RMIM Archive Article "263".
From the RMIM Article Archive maintained by Satish Subramanian
#
# RMIM Archives..
# Subject: Hasrat Jaipuri: All for love
# conversation with Hasrat
# Source: India Express (http://www.expressindia.com)
# Author: Nelson Pereira
#
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Hasrat Jaipuri
All for love
Nelson Pereira
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Hasrat Jaipuri...love is still there in his poems
MUMBAI, October 31: Hasrat Jaipuri's once legendary feel for
romance is still very much there. Only the spark to ignite the
faltering passions is missing. Naturally so, since he is 80 and
into self-imposed retirement now. Love, it is said, evolves the
poet in a man and so unlike his contemporaries like Shailendra,
Shakeel Badayuni or Raja Mehdi Ali Khan, it is love that has been
his inspiration all these years.
So understandably, one hums his love song from Raj Kapoor's San-
gam, Yeh mera prem patra padkar, ke tum naraz na hona... while
making way to his simple middle-class Khar West flat.
One glance at his trophy-filled drawing room justifies the pride
of place yesteryears lyricist Hasrat Jaipuri aka Iqbal Hussain
has occupied in the film industry all these years. For a man who
has penned more than 2,500 songs for Hindi films, Hasrat is
immensely humble to the core and makes no bones about admitting
the fact that he came to Mumbai to earn his livelihood and not to
become a lyricist.
This, despite the fact that the man hails from a poetic gharana
of Jaipur, the Pink City of India. ``Although, shairi was in my
blood, I could never think of making it my livelihood; commerci-
alising an art would never do for us,'' recalls this man of Urdu
letters. But I used to take part in kavi sammelans and cater to
my literary needs, he adds. Besides, at that time I was deeply in
love with a girl called Lajo who lived in my neighbourhood, which
also increased my craving to find solace in poetry.''
He continues, ``In those days there was no school for youngsters
of our clan. Everything about Urdu shairi was taught to us by our
elders. Besides being khandani people, it would not look right
for us to look for work in the city.''
Subsequently, fed up with all the khandani nakhras young Hasrat,
felt the need to do something worthwhile with his life and so bag
and baggage landed in Bombay in 1940.`` In those days, Bombay was
the only place which offered people all sorts of jobs. And for
me, it was a virtual Mecca, since I was quite illiterate except
for Urdu shairi.
In the beginning itself he got a job as a bus conductor for Rs 11
per month and spent his nights at Khar railway station. Later, he
bought himself a small tenement at Electric House, Opera House.
This continued with young Hasrat participating in kavi sammelans
and mushairas. At that time Raj Kapoor, a doyen of the Kapoor
clan, was looking for a lyricist and he happened to read some
verses of Hasrat in a newspaper. Impressed with his penchant for
romance, Raj who worked with Prithvi theatre then, called for
him. ``For several days, I wouldn't go and Raj would keep calling
me,'' recalls the veteran lyricist. Ultimately, I did go one day
and he hired me for his first film Barsaat. The song that I wrote
was Jiya bekraar hai, chaye bahar hai, which was sung by Latabai.
My second song, mein zindagi mein hardam rota hi raha.. was ren-
dered by Mohammed Rafi. Both were instant hits and it made me a
name to reckon with in film circles,'' the veteran song-writer
recalls fondly.
At that time, Raj wanted to form a team for his own company R K
Films. After Hasrat, he hired Shailendra and Shankar Jaikishen as
the R K team for his forthcoming productions. Working in tandem
with such talented people, some great songs were produced under
the R K banner for films like Jis desh mein ganga behti hai,
Teesri Kasam and Sangam.
``What a golden period it was, recalls Hasrat wistfully. The mak-
ing of a song was quite back-breaking. The lyricist, music direc-
tor, the director and the hero or heroine on whom it would be
picturised, would all be present and they would all give their
suggestions. The thing is, I want to highlight the deep sense of
involvement that people in those days used to have. And the
results are there for everyone to see. Old songs have still not
lost their glory,'' adds the lyricist without mincing words.
Every lyricist of that genre, be it Hasrat, Shakeel, Shailendra
or Raja Mehdi Ali Khan had their distinct styles. No one could
overshadow anybody or write inferior stuff. Like for instance,
Hasrat loved writing title songs, ie songs based on film titles.
Writing a title song in those days was a difficult task, one had
to keep the entire theme of the film in mind. And it's a record
of sorts for Hasrat to have penned nine title songs in a row.
Some of them like Dewana mujko log kahen (Dewana), Dil ek mandir
(Dil Ek Mandir), Raat aur din diya jale (Raat aur din), Tere ghar
ke samne (Tere Ghar Ke Samne) and An evening in Paris (An Evening
in Paris).
Some of his other works which form part of any collector's item
are Baharon phool barsao (Suraj), Teri pyari pyari surat
(Sasural), Gam uthane ke liye (Mere Huzoor) and Sau saal pehle
(Jab Pyar Kisi Se hota Hai). And his Dil ke jharoke mein (Brah-
machari) is unforgettable.
Coming back to the high standards of the golden period of Hindi
cinema, Hasrat is deeply critical of the way the new music direc-
tors are dictating terms to writers these days. ``These so called
music directors have musical banks with ready-made tunes. And use
arrangers to create songs, who have no sense of notation,''
laments Hasrat.
``In such a scenario, people like Naushad, Ravi, Manna Dey, Talat
Mehmood and myself are being ignored because we refuse to indulge
in cheap work. That is out of the question", says the veteran
vehemently.
"I still get offers but I decline film work straightaway. My
non-filmi songs though have been used by Peenaz Masani, Nirmal
Udhas, Ghulam Ali for his (Tere Shehr Mein), Ahmed Hussain
Mohammed Hussain (Rehbar).
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From the RMIM Article Archive maintained by Satish Subramanian