants this song for ‘Mera Naam Joker’….. what do we do now ” ?

Lekh Tandon had been Raj Kapoor’s assistant… Shanker Jaikishen and Shailendra were Raj Kapoor’s discoveries…. There was no way they could turn him down… They were in a huddle, at a loss as to what to do, when, the tragedy worsened…. Lata Mangeshkar arrived !!! They were colleagues but all were in awe of, and had great respect for the lady…
She asked them what the matter was… They told her…. For a moment she was silent, then she pulled the Harmonium towards herself and said… ” So what ! Let us make another song… we can do it…” !

Within a few minutes, Shanker Jaikishen and Lata had a tune ready…
Shailendra wrote…. ” Jaao re, jogi tum jaao re….”
“Waah waahs” all around… Then came the question…. ” The verses ” ???
Shailendra gallantly rose to the occasion and said…. ” Let everyone disperse and come back at 3pm…. I will have the verses….”

Disperse they did…. Shailendra called Lekh and asked him to accompany him…. They sat in Shailendra’s car and reached ‘Aarey Milk Colony’…. One of their favourite haunts…. Shailendra stopped on the way and picked up some beers….They sat in the restaurant…. Lekh Tandon was getting nervous…. Shailendra kept smoking and thinking…. His notebook was blank…. They had lunch…. Lekh could hardly eat…. It was past two in the afternoon when Shailendra rose … He apologetically told Lekh Tandon… ” Kuchh aa nahin rahaa hai…. recording cancel kar detey hain….”

To say that Lekh Tandon was shattered, would be an understatement !
100 musicians, the studio…. and most of all, cancelling Lata Mangeshkar’s precious ‘date’ ! Nothing short of sacrilege…!

Lekh was getting panicky…. If Lata Mangeshkar did not kill him, his producer would… Shailendra and Lekh Tandon were silent as the car reached the recording studio. Horror of horrors ! Latabai’s car was already there….Lekh told Shailendra… ” You handle her…. I cannot face her….” Shailendra moved ahead….

When he entered the ‘monitor’ room, he saw Lata in the glass cabin where singers stood and sang….He went in… Lekh Tandon was looking on …. he saw Lata and Shailendra having an animated conversation…. He was curious….This was what he had anticipated….
Lata was giving Shailendra hell for wasting her day…. Because the cabin was sound-proof, he could not hear anything…. He quietly switched on the singer’s microphone…. What he heard really shocked him…. Lata Mangeshkar was asking Shailendra… ” Do we need three verses ” ? Shailendra was furiously scribbling something…. He handed it to her and walked out….

Lekh Tandon always breaks down when he narrates this interesting story…. Shailendra had rattled off three verses in front of the great Lady…!!!
Lekh, excitedly ran up to Shanker and Jaikishen and narrated what he had just witnessed…. They were amused but not shocked… They expected Shailendra to deliver…Deliver he did… AND HOW !!!

Read the words and judge for yourself…

” Jaao re, jogi tum jaao re,
yeh hai premiyon ki nagari,
yahan prem hi hai pooja…”

Verse1

” Prem ki peeda, sachchaa sukh hai,
prem binaa yeh jeevan dukh hai…”

Verse 2

” Jeevan se kaisaa chhuttkaara,
hai nadiyaa ke saath kinaara…”

Verse3

“Gyaan ki kaisi, seema gyaani,
gaagar mein saagar ka paani…”

While Lekh Tandon and Shailendra were struggling for the words, the great Shanker-Jaikishen were decorating the music with some excellent sitar pieces and rhythm….

HE does not make people like this anymore….

YOUTUBE.COM

JAO RE JOGI TUM JAO RE -LATA JI -SHAILENDRA -SHANKER JAIKISHAN ( AMRAPALI 1966 )

SINGER : LATA JI LYRICS : SHAILENDRA MUSIC…

DIRECTOR’S CUT — from the pen of Dinesh Shankar Shailendra

DIRECTOR’S CUT — from the pen of Dinesh Shankar Shailendra

Raj Kapoor ( Mera joota hai Japani )

There happens to be an interesting anecdote associated with this song… I would like to clarify one thing before I narrate this anecdote…. I have heard this from a couple of people during my research on my father…. one of them being the great sarangi player, Pandit Ramnarayan…. I do not wish to rake up any controversy or hurt anyone’s sentiments….. None of the people involved are alive to verify or negate this incident…

During the making of Sangam, Jaikishen and Shailendra had a major showdown ! It started with Jaikishen talking about how, on his brilliant suggestion, another lyricist had come up with a beautiful thought for a romantic song for the film which, became very popular and remains very popular till today… Shailendra laughed and told Jaikishen that the thought was not unique at all… Shailendra himself had penned the same thought in a song from the film ‘Chhatrapati Shivaji’ and that was more than ten years ago ! Jaikishen kept arguing and things started heating up….

Finally, Jaikishen said… ” I will add my name as the co-writer for this song…” Shailendra answered…. ” Sure…. DO IT…! and then also change the credit for two of Shanker Jaikishen’s most famous songs to ‘ Music by Shanker Jaikishen and Shailendra ‘… because I came along with the tune and the lyrics for both these songs… ” !! The argument ended immediately…. The two songs Shailendra was talking about were ” Awara hoon ” and ” Mera joota hai Japani ” ….. The only two songs from Hindi films which went on to attain International fame !!!!

Raj Kapoor’s brief to Shailendra was a song to introduce his character in the film ‘ Shri 420 ‘…. a simpleton on his way to the big city with big dreams in his mind…. he wants to express his honesty and simplicity and in his own way, show how clean-hearted a human being he is… On the surface, Shailendra’s lines do just that….. BUT….. scratch the surface….. one finds layers and layers ….. I would stick my neck out and say, It is an anthem for all Indians…. !!!

Torn shoes, ankle length trousers, an ill-fitting shirt and jacket and a hat that has seen better days make up Raj Kapoor’s dress as he walks along an open road…. What is really striking about the man is that open-chested smile he wears on his face….. it displays innocence like only Raj Kapoor’s face could…

Shanker Jaikishen’s introduction music….. Something we are so familiar with that on the first few beats, we know which song it is…. and remember… it is more than sixty years old… ! The ‘ mukhda ‘

…Mera joota hai Japani,

yeh patloon Englishtaani,

sarr pe laal topi Roosi,

phir bhi, dil hai Hindustani…

It can be interpreted as a man making fun of his poverty…. His shoes, his trousers and his hat are far from his description… but the last line says it all…. What is genuine and real is his Hindustani heart…. He is proud of it….. It is innocent and pure…. Reflect on the period…. seven years into independence… !

The verse….

Nikal padey hain khuli sadak parr,

apna seena taaney,

manzil kahan, kahan ruknaa hai,

oopar waala jaaney…

badhtey jaaye hum sailaani,

jaisey ek dariyaa toofaani,

sarr pe laal topi Roosi,

phir bhi dil hai Hindustani…

This verse again can be about RK himself …. as the character he is playing… but it could also mean the young India…. off on its own….. The weak leadership, not being able to give it the right direction…. BUT ! There is fire within…. we march on….. our hearts are true….. HINDUSTANI !

The next verse …

Oopar neechey, neechey oopar,

leher chaley jeevan ki,

naadaan hain jo, baith kinaarey,

poochhey raah watan ki,

chalnaa jeevan ki kahani,

ruknaa maut ki nishaani,

sarr pe laal topi Roosi,

phir bhi dil hai Hindustani…

Raj Kapoor joins a large group of people… he is on a camel…. moving up and down as the camel walks… the group seems to be a group of migrants… probably in search of better prospects…. But then the poet could be addressing the people of India who are gradually getting dejected by what is happening in the country… Ups and downs are a part of life…. Don’t get dejected and stand by the wayside…. move ahead…that is living…. giving up and stopping is death ! Be proud of having a Hindustani heart…

The last verse…

Hongey Raje, Rajkunwar,hum,

bigdey dil shehzaade,

hum singhaasan parr jaa baithey,

jab jab karey iraadey,

soorat hai jaani pehchaani,

duniya waalon ko hairaani,

sarr pe laal topi Roosi,

phir bhi dil hai Hindustani…

The shots are of a real royal procession and the director cuts to shots of Raj Kapoor on an elephant…. and despite his dress, pretending to have the airs of royalty…. Take it at face value…. someone dreaming BIG…

But for a moment, take it in a wider context…. The days of the Kings and Princes are over… India is now a democracy…. commoners can think of ruling this country whenever they decide to… The face of India is famous all over the world… let us surprise them by rising to the occasion ….. wake up ! Be proud of your Hindustani heart….

Footnote : I have tried to do justice to this song with my own limited thinking…. Please forgive me if I have erred in my interpretation…

Till next week…

https://www.youtube.com/watch?v=5wjGc1zGWBc

Shailendra : by Raj Kapoor.

August 30, 2014 

Wednesday, 14 December, 1966. Worker’s day was being celebrated at R K Studios. Pooja was over and on the huge set of ‘Mera Naam Joker’ erected on the sound stage, the assembled workers were receiving their bonds from Raj Kapoor. Twice during the proceedings, Raj Kapoor was called to the phone. At the other end was Mukesh, speaking from the Northcote Nursing Home where the previous afternoon, Shailendra was admitted.

While the workers had their lunch, Raj and his colleagues sat by the phone in his cottage. Shailendra was in coma. Another call, Shailendra was on oxygen. Yet another call to inform they were giving him blood transfusion. Everyone’s spirits rose cautiously. This was hope. Twenty minutes later, Mukesh called again. Shailendra was dead at age 43 and the celebration of worker’s day at R K Studios meant it was Raj Kapoor’s 42nd birthday.

On lyricist Shailendra’s birthday today (30-Aug), we reproduce below an open letter published in Filmfare, written by an anguished Raj Kapoor at his friend’s premature death.

In Raj Kapoor’s words;

A part of my soul has gone.  It is not fair. I break down and weep at this snatching away of one of the fairest roses in my garden. What a noble and selfless person he was, what a vital part of my being! Now he is gone forever and all one can do is weep for him, cherish his memory.

Time rolls back. It takes me to the crucial years of the Forties. Dreams were being dreamt. Ambitions were on the highway to fulfillment. I was making ‘Aag’ (1948). We were at the Prithvi Theater at Opera House and just a stone’s throw away, at the IPTA office, was a fiery and idealistic young poet, a composition of whose I had admired. I was convinced that he was the only poet who could do justice to the theme-song of ‘Aag.’

I shall never forget the day I approached him and asked him to write it. He was restless, contemptuous even of the film medium and asserted that his poetry was not for sale. “l am not interested in money!” he stated categorically.

I knew that to be true. He was working as a welder in the G.l.P. now the Central Railway, living in their tenements at Parel. He was keenly conscious of politics, an idealist. He had participated in the Civil Disobedience Movement of 1942 and gone to jail. Moreover his study of the writing of Jawaharlal Nehru, M. N. Roy and his leaning towards the Marxist doctrines shaped him an ideology that influenced his progressive writing.

Hasrat Jaipuri, Shankar-Jaikishan, Raj Kapoor and Shailendra

I accepted his flat refusal but continued to watch his work. After ‘Aag’, we began ‘Barsaat’ (1949). Back then, we had our office at the Famous Cine Laboratory at Mahalaxmi. One morning Shailendra walked into our office aggressively. “I need five hundred rupees,” he said, “In return, you can take what work you please from me.” I gave him the money – and a “mukhda” I had in mind: “Barsaat mein hum se mile tum sajan tum se mile ham.”

It was when we worked together on this film that our relationship was born and we quickly found ourselves responding to the thoughts, aspirations and ideals of the other. From those days to the day of his death, we have thought and felt in unison, vibrated on the same plane, each giving of our best to the other.

Now that he is gone, the panorama of his greatness parades before my eyes. Have people ever paused to consider how much Shailendra contributed to the popularity of Raj Kapoor in Soviet Russia and other foreign lands through his simple and poignant lines? Be it“Awaara hun” or “Mera joota hai Japani,”  “Mere naam Raju gharana anaam” or “Hoton pe sachaai rehti hai” from Jis Desh Mein Ganga Behti Hai (1960). It was Shailendra’s keenness of perception that his initial contempt for the film medium soon changed into a tremendous regard for it as he recognized that here was the common man’s art form as effective as the poetry he wrote – and how well he functioned in it.

He brought the little man’s colloquialisms, his effective simplicity of speech to the expression of the most profound thoughts. For example, who could say so potently, “kuch log jo ziada jaante hain, insaan ko kum pehchante hain.” (Jis Desh Mein Gangs Behti Hai). You could see his poetry in terms of visuals, in terms of shots. And in no small measure it was Shailendra who was responsible for contributing so vitally to the creation of the image of Raj Kapoor, symbol of the common man. His songs, which grace all my films as well as the films of so many others were all the essence of minimalism, yet more poignant and compelling than the bombast of many poets.

Mukesh, Shailendra, Raj Kapoor and Jaikishan

Many of his close associates and friends at RK Studiosfelt that Shailendra’s most tragic mistake and one which was perhaps ultimately responsible for his death in the prime of maturity, was his plunging into film-production. He was too trusting, blissfully ignorant of film business and finance and soon got into hot waters. That the film ‘Teesri Kasam’ (1967) was completed and released is in itself no small miracle and a tribute to close colleagues like Mukesh, Shankar – Jaikishen and others who stood by him.

But he made the film with integrity and poured some of his best poetry into it. I remember one night when we witnessed a private projection of the film at RK and afterwards all present were invited to write any suggestions they had to offer. The consensus of opinion was that it needed more of the conventional box-office ingredients thrust into it. After reading all the opinions, Shailendra wrote in my diary – and l still have those lines with me – “I shall make this film as I like.”

His financial involvement resulting out of  ‘Teesri Kasam’ harmed him immensely and made him sick in body and soul. Yet through it all, he wrote many haunting lyrics and three songs of ‘Mera Naam Joker’ (1970) plus the opening verse of its theme song.

I had the first line for this, from years ago with me but could not nail him down to sit and proceed with it. Then one night he came to my “Cottage” and wrote the verse -— and signed it. And when he did that, when he put his signature at the bottom of the page, it meant that was final, unchangeable. That was Shailendra’s‘Jeena yahan, marna yahan, iske siwaa jaana kahan.’

A distraught Raj Kapoor at the funeral.

He never spoke a word in flattery or insincerity. He was the most uncompromising critic of my work, during all stages of making of my films. And yet he was so childlike, utterly simple and lovable. I cry out to the creator, it is not fair but who listens. So he has taken away my Shailendra, a part of my creative faculty, a part of my soul.

Raj Kapoor.

एक अनुपम कवि – शैलेन्द्र

 

 

एक अनुपम कवि

                                             

 

 — मोहित भटनागर

तू ज़िन्दा है तो ज़िन्दगी की जीत पर यक़ीन कर
अगर कहीं हो स्वर्ग तो उतार ला ज़मीन पर
हमारे पाठक स्वाधीनता आंदोलन के समय की इस प्रसिद्ध कविता से परिचित अवश्य होंगे पर इसके कवि का नाम शायद नहीं जानते होंगे।इसके कवि हैं हमारे प्रिय गीतकार जिन्होंने 1950 व 1960 के दशक में बम्बई के फ़िल्म संगीत जगत में धूम मचा दी,जिसके गीत न केवल शंकर-जयकिशन के संगीत के साथ लोकप्रिय थे बल्कि उच्च कोटि की काव्यात्मकता भी लिये हुए थे।इनका नाम था शंकर दास केसरी लाल जो शैलेन्द्र के नाम से जाने जाते हैं।
शैलेंद्र का जन्म 30 अगस्त,1923 को अविभाजित पंजाब के रावलपिंडी में हुआ था।उनका बचपन मथुरा में गुज़रा।भारतीय रेलवे में वेल्डर की नौकरी उन्हें बंबई ले आई।बंबई आकर वे इप्टा के सदस्य बन गये जो भारतीय कम्यूनिस्ट पार्टी का सांस्कृतिक विभाग था।यह समय भारतीय स्वाधीनता संघर्ष का था।उस समय प्रगतिशील विचारधारा के कई शायर,जैसे कैफ़ी आज़मी,मजरूह सुल्तानपुरी,अली सरदार ज़ाफ़री और फ़िल्मी कलाकार जैसे चेतन आनन्द,पृथ्वीराज कपूर,बलराज साहनी और ए.के.हंगल उसके सदस्य थे।कवि सम्मेलनों में अपनी क्रांतिकारी कविताओं के कारण शैलेन्द्र शीघ्र ही प्रसिद्ध हो गये।1947 के ऐसे ही एक कवि सम्मेलन में जहां पृथ्वीराज कपूर मुख्य अतिथि थे,उन्होंने अपनी प्रसिद्ध कविता-‘जलता पंजाब’ पढ़ी तो पृथ्वीराज के साथ आये राज कपूर ने अपनी फ़िल्म ‘आग’ में गीत लिखने का प्रस्ताव दिया जिसे शैलेन्द्र ने यह कह कर ठुकरा दिया कि उनकी कविता बिकाऊ नहीं है।राज कपूर ने अपना कार्ड दिया और कहा कि यदि आपको कभी मदद की ज़रूरत हो तो आपका स्वागत है।कुछ समय बाद अपनी आर्थिक स्थिति से परेशान होकर वे राज कपूर के पास गये तो राज कपूर ने उन्हें 500/-रुपये दिये।बाद में इन्हीं 500/-रुपये के बदले उन्होंने ‘बरसात’(1949) फ़िल्म के लिये दो गीत -‘बरसात में हम से मिले तुम’ और ‘पतली कमर है’ लिखे।इसके बाद उन्होंने पीछे मुड़ कर नहीं देखा और राज कपूर,शंकर-जयकिशन और मुकेश की टीम का भाग बन गये।इस टीम के हिट गीतों की सूची बहुत लम्बी है और सब का वर्णन असंभव है।
शैलेन्द्र गागर में सागर भरने की कला में निपुण थे।‘सजन रे झूठ मत बोलो’(तीसरी क़सम-1966) इसी प्रकार का गीत है।‘जिस देश में गंगा बहती है’(1960) का गीत -मेरा नाम राजू-सुनकर राज कपूर ने फ़िल्म से लगभग डेढ़ रील का वह हिस्सा काट दिया जिसमें राज कपूर के बचपन के जीवन का चित्रण था।ऐसा ही एक उदाहरण और है।जब एक पत्नी अपने पूर्व प्रेमी को भुलाकर पति के साथ सुखी है तब पति द्वारा अकस्मात एक पुराने प्रेम पत्र को पाये जाने पर क्षमा चाहने के लिये उसकी भावनाएं ‘संगम’ फ़िल्म में शैलेन्द्र ने इन प्रकार व्यक्त की हैं-
मेरे अपने अपना ये मिलन संगम है ये गंगा जमुना का,जो सच है सामने आया है जो बीत गया एक सपना था
ये धरती है इंसानों की ,कुछ और नहीं इन्सान हैं हम,इक दिल के दो अरमान हैं हम,ओ मेरे सनम ओ मेरे सनम
इसी प्रकार ‘बंदिनी’(1963) के गीत-अब के बरस भेज भइया को बाबुल-भी एक भावपूर्ण गीत है जिसमें जेल में क़ैद एक युवती अपने परिवार को याद करती है।
शैलेन्द्र नृत्य गीतों की रचना में भी प्रवीण थे।वैजयन्ती माला के लिये फ़िल्म‘कठपुतली’(1957),‘आम्रपाली’(1966),‘रंगोली’(1961),‘नई दिल्ली’(1956),‘आस का पंछी’(1968),‘मधुमती(1958) और ‘ज्वैल थीफ़’(1967),वहीदा रहमान के लिये ‘तीसरी क़सम’(1966) और ‘गाइड’(1965) के लिये अत्यन्त लोकप्रिय नृत्य गीतों की रचना की।इनमें शंकर-जयकिशन के संगीतबद्ध गीत विशेष लोकप्रिय हुए क्योंकि शंकर स्वयं एक प्रशिक्षित नर्तक थे।इसके अतिरिक्त अन्य संगीतकारों जैसे सचिन देव बर्मन और सलिल चौधरी के साथ भी शैलेन्द्र ने ख़ूब काम किया।रोशन के साथ उन्होंने,शायद दो ही फ़िल्मों-नौबहार(1952) और सूरत और सीरत(1962) में काम किया।इनके दो गीत-देखो जी मेरा जिया चुराये लिये जाये और बहुत दिया देने वाले ने तुझको -आज भी लोकप्रिय हैं।
शैलेन्द्र की एक विशेषता यह भी थी कि वे कठिन से कठिन तुक पर भी सरल गीत लिख सकते थे।‘जुल्मी संग आंख लड़ी’(फ़िल्म-मधुमती) और ‘चक्के पे चक्का,चक्के में गाड़ी’(फ़िल्म-ब्रह्मचारी) इसी प्रकार के गीत हैं।
शैलेन्द्र ने फ़िल्मी गीतों को एक ऊंचे स्तर तक उठाया।अवसर मिलने पर इन गीतों में अपनी विचारधारा और सपनों का समावेश भी किया।‘श्री 420’ के गीत-मेरा जूता है जापानी-में ‘सर पे लाल टोपी रूसी’ लिख कर अपनी कम्यूनिस्ट विचारधारा का संकेत दिया।इसी प्रकार फ़िल्म‘बूटपालिश’(1954) के गीत ‘नन्हें मुन्ने बच्चे तेरी मुट्ठी में क्या है’में बच्चों के मुंह से कुछ पंक्तियां गवा कर अपने सपनों के भारत का चित्र प्रस्तुत किया है-
भीख में जो मोती मिलें तो भी हम ना लेंगे
ज़िंदगी के आंसुओं की माला पहनेंगे
मुश्किलों से लड़ते-भिड़ते जीने में मज़ा है
आने वाली दुनिया में सबके सर पे ताज होगा
ना भूखों की भीड़ होगी ना दुखों का राज होगा
बदलेगा ज़माना ये सितारों पे लिखा है
हालांकि अपनी कम्यूनिस्ट विचारधारा के कारण उनकी ईश्वर में आस्था नहीं थी ,फिर भी फिल्म की कहानी की मांग के अनुसार,अपनी व्यक्तिगत विचार धारा की परवाह न करते हुए उन्होंने अनेक भक्ति गीत लिखे।
आज के युग में जब फ़िल्मी गीतों में फूहड़ता की भरमार है,शैलेन्द्र के रचे भावपूर्ण गीत और भी प्रासंगिक हैं।उन्हें तीन बार फ़िल्म फ़ेयर पुरस्कार मिला-ये मेरा दीवानापन है(यहूदी-1958),सब कुछ सीखा हमने(अनाड़ी-1959) और मैं गाऊं तुम सो जाओ(ब्रह्मचारी-1968)।उन्होंने एक फ़िल्म -तीसरी क़सम(1966) का निर्माण भी किया।व्यावसायिक स्तर पर यह फ़िल्म असफ़ल हो गई।भारी क़र्ज़ ने उन्हें शराब और अवसाद में ढकेल दिया और 14 दिसम्बर,1966 को(राज कपूर के जन्म दिवस पर) उनका निधन हो गया।उनका संदेश यही है कि_
मर के भी किसी को याद आयेंगे,किसी के आंसुओं में मुस्कुरायेंगे
कहेगा फूल हर कली से बार-बार,जीना इसी का नाम है।

-फ़्लैट नं-634,न्यू आशियाना अपार्टमेंट्स,प्लाट नं-10,सैक्टर-6,द्वारका,नई दिल्ली-110075

लीडर जी, परनाम तुम्हें हम मज़दूरों का,

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  Ajay Kanagat लीडर जी, परनाम तुम्हें हम मज़दूरों का,
  हो न्यौता स्वीकार तुम्हें हम मज़दूरों का;
  एक बार इन गन्दी गलियों में भी आओ,
  घूमे दिल्ली-शिमला, घूम यहाँ भी जाओ!

  जिस दिन आओ चिट्ठी भर लिख देना हमको
  हम सब लेंगे घेर रेल के इस्टेशन को;
  ‘इन्क़लाब’ के नारों से, जय-जयकारों से–
  ख़ूब करेंगे स्वागत फूलों से, हारों से !

  दर्शन के हित होगी भीड़, न घबरा जाना,
  अपने अनुगामी लोगों पर मत झुंझलाना;
  हाँ, इस बार उतर गाड़ी से बैठ कार पर
  चले न जाना छोड़ हमें बिरला जी के घर !

  चलना साथ हमारे वरली की चालों में,
  या धारवि के उन गंदे सड़ते नालों में–
  जहाँ हमारी उन मज़दूरों की बस्ती है,
  जिनके बल पर तुम नेता हो, यह हस्ती है !

  हम तुमको ले साथ चलेंगे उस दुनिया में,
  सुकुमारी बम्बई पली है जिस दुनिया में,
  यह बम्बई, आज है जो जन-जन को प्यारी,
  देसी – परदेसी के मन की राजदुलारी !

  हम तुमको ले साथ चलेंगे उस दुनिया में,
  नवयुवती बम्बई पली है जिस दुनिया में,
  किन्तु, न इस दुनिया को तुम ससुराल समझना,
  बन दामाद न अधिकारों के लिए उलझना ।

  हमसे जैसा बने, सब सत्कार करेंगे–
  ग़ैर करें बदनाम, न ऐसे काम करेंगे,
  हाँ, हो जाए भूल-चूक तो नाम न धरना,
  माफ़ी देना नेता, मन मैला मत करना।

  जैसे ही हम तुमको ले पहुँचेंगे घर में,
  हलचल सी मच जाएगी उस बस्ती भर में,
  कानाफूसी फैल जाएगी नेता आए–
  गांधी टोपी वाले वीर विजेता आए ।

  खद्दर धारी, आज़ादी पर मरने वाले
  गोरों की फ़ौज़ों से सदा न डरने वाले
  वे नेता जो सदा जेल में ही सड़ते थे
  लेकिन जुल्मों के ख़िलाफ़ फिर भी लड़ते थे ।

  वे नेता, बस जिनके एक इशारे भर से–
  कट कर गिर सकते थे शीश अलग हो धड़ से,
  जिनकी एक पुकार ख़ून से रंगती धरती,
  लाशों-ही-लाशों से पट जाती यह धरती ।

  शासन की अब बागडोर जिनके हाथों में,
  है जनता का भाग्य आज जिनके हाथों में ।
  कानाफूसी फैल जाएगी नेता आए–
  गांधी टोपी वाले शासक नेता आए ।

  घिर आएगी तुम्हें देखने बस्ती सारी,
  बादल दल से उमड़ पड़ेंगे सब नर-नारी,
  पंजों पर हो खड़े, उठा बदन, उझक कर,
  लोग देखने आवेंगे धक्का-मुक्की कर ।

  टुकुर-मुकुर ताकेंगे तुमको बच्चे सारे,
  शंकर, लीला, मधुकर, धोंडू, राम पगारे,
  जुम्मन का नाती करीम, नज्मा बुद्धन की,
  अस्सी बरसी गुस्सेवर बुढ़िया अच्छन की ।

  वे सब बच्चे पहन चीथड़े, मिट्टी साने,
  वे बूढ़े-बुढ़िया, जिनके लद चुके ज़माने,
  और युवकगण जिनकी रग में गरम ख़ून है,
  रह-रह उफ़ न उबल पड़ता है, नया ख़ून है ।

  घिर आएगी तुम्हें देखने बस्ती सारी,
  बादल दल से उमड़ पड़ेंगे सब नर-नारी,
  हेच काय रे कानाफूसी यह फैल जाएगी,
  हर्ष क्षोभ की लहर मुखों पर दौड़ जाएगी ।

  हाँ, देखो आ गया ध्यान बन आए न संकट,
  बस्ती के अधिकांश लोग हैं बिलकुल मुँहफट,
  ऊँच-नीच का जैसे उनको ज्ञान नहीं है,
  नेताओं के प्रति अब वह सम्मान नहीं है ।

  उनका कहना है, यह कैसी आज़ादी है,
  वही ढाक के तीन पात हैं, बरबादी है,
  तुम किसान-मज़दूरों पर गोली चलवाओ,
  और पहन लो खद्दर, देशभक्त कहलाओ ।

  तुम सेठों के संग पेट जनता का काटो,
  तिस पर आज़ादी की सौ-सौ बातें छाँटो ।
  हमें न छल पाएगी यह कोरी आज़ादी,
  उठ री, उठ, मज़दूर-किसानों की आबादी ।

  हो सकता है, कड़वी-खरी कहें वे तुमसे,
  उन्हें ज़रा मतभेद हो गया है अब तुमसे,
  लेकिन तुम सहसा उन पर गुस्सा मत होना,
  लाएँगे वे जनता का ही रोना-धोना ।

  वे सब हैं जोशीले, किन्तु अशिष्ट नहीं हैं,
  करें तुमसे बैर, उन्हें यह इष्ट नहीं है,
  वे तो दुनिया बदल डालने को निकले हैं,
  हिन्दू, मुस्लिम, सिख, पारसी, सभी मिले हैं ।

  फिर, जब दावत दी है तो सत्कार करेंगे,
  ग़ैर करें बदनाम, न ऐसे काम करेंगे,
  हाँ, हो जाए भूल-चूक तो नाम न धरना,
  माफ़ी देना नेता, मन मैला मत करना । Shailendra