A quarter of a century may have passed after his demise, but the memory of Majrooh Sultanpuri continues to pervade the Indian cultural world as that of a genius whose words defined an era of soulful cinema and progressive poetic thought.
Though often remembered for his contribution to Hindi cinema's golden melodies, Majrooh's true legacy lies deeper, in his fierce commitment to language, form and ideological integrity. At the same time, he is celebrated for his flexibility, with the range of his lyrical creations spanning both the wistfulness of the classical to the peppiness of the modern rock and roll.
Born Asrar ul Hasan Khan in 1919 in Sultanpur, Uttar Pradesh, he took on the name ‘Majrooh’ – meaning wounded – as his penname and almost lived it.
Brought up in the modest household of a police constable, Majrooh's early life offered little indication of the literary giant he would become. He was initially trained in Persian before moving to Bombay (now Mumbai) in the 1940s. Here his ghazals and poetry were highly appreciated by the audience. One of the impressed listeners was film producer A.R. Kardar.
However, Majrooh refused to write for films because he did not think very highly of them. But Jigar Moradabadi persuaded him, saying films would pay well, thereby helping Majrooh support his family.
Kardar then took him to music composer Naushad, who at once tested the calibre of the young writer. He gave Majrooh a tune and asked him to write something in the same metre, and Majrooh wrote 'Jab Usne Gesu Bikhraye, Badal Aaye Jhoom Ke....' Naushad liked what he wrote and Majrooh was signed on as the lyricist for the film "Shah Jehan" (1946).
It was followed by the landmark "Andaaz" (1949), after which his lyrics became an indelible part of Indian popular culture.
For many, Majrooh remains the voice behind the melodies that once wafted through radio sets and now linger in playlists- "Aaja aaja main hoon pyaar tera", "Chura liya hai tumne jo dil ko", "Papa kehte hain bada naam karega".
But beneath those catchy refrains was a man fiercely committed to language, tradition and thought. With over 350 films to his credit, his collaborations with musical luminaries like S.D. Burman and R.D. Burman, Noushad and O.P. Nayyar produced gems.
Despite the challenges Urdu poetry faced in post-Independence India, including a shrinkage in readership and increasing marginalisation, Majrooh remained a steadfast advocate for the language.
But while his career was taking wings, his Leftist writings, which condemned industrialisation, got him into trouble. Majrooh was jailed in 1949 along with other leftists like Balraj Sahni for protesting through his poetry against then Prime Minister Jawaharlal Nehru. When asked to apologise, he refused and was sentenced to two years in prison. His family was left in dire straits.
Majrooh's career, however, continued to flourish through the next few decades right up to his death on May 24, 2000, as he churned out one hit lyric after another that resonated with the general public as also the discerning cutting across generations.
The immortal "Chahunga mein tujhe sanj savere" sung by Mohammed Rafi in the film Dosti brought Majrooh the Filmfare Best Lyricist Award in 1965. In 1993, he was bestowed Indian cinema's highest award Dadasaheb Phalke, becoming the first lyricist to get the honour
Even now, one hears his verses, sometimes in the backdrop of a street-side café, sometimes in the quietitude of a poetry gathering. And in today's India, where Urdu poetry continues to find its footing amidst linguistic and cultural shifts, Majrooh Sultanpuri's legacy feels more vital than ever.(UNI)
