‘HINDI PAKHWARA ’ IN BHARTIYA NAU SENA

 

 

   Hindi Pakhwara  ( Hindi Fortnight ) is observed in Indian Navy ( Bhartiya Nau Sena ) and all central and state  Government offices and establishments each year from 14 Sep ( Hindi Day )  to 28 Sep . During this period various  programmes and events are conducted to promote Hindi such as debate , essay, slogan writing , short story writing , poetry writing , group discussion etc.  A certain budget is allotted for the purpose and a feedback report of the activities is required to be rendered to Naval Headquarters. However over the years very little progress has been made in the progression of the Language through official endeavours even though posters prominently displayed   in offices state that there was  full freedom in this office to work in Hindi . Few files are prepared in Hindi ,some officers venture to sign in Hindi , certain  orders are signed , all this is done to show to the ‘parliamentary committee’ which visits periodically to  ascertain the progress on ground. From my experience I can say  that anything which is forced  is not accepted and specially a sensitive issue of Language .

But Hindi since Independence has made much progress and acceptance on account of the Hindi Film songs which are sung all over even by those who do not understand the language . In the  Census of 2011   Hindi speakers have increased in percentage from  41.03 in 2001 to 43.63 in 2011 .

 I was a Hindi enthusiast when I joined Navy since I belonged to Uttar Pradesh I thought that people should converse in the language which was soon be the official National Language . I was not aware that my strong views were not shared by many who loved their mother tongue with devotion and fervour and their Literature too was very rich. We were Midshipmen on board Beas in 1981 and once during sailing at night when we were lying in our bunks  my two  course mates from Kerala were incessantly conversing  in Malayalam and so I questioned them as all of us talked in English or Hindi ‘Yaar why are you talking in Malayalam ?’. They immediately replied ‘ Dhuliya what is your problem! I did not want to aggravate the matter and so I remained quiet. But much later as I encountered other language related issues I understood that I should not have any problem . 

In 1983 I was posted on board Ghorpad a Landing Craft in Vizag. We were part of a Squadron    and I was tasked to take the team of the Squadron to Coimbatore for ‘Annual Musketry Championship’  . The championship was for about 15 days. On the final day I along with other officer were made in charge of the commentary . I was to speak in Hindi and the second officer  in English . A day prior we had our rehearsal in the presence of the Commanding Officer Captain  Iyengar of INS Agrani which was conducting the event . I had prepared my part and had practised with the other officer and as I spoke a few sentences the Commanding Officer interrupted and  said ‘ No Hindi here ,  this in Tamil Nadu, only English’ . We all were shocked, but complied . I was disappointed but relieved    as I concentrated on the performance of my team. But that incident has stayed with me for ever.

In 1986 I was Executive officer of  a Missile Boat INS Prabal in Mumbai  . My CO was on leave and I was officiating . It was early  September and we  received  instructions from Command Headquarters for conduct of various activities during the ‘Hindi Pakhwara’ and since I was a Hindi enthusiast I issued detailed instructions in Hindi and planned few activities such as debate , poetry competition etc. By 14 September the CO had returned from leave and was pleased regarding the preparation . He  was aware regarding my strong views on Hindi , I had replied under a changed name in the Local newspaper in the ‘Letters to the editor ‘ regarding one article which criticised  imposition of Hindi and he was aware of it. He presided the various activities on that day and one   sailor in his speech in Hindi stated  that though   we were asked to converse in Hindi during this period there were few sailors who were talking in their ‘mother tongue’ ! This was again a very critical feedback for me . The Punjab agitation  was in full rage during that time and I had read that how violent and fatal attacks had happened on the staff of All India Radio who were conducting Hindi programmes.

 Therefore I realised that ‘Language’ was like ‘Religion’ and people were  very sensitive about their ‘Mother Tongue’ which was indeed their ‘Mother’. 

My last posting  in 2014 was in Vizag and by this time the city was flourishing with new Hotels and Restaurants where music played in the evening and this was an added attraction . One singer ‘Babu’ was an excellent singer and would sing old Hindi songs of Kishore and others  melodiously . We once called him to sing on a Sunday afternoon after one golf tournament and he was in his elements . We too jammed with him and during the break I shook hands with him and started the conversation in Hindi ! He politely replied ‘Sir I do not know Hindi’. True, many singers in South may not speak or understand Hindi but they sing Hindi film songs because they like the music! Cinema songs over the years starting from old cinema have contributed and  enormous thrust was given  by Radio Stations and programmes such as ‘Binaca Geet Mala’ ‘ Chayya Geet’ and ‘Antakshari’ on TV . For instance as far back as 1987 , linguist S N Sridhar  had suggested that  cinema was the most effective and pervasive tool in spreading Hindi across India.

Regarding the role of Language in order to progress  Jawaharlal Nehru , who became the first Prime Minister of India had a  message to the Madras ‘Hindi Sahitya  Sammelan’ , published in the newspaper  ‘Aaj’ on 06 July 1937; which stated “ ..despite this we have to remember that languages are not evolved or do not progress by compulsion. A literature blooms like a flower ; if force is applied , it withers”. He further says “  our languages should be a cultured language and understood by the maximum number of people . We cannot evolve such a language by sitting together and comparing certain shortcomings nor can a few scholars of Hindi and Urdu do it jointly. A strong foundation for our language will be laid only when the writers and the speakers speak for the common man ……. Therefore the basic issue before us is that we should build up our Literature for the common man . When we write we should have him in our mind . Every writer has to ask himself ‘ for whom do I write?........”

   Therefore languages develop not in class rooms and offices but in the streets when the common man hums and sings  its songs . It should appeal to the heart and not the mind. Hindi shall continue to grow slow and steady  through the hearts of the people and not through official orders.

Firaq Gorakhpuri had famously said that ‘ Great Literature was created in the language of the illiterate’! Tulsidas’s ‘Ramcharitmanas’ and ‘Hanuman Chalisa’ in Awadhi are before us recited and sung by millions daily across the Globe!   

PREMCHAND’S PANCH PARMESHWAR

 

 

Premchand  ( 31 July 1980 - 08 Oct 1936)

 

The Preamble to our constitution states four foundations or pillars on which our Republic and democracy is based – Justice , Liberty , Equality and Fraternity . All are equally important and the State and the Citizens have to jointly and continually work to achieve these, to refine these , to resolve contradictions. The concept of ‘Justice’ which is the key to success of any society and ensures all the other three principles- Equality, Liberty and Fraternity. We witness large number of people seeking justice in the various Courts in India where there is insurmountable pendency. In such an atmosphere it is people who have to resolve their differences themselves by arbitration , conciliation , reconciliation and negotiation . We need not necessarily know the intricacies of jurisprudence because all responsible citizens have an inherent and intrinsic sense of fairness and fair play . It is experienced that people in rural areas and villages have a sound sense of Justice and traditional village Panchayats are testimonies . A sense of justice may not be restricted to Law alone but in society too we are expected to be fair to each other. It is famously said that ‘Laws do not make people virtuous’.    

 And yet;  at the individual level we are imperfect in varying degrees. It is indeed normal as far as it does not result in conflict  and violence. Certain contradictions, competitiveness are acceptable and understandable. However we all wear a veneer of sophistication but underneath we are different- parochial, suffering from stereotype,   bearing prejudicial leanings toward our institutions, regions etc.

   In order to communicate better and provide a perspective I narrate hear a story of  ‘Premchand’ to whom I lean to for solace  from time to time ,if not for  solutions.

The story is titled ‘Panch Parmeshwar’ and was written  in  Urdu  in  1916  and published in ‘ Zamana’ newspaper from Kanpur. It was published as book in 1920. It is a story of two friends- Jumman Sheikh and Algu Chowdhary. They were childhood friends and Algu was indebted to Jumman’s father as he was his teacher and made him proficient in drafting of applications and other legal documents. Algu had also served his master well and gave him respect and looked after his personal needs. Jumman had in his family his old Aunt ( Khala ) who had some property in the village. As she was old and being looked after by Jumman she gifted the land to Jumman and a registry of the same was made. Soon after the gifting the attitude of Jumman and his wife changed toward her , they were not only careless in providing her basic needs but were also rude to her. When it became intolerable for the old lady she  confronted Jumman and asked for a monthly allowance to sustain herself, which Jumman refused stating that she was being taken care of and that there was no earning from the land which she gifted to him. This compelled the old lady to call for a  village  Panchayat.  She requested many people  to participate but some declined as they did not want to antagonise Jumman and some were obliged to his father, but there were few who were jealous of him and looked at this as an opportunity to settle scores. When  Algu was approached to attend the Panchayat he said that he would not like to participate owing to his relationship with Jumman , to which the old lady said that as ‘Panch’ one should listen to the voice of one’s conscience and be honest. Well; one evening when the sun was about to set the village people assembled under a tree  to decide the case . When the time came to nominate the ‘Sarpanch’ Jumman was asked to give a name ,he looked around and found that large number were those who did not like him and so said that he does not have a choice and would accept whosoever his Aunt nominates. At this the Aunt announced Algu Chowdhary to be the Sarpanch, this surprised all as they knew that the two were good friends, Jumman was happiest. Well, Algu Chowdhary occupied the seat and commenced the proceedings. He ascertained the details from both parties , whilst discussing the case he realized that this was a hallowed chair he was holding on trust of people and should do justice. He decided that Jumman was not fair to his Aunt and that he would have to give her monetary monthly allowance to sustain. This came as shock to all who  were expecting a different outcome. Jumman was furious and their friendship soured. Things moved on and time went by but Jumman carried the grudge and looked for revenge. In order to supplement his farm Algu purchased from the nearby fare  two oxen to plough his field. They were of superior breed and had long horns, people from nearby village would gather to admire the two. One day one of the two fell sick and in matter of days passed away. Algu was heart broken and decided to sell off the second bull to Sahu the local trader. Sahu was happy to posses a hardy animal to pull his cart. The deal was that Sahu would pay in instalments as he earns money by taking goods from village to town and bringing items to village for sale. Sahu was a greedy trader and he would employ the ox much beyond the normal routine ,the diet also was reduced compared to the earlier days when the ox would get the wholesome meal at Algu’s home and was treated well with love and care. Here the sole aim of the trader was to exploit the animal and multiply gains in short time. Gradually it started showing on the health of the ox and one day it just  collapsed on the road and died. Sahu had to spend the night howling on the lonely road and when he fell asleep in the wee hours his earnings too were stolen.

 On the sudden death of the ox  Sahu decided to inform Algu that since the ox was no good and died he would not be paying the balance amount. This was not acceptable to Algu  because  he had handed over a healthy animal and had sold him as his partner passed away, therefore in order to settle the dispute a Panchayat was called and   Jumman was nominated as Sarpanch, the people expected  that Jumman would settle the score. On arrival at the venue Jumman too was in revengeful mood. However as he settled to take the responsibility his thoughts changed he asked himself that this was a coveted nomination and despite his relationship with Algu which was strained he should be fair as God resides in the heart of the ‘sarpanch’ and it was not  he but the voice of God which pronounces the outcome. The ‘Panch ‘ ( five people)listened to the case much of it they were already aware and decided that Sahu was liable to pay the balance amount as Algu had given a healthy animal but it was Sahu who misused it and did not maintain it. The assembly erupted in jubilation as they acknowledged the sincerity of the ‘Panch’, and shoted”sarpanch ki jai…’. Algu was stunned in disbelief and tears started flowing from his eyes ,he approached Jumman and both embraced each other ;their friendship was restored.

    The above story conveys that even in the remotest corner and neglected places  there may be a sign of hope . The old lady talks of ‘Imaan’ that is truthfulness and honesty which is not the domain of the  select few  but shines brightly in quiet corners as well.  Fairness and balance are key ,there were two judgements made in the story, one by a friend  and the other by a friend turned foe, but both the judgements were fair. Swami Vivekanand has said that ‘Every Man is Potential God’ and there is a famous book of Tolstoy titled ‘The Kingdom of God is within You’ .

We achieve Godliness when we are ‘Fair’ to our fellow citizens! We indeed attain the Kingdom of God ! ‘Ram Rajya’ !

 

   

 

 

FIRAQ – POET OF CONTRADICTION AND BEAUTY

 

Firaq Gorakhpuri ( 28 Aug 1896-03 Mar 1982)

 

 Firaq Gorakhpuri born Raghupati Sahai on 28 Aug 1896 was perhaps among the greatest Urdu poets of the 20^th Century! His personality was also as great as his poetic works . Scholar , intellectual of a very high order ,voracious reader of wide subjects ,  keen observer of society and world affairs . An animated and engaging  conversationalist all life.   Honoured with Gyanpeeth Award, Sahitya Academy Award and Padma Bhushan.

A much awarded student for his academic brilliance  he was among the toppers of the Post graduate examinations of the state and as per the policy of that  time he was appointed Deputy Collector of a District ! However the freedom struggle movement under Gandhiji was engulfing the nation and after about one and half year in job he resigned and joined the non -cooperation  movement, was jailed for a year and half , during this time he came into contact with Jawaharlal Nehru and helped him in his secretarial duties .  However when his father died suddenly  and elder brother also passed away the entire burden of the family fell on him and took job as Lecturer of English Literature at university of Allahabad and remained in the Bank road house of the campus life long,  till 03 March 1982.  He had attained status of a legend in his life time and his admirers from all over the country would visit him and various stories and myths have remained in circulation .   

Unfortunately, in his case the stories surrounding him have taken precedence over his work and therefore the depth , range and beauty of his creative genius have not reached the people to whom he belongs.

Firaq was essentially a ‘Poet Of Gazals’ however his other forms such as ‘Nazams’, ‘Rubaiyan’  are equally relevant and impactful . What makes Firaq great ? Well ! the first is the large body of work and wide canvas of ideas and images! It is learnt that he wrote about 630 Gazals and his ‘gazals’ are long , some are having even 50 ‘shers’ ( couplet)  therefore it is estimated that he wrote about 8000 ‘shers’ . And hardly any of his ‘sher’ could be called light or casual! His ‘Rubaiyan’ more than 300 are immersed in images of Indian life with women in the centre . The long ‘Nazams’ he wrote are testimony to the fine vision he possessed . among them ‘Hindola’ , ‘Aadhi Raat’, ‘Parchaiyan’ ‘ Shame Ayadat’ are very popular. His Hindi poetry collection titled ‘Dharti Karwat legi’ possess his revolutionary ideas!  In addition there are his essays ‘A Garden of Essays’ which contains short essays on various subjects-‘Importance of Prose’ , ‘My favourite Book’ ,’ Our Education Policy’ , ‘Beauty is Truth , Truth Beauty’ . These convey his ideology about life and other subjects and help in understanding his poetry better .

What is remarkable is that the ‘meter’ of his ‘gazals’ is not the same and he wrote these verses in variety of meters which gives novelty and varied rhythms. However what marks Firaq and his poetry is the inherent music in it ; Lyricism of Firaq is supreme and he had great sense of music and rhythm which the Urdu language offered him. His poetry can be sung  like the poetry of Shelly!

The subjects and themes which he presented in his ‘gazals’ and ‘nazams’ are  indeed a bouquet of beautiful flowers – beauty of women , beauty of nature , loneliness, social issues, philosophy of life, pain of a poet, subtlety of contradiction ! His vast knowledge of other languages and its literature provided him a broad perspective . He was well versed in Sanskrit, Hindi , Persian and English . Being professor of English Literature where he taught poetry gave him another dimension . His favourite Urdu poet was Meer whom he calls ‘Khuda e Sukhan’ ( God of Poetrty). Wordsworth , Tennyson . Milton he admired and since he taught the Romantic Poets he would devote extended time to Wordsworth ! Like him he too was attracted to nature . Firaq would be mesmerised by  presence of a flower or a plant , the farmers tending to vegetables in the village fields held his attention   for prolonged durations! Certain images which he created were new in the Urdu word and he was hailed for it – ‘Gango Jaman’, ;’Nal Daman’ ( a story from Mahabharat) , ‘Radha Krishna’, ‘Samudra Mantha’ ‘Ram- Sita’ etc . He was perhaps the first Urdu poet who introduced references to Hindu Mythology in his poetry. He is credited of giving ‘Nai Awaaz’ ( New Voice) to Urdu poetry.

Some examples of his variety and subjects are worthy of mention here.

 Contradiction

 

‘Ek Muddat se teri Yaad bhi  aayi na  hamen

Aur hum bhool gayen hon tujhe aisa bhi nahin’

(  It is for some time that I have not remembered you

 And yet I cannot say that I have forgotten you )

 

It is indeed true that we may not remember a dear one for some time but that person is never erased from our  memory,  and yet the couplet seems contradictory! wherein lies its beauty!

 

‘ Ye Raat Aag lagade Kahin na Duniya mein

Ye Chandni , Ye Hawayen , Ye Mehtab ki Aanch ‘

( This night somewhere  not burn this world

This moon , This wind , These flames of the Moon!)

 

Now there is an apparent contradiction in the above couplet. The ‘Moon’ is known to cool things , it is a soothing agent and yet for a lover  longing in his desire to meet his lover this moon acts opposite! The lonely lover ‘burns’ alone in his desires for her!

 

Beauty( Husn)

 

‘Meri har gazal ko ye Aarzoo , tujhe saj saja ke nikaliye

Meri fikr ho tera aayina , mere nagme hon , tere perhan ‘

( It is the desire of each of my couplet to present you well decorated

My worry /problems should be your mirror , my songs be your gown /attire/clothing )  

Now here the poet says that she is the subject of his ‘Gazals, and it is his desire to present her beautifully . Her face should reflect him and his worries and that his songs are in praise of her complete personality!

 

Rubaiyan

 

‘Dhalka  Aanchal , damakte sine pe alak

Palkon  ki  ot muskarahat ki Jhalak

Vo mathe ki kehkasan , vo moti  bhari maang

Vo godi mein chand sa  humakta hua balak’

 

( head covered , necklace on the shining chest,

Corner of her eyelids faint view of her smile

That broad forehead , those  pearl beads in between her hair

That child in her arms humming! )

For Firaq the ultimate happiness and pure  beauty was woman and child. A beautiful wife !

 

 On Revolution

 

‘Dekh Raftar -e -Inquilab ‘Firaq’

Kitni aahista aur Kitni Tez ‘

(  See the speed of Revolution Firaq!

So Slow and so Fast)

Here we get an example of ‘contradiction’ . How can something be so slow and yet so fast at the same time! And yet it conveys that the ‘revolution may appear to move ahead slowly’ but it is wide spread and deep and may surprise one day! ‘Still Waters run deep’ .

On personal conduct

 

‘Jab Tak Unchi nah o Zameer ki Lao

Aankh Ko Roshni   Nahin Milti ‘

( Unless your conscious is pure

Your eyes will not have vision )

True , that vision and perspective of life one attains with pure heart only!

On Formation Of Hindustan

 

‘ Sarzamine -Hind par Akvame Alam ke Firaq

Kafile baste gaye Hindustan Banta Gaya’

( On the soil of Hindustan many communities of the world ‘Firaq’

The Caravans  settled and Hindustan was formed)

 

This is a very profound statement and often quoted by scholars . Basically it says that India is a Nation of many ancient and recent immigrants!

On Lament and Self Praise

 

‘Ye Udaas Udaas Bujhi Bujhi , Koi Zindagi hai Firaq Ki

Magar Aaj Kishte – Sukhanwari , Hai Usi Ke Dam Se Chaman Chaman ‘ ( What life is this ‘Firaq’ so  sad and so dark  

But the fields of Poetry are blooming in each garden on his strength only! )

Now this is an example of self pity and lament and yet self praise !

True the poet suffered to give us these beautiful moments and he needs to be remembered and celebrated . He fell victim to the communal divide . The Hindus thought that he  was writing in a language of the foreigners  and the Muslims thought that how this Hindu could write so well in their  Language . He perhaps would have been world famous like ‘Rumi’ had he been a Muslim! But we must realize that a poet has no religion and that Urdu is an Indian Language .

On his birth anniversary we may resolve  to publish his entire works through ‘Rashtriya Sahitya Academy’ . Doordarshan and All India Radio may consider commissioning  renowned Gazal singers to record  his  ‘Gazals’ and bring them to public domain so that  he lives forever!

DEVANAND @ 102 : REMEMBERING HUM-DONO

 

      

                   

                                    

  Dev  Anand  would  have been 102  on 26 September this year. As a tribute to the evergreen star I am revisiting his  film ‘ Hum -Dono’  as Remembrance!

It was  made  in ‘black and white’ in 1961 and was a Hit.  I saw it the first time in Niranjan cinema hall of Allahabad in  1979 in a matinee show along with my college friends, since then I have been singing –‘ Mein Zindagi ka saath nibha ta chala gaya, har fikr ko dhuen mein uda ta chala gaya, Rusvaiyon ka sog mana na fizul tha rusvaiyon ka jashn mana ta chala gaya’. I was not alone singing , all my friends were in tune. Thereafter  it    was   released in colour on 04th Feb 2011 when I saw it again in Mumbai twice .

 Set against Military/war background it explores the emotions  of  love, separation, duty, sustenance of relationship torn by distance and human conflict and the whole idea of goodness in human beings. What has stood the test of time is the theme,  the music and the very aesthetics of the film. To  this day at the very mention of the film we break into the immortal romantic song ‘ abhi na jao chod kar ke dil abhi bhara nahi....’.

 The conversation is never complete without humming the other two memorable songs ‘ mein zindagi ka saath nibha ta chala gaya’ and  ‘ Allaha  tero naam ishwar tero naam, sabko sanmati de Bhagwan’. The first song has a unique distinction of being popular as well as deeply philosophical notably the line-‘ gam aur khusi mein fark na mehsus ho jahan mein dil ko us mukaam par lata chala gaya’  echoes  the philosophy of Gita, whereas ‘Allaha tero naam, Ishwar tero naam ‘  could  be chosen  as the finest ‘Bhakti – Geet’.

     

Dev Anand in Double role , Sadhna and Nanda in HUM DONO

  In brief the story is of four main characters-  Anand, Mita , Major Verma and Ruma.   Anand( Dev) and Mita( Sadhna) are lovers and Mita invites him to speak to her father for marriage . Mita is a very  rich and  lives in a palatial bungalow  whereas Anand is poor who lives with his mother in a small house and is in search of employment . During the conversation Mita’s father insults Anand at his lack of job and his inability to provide his daughter the same comforts. Anand Is much affected by the meeting and while he is walking on the street sees a poster for Army  recruitment . This is early forties and Indo – Burmese war is on during World War 2. India is under British rule. He is selected and leaves for his border posting as his mother is shocked and is inconsolable. Anand meets Major Verma( Dev)  in the bar to handover his purse which had fallen down . They are shocked to see that they look alike and  continue drinking and talking in the tent of Major Verma during which time he tells about his home and wife. Soon there is battle between the Japanese and Indians and  Major Anand gets injured , lost and presumed dead. Soon the war ends and Anand returns home to find his mother no more but Mita staying there. He goes to Major Verma’s house to announce of the  tragedy on seeing him his mother is overjoyed but Ruma  faints. The Doctor advises Anand that since Ruma was a heart patient she should not be told the truth immediately . Anand is trapped and in dilemma . Mita suspects him . However   soon Major Verma return dramatically by train injured with one leg walking with crutches! He learns of Anand from his friend and confronts him but Anand asks him to come to the temple the next day where he has invited Mita too. In the Temple he engages in a conversation with Ruma who was aware of Mita in his life. As Major Verma and Mita are hearing the conversation it becomes clear to them that Anand was innocent . On the indication of Anand , Major Verma appears and  Ruma  rushes in his arms and helps him and    Mita happily joins Anand .    

  It has a unique opening scene; Dev and Sadhna are lovers and meet  in a garden, there is no exchange of words. Dev gifts her with a ‘long ribbon’ an innovative an unusual gift, he ties the ribbon to her hair, Sadhna gifts him with a cigarette lighter( this became a standard gift from girls to their boy friends at that time , even though cigarette was a much taboo in society  then). Dev lights the gift and discovers along with the audience that it was a musical lighter. This sound of the lighter is the signature tune of the film. Fondly he keeps the lighter in his breast pocket. There is no exchange of dialogues. The afternoon passes into evenings and the lights appear when Sadhna decides to get up as Dev breaks into the song ‘abhi na jao chod kar ke dil abhi bhara nahi’ . This is how the film begins; with a song after a prolonged silence but action conveyed through the expressions of the two lovers.

Dev’s life in Army is picturised with the song ‘mein zindagi ka saath nibhata chala gaya’. Dev is shown shaving in the forest using the pond as mirror. He lights a cigarette takes few long drags and breaks into the song, but prior to that as he presses the lighter and the music begins he imagines the reflection of Sadhna in the water, she appears again when he again presses for light, the scene reflects that he still misses her though he had left abruptly in search of employment after being rebuked by her father.

The episode showing the meeting of the two similar looking Army officers portrayed by Dev in a double role has been deftly handled, how the scene shifts to his home when he shows his family album has been composed very effectively. The climax in the temple too is very well controlled and sums up the story successfully.  The entire human conflict of  faith , trust  and relationship is handled very convincingly through the screenplay.

The film is the labour of  love  of many talents who came together to produce this masterpiece - Sahir Ludhiyanvi, who returned to ‘Navketan’ after a period and wrote such great  poetry. Jaidev ,  the assistant music director to Sachin Dev Burman was given opportunity and probably gave his finest performance. Sadhna, who later did many glamorous roles was cast appropriately as Dev’s girlfriend and looked so pretty befitting her role. Nanda as a  traditional devoted housewife added to the strength of the movie. Dev  performed splendidly in a double role , both as a young lover / Army officer  and as much married tough Army officer.  Vijay Anand  is credited with screenplay and dialogues but his creativity is visible in each frame of the film. Though in the credits  Amarjeet appears as Director it was directed by Vijay Anand. The film was nominated in ‘Best Director’ category in  Berlin Film Festival of 1962 and in ’Best Actor’ category Filmfare awards.

      Screenplay is the soul of this film and it is a text book for young film makers, there is not a single scene which is superfluous, not a song which is out of place . The battle scenes are sufficiently long and impactful and shot professionally .  It is a short film compared to the times when it was made but looks big on the strength of its characters and screenplay.

      Though set against the war  it is essentially a love story rightly titled , ‘Hum- Dono’.

SONGS WHICH MADE DEV ANAND

 

Dev Anand makes us sing . He makes us smile . He makes us recollect sweet memories . What made Dev what he was? He was so many things,  giving hope and energy to us all who came in contact with him through cinema. He was a star and acted in more than 100 movies in a career spanning more than 60 years , but when we think of him, his smiling charming demeanour appears before us nodding his head in his signature style – Singing!  Yes ;   he was an excellent actor  also who delivered memorable performances in’ Taxi Driver’ ,  ‘ Kala Pani’, ‘Hum Dono’ , ‘Guide’ and ‘ Johny Mera Naam ‘ and we also repeat and recollect the dialogues of these films but he was essentially a singing star! Dev Anand was songs! He was Music! Lyrical !

On 26th Sep this year , Dev Anand , the ever green star of Hindi cinema would have been 102 years . This year I shall discuss the ‘Songs’ which made Dev Anand!

The songs of Dev Anand could be placed in three broad categories- the sad and serious , joyful/happy / peppy and the Romantic duets ! Among these the most popular are duets he has sung with numerous heroines . However his solo renditions are also not far behind . Dev sang  about 400 songs . It is extremely difficult to select a few representative songs which make his personality and character on screen . However it is my personal selection and I stand by it . Another author and admirer may have a complete different song list as the range and depth of his collection was  such. 

 

 

 

Solo Sad Songs

 

                                              Dev in Guide and Taxi Driver

 

 I therefore explore the ‘songs’ which made the great legend and his story . Most of the serious and sad songs were sung by Dev during the initial period of his career . Maybe the subject of his films was such which required such songs . The new Nation had emerged from the shackles of slavery.  Poverty and unemployment was rampant.

I have pinned two songs of this genre . The first sombre song was from the film ‘Taxi driver’ ( 1954)sung by Talat  Mehmood penned by Sahir and composed by S D Burman- ‘ Jayen to jayen kahan ,  Samjhega Kaun Yahaaan Dard Bhare Dil Ki Zubaan-…mayusiyon  ka majma hai dil mein kya rehgaya  hai is Zindagi mein ,rooh mein gam dil mein dhuvaan  .. jayen to, …unka bhi gam hai apna bhi gam hai , ab dil ke bachne ki Umeed kam hai, ek Kashti sau toofaan .jaayen to  ’. The song is sung by Dev  when the heroine of the film Kalpana Karthik has separated from him and he is missing her. Sitting    on the beach of Bombay under a moonlit night the setting is perfect and reflects at that time the sentiments of so many busy souls finding a foot and some company in the city. The expressions on Derv’s face are so real ! Sachin Dev Burman received his first Filmfare Award for this film.  The jubilant joyous Dev was yet to arrive and we  could see the restrained journey.

The second song is from the 1965 film ‘Guide’ of ‘Navketan’ . It is   a classic  directed by Vijay Anand.  Shailendra is the song writer and music is of Sachin da . Dev  has come to Waheeda Rehman before  going to jail  on charges of forgery in which she was  a witness and has not held his hand . Their relationship was as such under strain on account of Dev’s  gambling, drinking and splurging with her money. His friend the police Inspector arrives at his residence to arrest him . He asks  for a favour to meet Rosy (Waheeda) once before going to jail which he accords . As she sees him she breaks  into the song ‘ Mo se chal    kiye   jaye hai re hai  saiyyan baimaan..’ On completion of her song Dev replies by this memorable and poignant song brilliantly juxtaposed and picturized by Vijay Anand:   

-Kya se kya Ho Gaya Bewafa Tere Pyar mein Chaha Kya Kya Mila Bewafa Tere Pyar mein’

Chalo  suhana bharam to  tuta  jana ke husn  kya hai , kehnte he  jisko pyar duniya , kya cheez kya bala hai , Dil ne kya na saha , bewafa tere pyar mein’   .

Following songs were as good to be included:

‘Teri duniya mein jine se to behtar hai ki mar jayen’- House No 44.

‘ Dukhi man mere sun mera kehna jahan Nahin chaina wahan Nahin rehna’ – ‘ Funtoosh’.

‘ Din Dhal Jaye , Hai raat na jaye’ –‘ Guide’

‘ Kiska rasta dekhe e dil e saudayi’- ‘ Joshila’.   

 

Solo Breezy / Happy Songs

 

                              Dev in Nau Do Gyareh, Kala Bazaar & Hum -Dono

  Opening a new chapter , Dev’s  Breezy, peppy and  landmark songs come to mind.  I have selected three songs from a beautiful bouquet of these songs . The first song is from the film ‘Nau Do Gyareh’ of 1957. Dev Anand is directed by his younger brother Vijay Anand who gives him a new image.  It is Vijay Anand’s debut film  who has written the script also. The subject is different from his earlier films, it was  a journey film with thrill and romance. Vijay Anand arrives with a bang as a director, storywriter ,  and dialogue writer. He proved soon that he had an immense flair in song picturization. In this film  Dev discovers himself. He disarms himself and his latent  energy which was there in abundance but  was  under check  was released . He was so relaxed in the film and as his younger brother was directing and he was in his company perhaps this was the reason for him to be completely free and be  himself. The song was in the beginning of the film and introduces him and introduces Dev’s   ideology in the film and perhaps his own way of life! Penned by Majrooh Sultanpuri and  sung by Kishore Kumar  the music  as always was by Sachin da – ‘ Hum Hain Rahi Pyar Ke Humse Kuchh Na Boliye, Jo Bhi Pyar se mila hum usi ke holiye, dard  bhi hamen  kubool chaine bhi hamen kubool , hum ne har tarah ke phool haar mein piro liye ‘.

With the success of ‘ Nao do Gyareh’  and testing of the new freedom and movement their journey on a new happy colourful route commenced.  1960 film ‘Kala Bazaar’ was a landmark film and my second song is from this film. It has  the three brothers together and was     directed by Goldie. it has music by their camp favourite Sachin Dev Burman and lyrics by Shailendra who presented rarity of songs to this successful film. Dev is a black marketeer here who has stolen the bag of Chetan Anand to start his business . He is  illiterate and comes in contact with Waheeda Rehman  who is Vijay Anand’s girl friend , who inspires Dev to change his life. This song was shot in Mahabaleshwar with its lake in the backdrop. In this song Dev was  a ‘free spirit’. A ‘balladeer’ who has descended from the fairy land ! During the song he walks, he prances , runs , sprees , swings  in the valley in a moonlit night with a lake by the side . At a distance and yet close is  Waheeda  Rehman who seems to be enjoying the attention. The song was sung by Mohammed Rafi and remains immortal . This song could be called  – ‘The Ballad of Dev Anand’ – ‘Khoya Khoya chand , khula aasmaan aankhon mein sari raat jayegi , tum ko bhi kaise neend aayegi , O ho khoya khoya chand…. Tare chale Nazare  chale sang sang mere vo saare chale , charon taraf ishare chale , kisi ke to ho jao . O ho ho, Khoya khoya chand…’

.

1961 was the year when Vijay Anand delivered a perfect script in ‘Hum Dono’ and my third happy song of Dev is from this film . Having  seen the film again on its release in colour I was convinced that this film had a ’flawless’ screenplay . We cannot identify a single scene in the film which was superfluous . It was set in a war-torn setting and Dev is in Double role . Sahir returns to ‘Navketan’ under baton of Jaidev . All the songs of this film are sung till date . However the song with which Dev identifies himself as stated by him in many interviews was  : ‘ Mein Zindagi ka saath nibha ta  chala gaya , har fikr ko dhuyen mein udata chala gaya’ – Gam aur Khushi mein fark na mehsus ho jahan mein dil ko us mukaam par lata chala gaya’ .

Dev is in jungle in Army setting , gets dressed in outdoors with the help of his  Buddy and sings this song . But before that he  pulls out a cigarette turns on the lighter which his girlfriend Sadhna had presented him . It is a musical one and as he lights and puffs he sees her image in the water which makes the situation highly novel and romantic  . It  sealed his persona in public imagination and this image is retained for ever.

 As in the case of sad solo songs so too in these songs it was extremely difficult to identify three best fast /happy / solo  songs .The ones in the list below are as good as those which were selected  :

‘ Jeevan ke safar mein  Rahi milte hein bichad jane ko’ – ‘ Munimji’

‘Hai apna dil to Awaara  na jane kis pe Aayega’ –‘ Solvaan saal’ .

‘Jiya ho  dil ka parda khol do , jab pyar kisi se hota hai ,,’- ‘ Jab Pyar Kisi Se Hota hai’.

‘ Kwaab ho Tum Ya Koi Haquiqat Kaun ho tum batlao’ – ‘ Teen Deviyyan ‘

‘ Ye Dil na hota Bechhara , Kadam na hote Awaara ‘ – ‘Jewel Thief’.

‘ Phoolon Ke Rang se Dil Ki Kalam se , Tuzh ko likhi Roz pati ‘ – ‘ Prem Pujari’.

‘ Apni to har aah ek toofan hai , upar wala jaan kar anjaan hai’ ‘ Kala Bazaar’.

 

Romantic Duets

  Dev’s first big co-star  was Suraiya with whom he did seven films . Suraiya was a singing star and Dev was a new comer  . These were early days of Dev where he is hesitant and no where near the flexible and energetic star he turned out later . Fans of Dev and Suraiya only watch these songs on You Tube . Some cinema history students may also look at them . Therefore these duets were important to study the growth and development of Dev. There are a few nice songs of Dev and Suraiya:

‘ Layi Khushi ki duniya .. ‘ of Vidya . Also a peppy and breezy song in ‘Sanam’ ‘ Mein Keh dun tum ko chor bolo kya karoge aur abhi machadun shor bolo kya karoge’   sung by Suraiya and Mohammad Rafi . Suraiyya looks very sweet and smart with pants and top. Her open curly hair adds to the charm and song!  

 

                                                    Dev & Suraiya in 'Sanam' -1951

 

 I have selected five songs from a long list of lovable duets of Dev with his all charming heroines over the years . These are from the films- ‘ Jaal’, ‘ Kala Paani’ , ‘Hum Dono’ , ‘ Tere Ghar Ke Samne’ and ‘ Tere Mere Sapne’.

 

Top- Jaal&Kala Pani, Middle - Hum Dono, Botton - Tere Ghar ke Samne & Tere Mere Sapne

 

 

 In 1952 Guru Dutt directed Dev again  in ‘Jaal’ and gave another hit after ‘Baazi’ . This crime thriller shot by the sea has an outdoor location . Dev is wooing Geeta Bali who is in raptures on hearing the song . Dev sings and strums a guitar a perfect romantic song under the moonlit night and palm trees swaying . It is sung by Hemant Kumar in his typical soothing  voice penned by Sahir and music by Sachin Dev Burman. This song is very popular whenever it is played and is famous among the young generation :

‘Ye raat ye chandni phir kahan sunja dil ki dastaan ..

Pedon ki shakon mein soyi soyi  chandni

Tere khayalon mein  khoyi khoyi chnadni

Aur thodi der mein thak ke laut jayegi

Raat ye Bahar ki phir kabhi na ayegi

Do ek pal aur hai ye sama

Sun ja dil ki daastaan ….’

 

1956 film of Dev ‘Kala Pani’ was directed by Raj Khosla . It has   a sweet taunting  duet depicting love and its many shades . There is all time freshness and vivaciousness in this duet . The music makes it more endearing.  Here the hero is sulking and the heroine is seeking forgiveness . The lovely exchange of musical dialogues with handsome Dev and the most beautiful heroine of that time Madhubala in an evening setting being surreptitiously  watched by their group of friends adds to the situation a new dimension . Finally they make up to the smile and happiness of the audience :

‘Accha ji mein hari chalo maan jao na

Dekhi sab ki yaari mera dil jalao na..’

 

  ‘Hum Dono’ was the most accomplished film in all departments . All songs are remembered till date . The film is unforgettable on account of its landmark duet which begins the film sung by Rafi and Asha. Dev and Sadhna are lovers and after a long stay together in the garden when Sadhna asks to leave Dev insists that she stays !This is a conversational song between Dev and Sadhna and both look handsome and pretty . If one was to select just one duet of Dev , it would be this by a large number of his fans! This could be called   ‘The love song of Dev Anand’:

‘ Abhi na jao chod kar ke dil abhi bhara nahi

Abhi abhi to aayi ho bahar banke chayi ho

Hawa zara mahak to le , nazar zara bahak to le

Mein thodi der ji to loon nashe ke ghoont pi to loon

Abhi to kuch kaha nahin , abhi to kuch suna Nahin

Abhi na jao chod kar ke   dil   abhi  bhara nahin’

 

‘Tere Ghar Ke Samne’ in 1963 was yet another beautiful film starring Dev and Nutan which had melodious music by Sachin da and all songs were so lovingly written by Hasrat Jaipuri. It projected the idea of living in harmony with neighbours. The song which I am listing is when Dev is trying to make up with Nutan whom he had taken on a ride in his Lambretta scooter in hill station and they fall! Nutan is seemingly angry and Dev spreads his charm with this unforgettable song so deftly picturised by Vijay Anand which was his forte. There was some distant innocence in Nutan unseen now and the manner in which she feigns anger creates  flutter in hearts! :

‘ Dekho Rootha na karo

Baat nazron ki suno-

Hum na bolenge  kabhi

Yun sataya  nakaro

Dekho Rutha na karo’ 

 

1971 was  the year when Vijay Anand directed his favourite film under Navketan casting Dev , himself and Mumtaj . The theme was ‘ethics’ in medical profession .Despite great direction and screenplay  the film was not a big success . But remains as a great ‘Navketan’ film adding to its history and reputation. By now Neeraj was regular in ‘Navketan’ camp and he wrote some nice songs put to music by Sachin da. This duet between the Doctor Dev and his wife Mumtaj was in rural surrounding in cycle and was marvellously picturised among mustard fields and scenic  setting. This song is sung by many married couples who revive their ‘vows’ and love with its verses!  :

 

‘ Han  maine kasam li ,Han maine kasam li

Nahin honge juda Hum tum ,Maine kasam li’  

…Pa ke tujhe khoya tumhen , kho ke kabhi paya

Janam Janam tere liye badli hamne kaya’

 

It was extremely difficult to select among these songs . All are as bright and beautiful as the other:

‘Wo Dekhen to Unki Inayat , na Dekhen to Rona kya ‘ – ‘ Funtoosh’

‘ Aa Gup Chup Gup Chup Pyar karen’ –‘Sazaa’

‘Aankhon hi aankhon mein Ishara hogaya’ – ‘CID’

‘ Aankhon mein kya ji , Ruphela badal’ – ‘ Nau Do Gyareh’  

‘ Gaata Rahe mera dil , tu hi meri Manzil’ -’ Guide’.

‘ Kanchi Re Kanchi re Preet meri sanchi ‘ –‘ Hare Ram Hare Krishna’ .

‘ Bahut Door Mujhe chale jaane hai’ – ‘ Heera Panna’ . 

‘ Pal bhar ke liye koi hamen pyar karle’ –‘ Johny Mera Naam’ .

‘ Ankhon ankhon mein hum tum hogaye  deewane ‘-‘ Mahal’.

‘ Chod do Anchal Zamana kya kahega’ –‘ Paying Guest’.

‘ Dhire dhire chal chand gagan mein’-‘ Love Marriage’.

‘ Dil ka Bhanwar kare pukar ‘ -‘ Tere Ghar Ke Samne’.

‘ Tujhe jeevan ki dor se bandh liya hai’ –‘ Asli Naqli’.

‘ Yaad kiya dil ne kahan ho tum ‘ –‘ Patita’.

 

There was contribution of so many artists in making the image of Dev and the first person was Vijay Anand who gave an image makeover , confidence and success to continue! The second person was Sachin Dev Burman who gave his consistent great music to Dev and ‘Navketan’ . Lyricists such as Sahir , Shailendra, Majrooh , Hasrat Jaipuri and Neeraj gave variety to the verses. Dev had stated that Kishore Kumar was his voice but in my opinion Mohamad Rafi has sung the best songs for him.   And finally a ‘bevy of heroines’ completed his romantic image .

We shall sing  forever and Dev shall live forever !