{"id":2851,"date":"2016-04-20T00:00:05","date_gmt":"2016-04-19T18:30:05","guid":{"rendered":"http:\/\/learningandcreativity.com\/silhouette\/?p=2851"},"modified":"2019-04-22T10:52:36","modified_gmt":"2019-04-22T05:22:36","slug":"shakeel-badayuni","status":"publish","type":"post","link":"https:\/\/learningandcreativity.com\/silhouette\/shakeel-badayuni\/","title":{"rendered":"&#8216;Jo Bhi Ho Tum Khuda Ki Kasam, Lajawab Ho&#8217;: Remembering Shakeel Badayuni"},"content":{"rendered":"<p>&nbsp;<\/p>\n<div id=\"attachment_2852\" style=\"width: 280px\" class=\"wp-caption alignleft\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2852\" class=\"size-full wp-image-2852\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/SB.jpg\" alt=\"Shakeel Badayuni(Google Image Search)\" width=\"270\" height=\"358\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/SB.jpg 270w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/SB-150x199.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/SB-113x150.jpg 113w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/SB-226x300.jpg 226w\" sizes=\"(max-width: 270px) 100vw, 270px\" \/><p id=\"caption-attachment-2852\" class=\"wp-caption-text\">Shakeel Badayuni<br \/>(Google Image Search)<\/p><\/div>\n<p>When one thinks of lyricist, poet, shayar, Shakeel Badayuni in reference to the Hindi Film Song, what comes to mind is his large variety of songs that he composed for various film situations and with many different music composers. One rare feat (for those times) that gets associated with Shakeel is his hat-trick of Filmfare Best Lyricist Awards in the years 1961, 1962 and 1963. Yes, three in a row!<\/p>\n<p>The first Filmfare Award in 1961 was for Guru Dutt\u2019s <em>Chaudhvin Ka Chand<\/em>, the title song sung by Mohd Rafi and with music by Ravi. In a chat over coffee with this writer, music director Ravi had recalled that his friendship with Shakeel went back to the early fifties. Ravi was an assistant to music director Hemant Kumar then and the most paired lyricist with the Hemant camp was S H Bihari.<\/p>\n<p>But on coming into his own as an independent music director with <em>Vachan<\/em> in 1955, Ravi was waiting for an opportunity to get paired with Shakeel. Guru Dutt approached him after liking his music in <em>Mehndi <\/em>(1958) which was based on Umrao Jaan Ada, a story with a Muslim social background. Ravi said he had asked for Shakeel to be his lyricist and that was it. <em>Chaudvin Ka Chand<\/em> released in 1960 and was a hit and so was Gemini\u2019s <em>Ghunghat<\/em> by Ramanand Sagar, another hit from the Ravi-Shakeel team.<\/p>\n<p>Forty six years ago, on 20<sup>th<\/sup> April, lyricist, poet, shayar, Shakeel Badayuni breathed his last owing to diabetes related complexes. He was just 53 years old and a very successful lyricist in Hindi main stream cinema. We\u00a0pay our tribute to Shakeel through some of his choicest songs.<\/p>\n<p>Let us start with the three films that gave Shakeel Badayuni three consecutive Filmfare awards:<\/p>\n<p>The title song of <em>Chaudhvin Ka Chand<\/em> is one of the all-time best romantic numbers of Hindi film music, describing the beauty of a woman like none else. Shot superbly by master craftsman V K Murthy with apt directions from Guru Dutt and sung with perfect emoting feelings by Rafi, here\u2019s j<em>o bhi ho tum khuda ki kasam laajawab ho<\/em>:<\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Chaudhvin ka chand ho ya aftaab ho<\/strong><\/em> (<em>Chaudhvin Ka Chand<\/em>, 1960) &#8211; Ravi \/ Shakeel Badayuni \/ Mohd Rafi<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/wRbBORKhGYg\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>Three consecutive Filmfare Awards<\/h2>\n<p>Let us quickly recall some of Shakeel beauties that got revealed with Ravi in <em>Ghunghat <\/em>and <em>Chaudvin Ka Chand<\/em>;<\/p>\n<div id=\"attachment_2854\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2854\" class=\"size-full wp-image-2854\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/CkC.jpg\" alt=\"Guru Dutt and Waheeda Rehman in Chaudhvin Ka Chand\" width=\"400\" height=\"298\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/CkC.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/CkC-150x112.jpg 150w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/CkC-300x224.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2854\" class=\"wp-caption-text\">Guru Dutt and Waheeda Rehman in <em>Chaudhvin Ka Chand<\/em><\/p><\/div>\n<p>* <em>Badle badle mere sarkar nazar aate hain\/ Chaudvin Ka Chand &#8211; <\/em>Lata<br \/>\n* <em>Mili khak mein mohabbat, jala dil ka aashiyana \/ Chaudvin Ka Chand &#8211; <\/em>Rafi<br \/>\n* <em>Mera yaar bana hai dulha aur phool knilen hain dil ke \/ Chaudvin Ka Chand &#8211; <\/em>Rafi<br \/>\n* <em>Laage nan mora jiya, sajna nahin aaye \/ Ghunghat &#8211; <\/em>Lata<br \/>\n* <em>Hay re insaan ki majbooriyan \/ Ghunghat &#8211; <\/em>Rafi<\/p>\n<p>From one award to next, again with Ravi as the music director in 1962 for the Gemini Production hit, <em>Gharana<\/em> released in 1961 and directed by S S Vasan with Rajendra Kumar, Asha Parekh and Raaj Kumar in lead roles.<\/p>\n<p>Even though, we the music lovers have known Hasrat Jaipuri to be the ace romantic lyricist when it came to describing a beautiful woman, but this 2<sup>nd<\/sup> award in a row settled it for Shakeel. Again an ode to a pretty woman, praising her beauty to the sky, <em>koi tujhsa nahin hazaaron mein<\/em> and rendered expertly by Rafi with his trademark soft touch:<\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Husn wale tera jawab nahin<\/strong><\/em> (<em>Gharana<\/em>, 1961) &#8211; Ravi \/ Shakeel Badayuni \/ Mohd Rafi<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/1Pn81ApIsfs\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><em>Gharana<\/em> had a few more popular songs:<\/p>\n<div id=\"attachment_2856\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2856\" class=\"wp-image-2856\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/daadi-amma.jpg\" alt=\"Daadi amma daadi amma maan jao (Gharana)\" width=\"400\" height=\"300\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/daadi-amma.jpg 480w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/daadi-amma-400x300.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/daadi-amma-300x225.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/daadi-amma-150x113.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2856\" class=\"wp-caption-text\"><em>Daadi amma daadi amma maan jao (Gharana)<\/em><\/p><\/div>\n<p>* <em>Jab se tumhen dekha hai ankhon mein tumhin tum ho<\/em>\u00a0&#8211; Asha and Rafi<br \/>\n* <em>Daadi amma daadi amma maan jao, chhodo bhi yeh gussa zara hanske dikhao<\/em>\u00a0&#8211; Asha and Kamal Barot<br \/>\n* <em>Jai Raghunandan jai Siya Ram, hey Dukhbhanjan tujhe pranam<\/em>\u00a0&#8211; Asha and Rafi<\/p>\n<p>The hat-trick of awards came from Hemant Kumar\u2019s music and production of <em>Bees Saal Baad<\/em> (1962) for the famous Lata number, <em>Kahin deep jalee kahin dil<\/em>. Based on Hemant\u2019s earlier tune in Bengali <em>Jighansa<\/em> (1952), (<em>Bees Saal Baad<\/em> was the Hindi remake of <em>Jighansa<\/em>) it was a massive hit in Hindi. As were other songs in the film as well.<\/p>\n<p>* <em>Zara nazron se keh do ji, nishana chook na jaye<\/em>\u00a0 &#8211; Hemant Kumar<br \/>\n* <em>Sapne suhane ladakpan ke, mere naino mein dolein bahar ban ke &#8211;<\/em> Lata<br \/>\n* <em>Beqaraar kar ke humen yun na jaiye, aapko hamari qasam laut aayiye <\/em>&#8211; Hemant<\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Kahin deep jale kahin dil<\/strong><\/em> (<em>Bees Saal Baad<\/em>, 1962) &#8211; Hemant Kumar \/ Shakeel Badayuni \/ Lata Mangeshkar<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/ali8Lwcth3c\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>Shakeel Badayuni and Naushad<\/h2>\n<p>Any talk of Shakeel brings about his association with Naushad to the mind of a music lover. It was with Naushad that Shakeel Badayuni started his career in 1947 in A R Kardar\u2019s <em>Dard<\/em> with the Uma Devi hit <em>Afsana likh rahi hoon dil-e-beqaraar ka. <\/em>Kardar and Naushad had heard the <em>shayar <\/em>in a <em>mushaira<\/em> and invited him to pen some songs for the film. The first opportunity turned gold and Shakeel was established in a career writing film songs.<\/p>\n<div id=\"attachment_2859\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2859\" class=\"wp-image-2859\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/suraiya.jpg\" alt=\"Suraiya in Betaab hai dil dard-e-mohabbat ke asar se (Dard)\" width=\"400\" height=\"300\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/suraiya.jpg 535w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/suraiya-400x300.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/suraiya-300x225.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/suraiya-150x112.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2859\" class=\"wp-caption-text\">Suraiya in <em>Betaab hai dil dard-e-mohabbat ke asar se (Dard)<\/em><\/p><\/div>\n<p>Shakeel\u2019s early partnership was established with Naushad and Ghulam Mohammad.\u00a0 Recollect the other <em>Dard<\/em> songs:<\/p>\n<p>* <em>Betaab hai dil dard-e-mohabbat ke asar se, jis din se chaand chhupa meri nazar se<\/em>\u00a0&#8211;\u00a0Suraiya and Uma Devi<br \/>\n* <em>Yeh kaun chala, yeh kaun chala, meri ankhon mein sama kar<\/em>\u00a0&#8211;\u00a0Uma Devi and others.<\/p>\n<p>But he did get a chance to work with Naushad\u2019s guru Khemchand Prakash as well, in <em>Jaan Pehchan<\/em>. Produced and Directed by ace cameraman Fal Mistry, it starred Raj Kapoor with Nargis. In this delicate Geeta Roy-Talat Mahmood duet, Raj Kapoor and Nargis even have their names etched in the lyrics.<\/p>\n<p><em>Kyun pyaar ki duniya mein na ho Raj hamara,<br \/>\nHai dil ko teri Nargis-i aankhon ka sahara\u2026<\/em><\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Armmaan bhare dil ki lagan tere liye hai<\/strong><\/em> (<em>Jaan Pehchan<\/em>, 1950) &#8211; Khemchand Prakash\u00a0\/ Shakeel Badayuni \/ Geeta Roy\u00a0and Talat Mahmood<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/CKwEHZbxiqM\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>Romantic imagery and symbolism in Shakeel&#8217;s poetry<\/h2>\n<p>Shakeel, unlike many of his contemporaries, had no idealistic bent of mind. He was not a leftist, nor a socialist and had no other influences in his poetry.\u00a0 The songs for which he received the first two Filmfare awards were in praise of <em>husn<\/em> or the beauty of a woman. In the third one Bees Saal Baad, it was longing for love &#8211; <em>Mera geet mere dil ki pukar hai, jahan main hoon wahin mera pyar hai, zara dekh le aakar parwaane, teri kaun si hai manzil.<\/em> Love, emotion, attraction, desire, longing, all feelings were prominent in his lyrics.<\/p>\n<div id=\"attachment_2855\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2855\" class=\"wp-image-2855\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/beqarar-karke-hume.jpg\" alt=\"Biswajit and Waheeda Rehman in Beqaraar kar ke humen yun na jaiye (Bees Saal Baad)\" width=\"400\" height=\"228\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/beqarar-karke-hume.jpg 478w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/beqarar-karke-hume-400x228.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/beqarar-karke-hume-300x171.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/beqarar-karke-hume-150x85.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2855\" class=\"wp-caption-text\">Biswajit and Waheeda Rehman in <em>Beqaraar kar ke humen yun na jaiye (Bees Saal Baad)<\/em><\/p><\/div>\n<p>Notice the imagery in <em>Beqaraar kar ke humein yun na jaayiye &#8211;<\/em><\/p>\n<p><em>Dekhiye gulab ki wo daaliyan, badh ke choom lein na aapke kadam, <\/em><br \/>\n<em>Khoye khoye bhanware bhi hain baagh mein, koi aapko bana na le sanam,<\/em><\/p>\n<p>Or in <em>Zaraa nazron se kehdo ji<\/em>, its again the celebration of innocence in youthful beauty that is having a killer effect on the lover<\/p>\n<p><em>Kitni maasoom lag rahi ho tum, tumko zaalim kahe, woh jhootha hai,<\/em><br \/>\n<em>Yeh bhola pan tumhara yeh shararat aur yeh shokhi, <\/em><br \/>\n<em>zaroorat kya tumhen talwar ki teeron ki khanjar ki,<\/em><br \/>\n<em>Nazar bhar kar jise tum dekh lo wo khud hi mar jaye, Zara nazron se keh do ji,<\/em><br \/>\n<em>Nishana chook na jaye.<\/em><\/p>\n<p>So very romantic, and in simple language and expression of <em>chhed-chhad<\/em> and praise of beauty<\/p>\n<p>On the other hand, in <em>Mili khaak mein mohabbat, jalaa dil ka aashiyana (Chaudhvin Ka Chand),<\/em> he could express depression with sarcasm:<\/p>\n<p><em>Mujhe raasta dikha kar, mere kaarvan ko loota, <\/em><br \/>\n<em>Idhar aa gale laga loon, tujhe gardish-e-zamanaa.<\/em><\/p>\n<p>In similar verve he wrote for <em>Son Of India<\/em>, 1962,<\/p>\n<p><em>Dikhla ke kinara mujhe mallah ne loota, kashti bhi gayi haath se patwaar bhi chhuta,<\/em><br \/>\n<em>Ab aur na jane meri taqdeer mein kya hai, Ae dil ke sahare, tujhe dil dhoond raha hai <\/em><\/p>\n<p>Equally convincingly, Shakeel could pen down the spiritual philosophical lyrics in <em>Baiju Bawra<\/em>\u2019s <em>Mann tarapat Hari darshan ko aaj.<\/em><\/p>\n<p><em>Bin guru gyan kahan se laaoon, deejo daan Hari gun gaaoon,<\/em><br \/>\n<em>Sab guni jan pe tumhara raaj, tarapat Hari darshan ko aaj.<\/em><\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Mann tarapat Hari darshan ko aaj<\/strong><\/em> (<em>Baiju Bawra<\/em>, 1952) &#8211; Naushad \/ Shakeel Badayuni \/ Mohd Rafi.\u00a0<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/tz7C0MEaMfQ\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Shakeel\u2019s largest body of work was with Naushad, and together they gave numerous hit songs. Music lovers treasure the songs of their teaming partnership in films such as, <em>Aan, Diwana, Shabaab, Amar, Uran Khatola, Mother India, Kohinoor, Mughl-e-Azam, Gunga Jamuna, Mere Mehboob, Son of India, Dil Diya Dard Liya, Leader, Saaz Aur Awaaz, Aadmi.<\/em> So many songs, so many moods, so many hits.<\/p>\n<p>Shakeel was a poet of all seasons and colors. It is a very difficult job to pick a few songs from Shakeel\u2013Naushad repertoire and use as a showcase, as the list is huge. <em>Kohinoor<\/em> easily tops in popularity.\u00a0<em>Madhuban mein Radhika naache re<\/em> with a totally different genre of lyrics was written to suit the song situation with\u00a0a marvelously composed <em>tarana<\/em>. It is a class creation all through, beautifully tuned by Naushad, excellent delivery by Rafi, and enchanting lyrics by Shakeel.<\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Madhuban mein Radhika naache re<\/strong><\/em> (<em>Kohinoor<\/em>, 1960) &#8211; Naushad \/ Shakeel Badayuni \/ Mohd Rafi<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/8NzSyyOX0yo\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>Desi dialect in Shakeel Badayuni&#8217;s songs<\/h2>\n<p>Another genre that Shakeel showed a terrific control in was the <em>desi <\/em>dialect, or lyrics in Bhojpuri language. The spirited electric number from <em>Gunga Jamuna<\/em> (1961) &#8211; <em>Nain lad jai hain to manwa maa kask hoi be kari<\/em>, by Rafi, and then the Lata numbers &#8211; <em>Dhoondo dhoondo re baalama more kaan ka bala<\/em> and <em>Na manu na maanu na maanu re daghabaaz tori batiyan na maanu re<\/em>.<\/p>\n<div id=\"attachment_2860\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2860\" class=\"wp-image-2860\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/dhoondho.jpg\" alt=\"Vyjayanthimala in Dhoondho dhoondho re saajana (Gunga Jumna)\" width=\"400\" height=\"300\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/dhoondho.jpg 480w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/dhoondho-400x300.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/dhoondho-300x225.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/dhoondho-150x113.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2860\" class=\"wp-caption-text\">Vyjayanthimala in<em> Dhoondho dhoondho re saajana (Gunga Jumna)<\/em><\/p><\/div>\n<p>A use of dialect convincing to the film situation and yet easy on the ears and simple to follow &#8211; isn\u2019t that a work of a genius? He did it again in <em>Sunghursh<\/em> in 1968 in <em>Mere pairon mein ghungroo bandha de to phir meri chaal dekh le<\/em> (though closer to regular Hindi language).<\/p>\n<p><em>Hui gawa man maa more tirchhi najar ka halla,<\/em><br \/>\n<em>Gori ko dekhe bina nindiya na awei humka, <\/em><br \/>\n<em>phanj lagi hai to karejwa maa khatak hoi be kari, <\/em><\/p>\n<p>Along with the language, the expressions and the use of rustic Bhojpuri dialect make the song outstanding.<\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Nain lad jayi hain to manwa maa kasak hoi be kari<\/strong><\/em> (<em>Gunga Jamuna<\/em>, 1961) &#8211; Naushad \/ Shakeel Badayuni \/ Mohd Rafi<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/UKGhcTDEOcM\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>Shakeel&#8217;s expertise over the Ghazal<\/h2>\n<p>The Ghazal for a <em>shayar <\/em>should be a natural outpouring and how could Shakeel not excel in this genre too.<\/p>\n<p><em>Main koi patthar nahin insaan hoon, kaise keh doon gham se ghabarata nahin,<\/em><br \/>\n<em>Koi sagar dil ko behelata nahin, bekhudi mein bhi qaraar aata nahin. <\/em><\/p>\n<p>What a beauty!<\/p>\n<p>Then the simply outstanding Lata one in <em>Amar<\/em> (1954)<\/p>\n<p><em>Na milta gham to barbaadi ke afsaane kahan jaate,<\/em><br \/>\n<em>Agar duniya chaman hoti to veerane kahan jaate. <\/em><br \/>\n<em>Chalo accha huwa apnon mein koi ghair to nikla,<\/em><br \/>\n<em>Agar hotey sabhi apne to begaane kahan jaate.<\/em><\/p>\n<p>A really deep and soothing effect and yet so simple a language of expression.<\/p>\n<div id=\"attachment_2857\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2857\" class=\"wp-image-2857\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/beqas-pe-karam.jpg\" alt=\"Madhubala in Mughal-e-Azam\" width=\"400\" height=\"183\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/beqas-pe-karam.jpg 697w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/beqas-pe-karam-400x183.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/beqas-pe-karam-300x137.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/beqas-pe-karam-150x69.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2857\" class=\"wp-caption-text\">Madhubala in <em>Beqas pe karam (Mughal-e-Azam)<\/em><\/p><\/div>\n<p>Notice the pain and prayer and <em>guhaar<\/em> in <em>Mughal-e-Azam\u2019s<\/em> (1960) Lata number <em>Beqas pe karam kijiye<\/em>:<\/p>\n<p><em>Ae mere mushkil kushan fariyaad hai fariyaad hai, <\/em><br \/>\n<em>Aapke hote huwe duniya meri barbaad hai, <\/em><br \/>\n<em>Beqas pe karam kijiye Sarkar-E-Madina, <\/em><br \/>\n<em>gardish mein hai taqdeer bhanwar mein hai safina.<\/em><\/p>\n<p>In 1963 Harnam Singh Rawail produced and directed the massive hit <em>Mere Mehboob<\/em>, pairing Shakeel and Naushad together in what is termed as a \u2018Muslim social\u2019, starring Sadhana and Rajendra Kumar. Each song was a block buster. The title song, a tandem, is a love lorn ghazal, once again in the award winning trend that makes a pleasurable listening even after all these years. In fact, many music experts believe that once around 1968 when Shakeel had ceased to work owing to serious health issues, Naushad\u2019s creativity and quality suffered too.<\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Mere mehboob tujhe meri mohabbat ki kasam<\/strong><\/em> (<em>Mere Mehboob<\/em>, 1961) &#8211; Naushad \/ Shakeel Badayuni \/ Mohd Rafi<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.dailymotion.com\/embed\/video\/x19vrlt\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>The Shakeel Badayuni-Hemant Kumar Gems<\/h2>\n<p>One good thing with Shakeel\u2019s nature was that while he did not push any ideology through his poetry, he did not adhere to any camp either and thus was accepted as a workable lyricist by many a producer\/director and music directors. Offering all types of variety to a film song became his strong point.<\/p>\n<div id=\"attachment_2861\" style=\"width: 410px\" class=\"wp-caption alignleft\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2861\" class=\"wp-image-2861\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/piya-aiso.jpg\" alt=\"Meena Kumari in Piya aiso jiya mein samaye gayo re (Sahib Biwi Aur Ghulam)\" width=\"400\" height=\"245\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/piya-aiso.jpg 673w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/piya-aiso-400x245.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/piya-aiso-300x184.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/piya-aiso-150x92.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2861\" class=\"wp-caption-text\">Meena Kumari in <em>Piya aiso jiya mein samaye gayo re (Sahib Biwi Aur Ghulam)<\/em><\/p><\/div>\n<p>Guru Dutt, after his successful <em>Chaudvin Ka Chand<\/em> went back to sign him for <em>Sahib Biwi Aur Ghulam<\/em> to work on with Hemant Kumar\u2019s music. Together Shakeel and Hemant Kumar\u00a0produced some outstanding and everlasting songs. Lilting, haunting, enticing lyrics to perfectly matched tunes and creative, sensitive song picturizations.<\/p>\n<p><em>Piya aiso jiya mein samay gayo re<br \/>\nke main tan man ki sudh budh gawa baithi,<br \/>\nHar aahat pe samjhi wo aaye gayo re,<br \/>\njhat ghunghat mein mukhda chuupa baithi.<\/em><\/p>\n<p>Such simple words that show case a woman waiting for her husband to return home to her, so very enticingly.<\/p>\n<p><em>Saaqiya aaj mujhe neend nahin aayegi, <\/em><br \/>\n<em>suna hai teri mehfil mein rat jagga hai,<\/em><br \/>\n<em>Aankhon aankhon mein yun hi raat guzar jaayegi, <\/em><br \/>\n<em>suna hai teri mehfil mein rat jagga hai.<\/em><\/p>\n<p>A variety of expression, in a different situation but use of <em>chhand<\/em> is all through there to allure the listener. <em>Tan-man ki sudh-budh<\/em> in one and <em>aankhon-aankhon mein<\/em> in the other.<\/p>\n<p>Interestingly, Shakeel uses bold and inviting lyrics on a house wife and not a club or mujra dancer, and very convincingly fits them into the character and the situation;<\/p>\n<p><em>Yeh bikhri zulfen yeh khilta kajra, <\/em><br \/>\n<em>yeh mehki chunari yeh man ki madira,<\/em><br \/>\n<em>Yeh sab tumhare liye hai preetam, <\/em><br \/>\n<em>main aaj tumko na jaane doongi, jaane na doongi.<\/em><\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Na jaao sainyyan chhudaake bainyya<\/strong><\/em> (<em>Sahib Biwi Aur Ghulam<\/em>, 1962) &#8211; Hemant Kumar \/ Shakeel Badayuni \/ Geeta Dutt<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/TCDbIT13MRY\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>Exploring the gamut in two films with SD Burman<\/h2>\n<p>Guru Dutt\u2019s brother Atmaram now signed Shakeel for his directorial venture for Brindavan Pictures\u2019 <em>Kaise Kahoon<\/em> (1964) and got S D Burman to provide music. Within a month, Bimal Roy too signed Shakeel with S D Burman to team together for his, Muslim social, <em>Benazir<\/em>. Though this pair did only two films, it has left many joyful music milestones for us.<\/p>\n<div id=\"attachment_2862\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2862\" class=\"wp-image-2862\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/haule.jpg\" alt=\"Nanda in Haule haule jiya dole (Kaise Kahoon)\" width=\"400\" height=\"300\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/haule.jpg 480w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/haule-400x300.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/haule-300x225.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/haule-150x113.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2862\" class=\"wp-caption-text\">Nanda in <em>Haule haule jiya dole (Kaise Kahoon)<\/em><\/p><\/div>\n<p>In <em>Kaise Kahoon,<\/em> Shakeel gave a variety:<\/p>\n<p>* <em>Zindagi tu jhoom le zara, keh rahi hai tujhse yeh fiza<\/em> \u2013 Rafi<br \/>\n* <em>Kisi ki mohabbat mein sab kuchh bhula kar, badi cheez paai hai dil ko ganwa kar<\/em> &#8211; Asha \/ Rafi<br \/>\n* <em>Haule haule jiya dole, sapnon ke bun mein papiha mann ka pi pi bole<\/em> \u2013 Lata<br \/>\n* <em>Dil ka dard nirala<\/em> \u2013 Rafi<\/p>\n<p>But the film sank and the music too was forgotten. The one that remained evergreen was the one with amazing lyrics by Shakeel and outstanding music composition by SD Burman, sung by SD Batish, Suman Kalyanpur and Rafi, <em>Manmohan man mein ho tumhi, more ang ang tum hi samaye, mano ya mano na ho tumhi.<\/em><\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Manmohan man mein ho tumhi<\/strong><\/em>\u00a0(<em>Kaise Kahoon<\/em>, 1964) &#8211; SD Burman \/ Shakeel Badayuni \/ SD Batish, Suman Kalyanpur and Rafi<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/VDUogaRqz8c\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Burman had a unique way to make feel at home with any lyricist. This showed in his varied creations with multiple lyricists and how he could bring out the best from all of them. It was no different with Shakeel. That the film did not score at the box-office was a blow, but each song in <em>Benazir <\/em>was a hit and highly appreciated.<\/p>\n<div id=\"attachment_2863\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2863\" class=\"wp-image-2863\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/ben.jpg\" alt=\"Meena Kumari in Gham nahin gar zindagi (Benazir)\" width=\"400\" height=\"228\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/ben.jpg 638w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/ben-400x228.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/ben-300x171.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/ben-150x85.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2863\" class=\"wp-caption-text\">Meena Kumari in <em>Gham nahin gar zindagi (Benazir)<\/em><\/p><\/div>\n<p>For Lata, Shakeel penned:<br \/>\n<em>Kaisi bud nasibi hui mil na sake na hum<\/em>&#8230;.<br \/>\n<em>Gulshan mein ab nassem-e-sahar jaane kab chale<\/em>&#8230;<\/p>\n<p>But for Rafi, it is <em>Aaj gulshan mein nahin ghar mein bahaar aayi hai.<\/em><\/p>\n<p>Listen to Lata sing for Meena Kumari:<\/p>\n<p><em>Unka karam hi aaj situm ban ke reh gaya, <\/em><br \/>\n<em>ik naghma labh pe aaya magar kho ke reh gaya, <\/em><br \/>\n<em>halki si ik khushi hai to <\/em><br \/>\n<em>halka sa ek gham, mil sake naa hum.<\/em><\/p>\n<p>You have <em>Chhaya vaad<\/em> in pure poetic terms here.<\/p>\n<p>Rafi is in his pure romantic mood in Shashi Kapoor\u2019s <em>Behki behki nasha-e-husn mein khoyi khoyi<\/em> (again <em>chhand<\/em>), <em>Jaise Khaiyyam ki rangeen Rubai koi, dil ke sheeshe mein pari ban ke utar aai hai, aaj gulshan mein nahin ghar mein bahaar aai hai.<\/em><\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Dil mein ik jaane tamanna ne jagah paai hai<\/strong><\/em> (<em>Benazir<\/em>, 1964) &#8211; SD Burman \/ Shakeel Badayuni \/ Mohd Rafi<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/Ff24hWYDpFM\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>Melody and purpose shined in Shakeel-Ghulam Mohammed songs<\/h2>\n<p>No Shakeel tribute can be compete without including a song from his awe-inspiring pairing with Ghulam Mohammed. The duo produced a large variety of songs in many films, all melodious tunes and with deep meaningful lyrics.<\/p>\n<p>* <em>Taqdeer ki gardish kya kum thi, us par ye qayamat kar baithe<\/em> &#8211; Lata (<em>Sitara<\/em>, 1955)<br \/>\n* <em>Ik bewafa ko dil ka sahara samajh liya &#8211;<\/em> Lata \/ Talat (<em>Ajeeb Ladki<\/em>, 1951)<br \/>\n* <em>Tara rara rum mere dil mein sanam, tu baad-e-saba kya jaane<\/em> &#8211; Lata (<em>Hoor-e-Arab<\/em>, 1955)<br \/>\n* <em>Shikayat kya karoon dono taraf gham ka fasana hai<\/em> &#8211; Lata (<em>Kundan<\/em>, 1955)<br \/>\n* <em>Ik teer chalane waale ne dil loot liya<\/em> &#8211; Sitara \/ Mukesh (<em>Pugree<\/em>, 1948)<br \/>\n* <em>Ankhiyan mila ke zara baat karo ji<\/em> &#8211; Rafi \/ Lata (<em>Pardes<\/em>, 1950)<br \/>\n* <em>Yeh duniya hai yahan dil ka lagana kisko aata hai<\/em> &#8211; Lata \/ Mukesh (Shair, 1949)<\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Parwaane O parwaane, do din ki jawani hai<\/strong><\/em> (<em>Naazneen<\/em>, 1951) &#8211; Ghulam Mohammed \/ Shakeel Badayuni \/ Lata Mangeshkar<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.dailymotion.com\/embed\/video\/x205zxa\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2>With Naushad and Ravi, 1966 was a milestone for Shakeel<\/h2>\n<p>In the year 1966, Shakeel had a hit, in terms of the film&#8217;s music, with Naushad in <em>Dil Diya Dard Liya<\/em>, with three superb Rafi deliveries. Recollect:<\/p>\n<p>* <em>Guzaren hain aaj ishq me hum us makaam se, nafrat si ho gai hai mohabbat ke naam se<\/em><br \/>\n* <em>Koi saghar dil ko behalata nahin, bekhudi mein bhi qaraar aata nahin<\/em><br \/>\n* <em>Bewafa maine tere pyar mein kya kya na kiya <\/em> (the title number)<\/p>\n<div id=\"attachment_2864\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2864\" class=\"wp-image-2864\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/mk.jpg\" alt=\"Manoj Kumar in Bhari duniya mein aakhir dil ko samajhane kahaan jaayein (Do Badan)\" width=\"400\" height=\"276\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/mk.jpg 458w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/mk-400x276.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/mk-300x207.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/mk-150x103.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2864\" class=\"wp-caption-text\">Manoj Kumar in <em>Bhari duniya mein aakhir dil ko samajhane kahaan jaayein (Do Badan)<\/em><\/p><\/div>\n<p>But this year belonged to the team of Ravi and Shakeel, giving two huge hits in Raj Khosla\u2019s tear jerker\u00a0<em>Do Badan<\/em>, one of those rare films where Pran gets to marry the heroine Asha Parekh! And, the music worked wonders, again with three Rafi hits:<\/p>\n<p>* <em>Naseeb mein jiske jo likha tha woh teri mehfil mein kaam aya<\/em><br \/>\n* <em>Bhari duniya mein aakhir dil ko samajhane kahan jaayen, mohabbat ho gai jinko wo deewane kahan jaayen<\/em><br \/>\n* <em>Raha gardishon mein hardam, mere ishq ka sitara. <\/em><\/p>\n<p>The film also had its share of hits in female voices.<br \/>\n* The soulful and pathos-filled <em>Lo aa gai unki yaad, wo nahin aaye<\/em> by Lata Mangeshkar<br \/>\n* the beautifully melodious <em>Jab chali thandi hawa, jab uthi kaali ghata, mujhko ae jaan-e-wafa, tum yaad aaye<\/em> by Asha Bhosle.<\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Jab chali thandi hawa, jab uthi kaali ghata <\/strong><\/em> (<em>Do Badan<\/em>, 1966) &#8211; Ravi \/ Shakeel Badayuni \/ Asha Bhosle<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/FFt2iiWS8YA\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>The other box-office blockbuster of 1966 was O P Ralhan\u2019s <em>Phool Aur Patthar<\/em>, starring Meena Kumari with Dharmendra. Four lovely Asha numbers would always remain in our memory &#8211; two each on Shashikala and Meena Kumari.<\/p>\n<div id=\"attachment_2865\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2865\" class=\"wp-image-2865\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/pp.jpg\" alt=\"Dharmendra and Meena Kumari in Phool Aur Patthar\" width=\"400\" height=\"302\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/pp.jpg 720w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/pp-400x302.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/pp-300x227.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/pp-150x113.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2865\" class=\"wp-caption-text\">Dharmendra and Meena Kumari in <em>Phool Aur Patthar<\/em><\/p><\/div>\n<p><em>* Zindagi mein pyar karna seekh le, jisko jeena ho marna seekh le<\/em><br \/>\n* <em>Shishe se pee ya paimane se pee, ya meri ankhon ke makhane se pi<\/em> (both on Shashikala)<\/p>\n<p>The other two songs primarily on Meena Kumari were:<br \/>\n* <em>Laai hai hazaaron rang Holi, koi tan ke liye koi man ke liye<\/em> and<br \/>\n* the racy breezy bhajan, <em>Sun ke pukar aai, aaj tere dwar leke aansuon ki dhaar mere Sanware. <\/em><\/p>\n<p>To have one\u2019s ghazal chosen by the ghazal queen, Begum Akhtar was a true honour to Shakeel\u2019s craft. Not coming as a surprise for the ghazal lovers, Begum Akhtar acknowledged it as one of her most favorite as well in her public performances.<\/p>\n<p><em>Mere humnafas mere hum hum nawa, mujhe dost ban ke dagaa na de<\/em><br \/>\n<em>Main hoon dard-e-ishq se jaan va-lab mujhe zindagi ki dua na de<\/em><\/p>\n<p>On any performance then and on any internet site today, it is one of the most in-demand ghazal of the Queen of ghazals, Begum Akhtar. Let\u2019s enjoy it:<\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Mere hum nafas mere hum nawa<\/strong><\/em> &#8211; Shakeel Badayuni \/ Begum Akhtar<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/XYgG6SiX7ZE\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>By 1967, Shakeel\u2019s health had started to fail. In 1968 the music of Naushad\u2019s <em>Aadmi <\/em>was appreciated and sold well, though the film was not as big a hit. Based on Aalayamani, Shivaji Ganeshan\u2019s Tamil hit, it starred Dilip Kumar with Waheeda Rehman, Manoj Kumar, Simi and Pran and was directed by A. Bhimsingh.<\/p>\n<div id=\"attachment_2866\" style=\"width: 410px\" class=\"wp-caption alignright\"><img decoding=\"async\" aria-describedby=\"caption-attachment-2866\" class=\"wp-image-2866\" src=\"http:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/wr.jpg\" alt=\"Waheeda Rehman in Kal ke sapne aaj bhi aana (Aadmi)\" width=\"400\" height=\"225\" srcset=\"https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/wr.jpg 479w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/wr-400x225.jpg 400w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/wr-300x169.jpg 300w, https:\/\/learningandcreativity.com\/silhouette\/wp-content\/uploads\/sites\/3\/2016\/04\/wr-150x85.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><p id=\"caption-attachment-2866\" class=\"wp-caption-text\">Waheeda Rehman in <em>Kal ke sapne aaj bhi aana (Aadmi)<\/em><\/p><\/div>\n<p><em>Aadmi<\/em>\u2019s priceless portions had Dilip Kumar\u2019s Dostoyevskian complexities portrayed in a range of facial expressions along with changing tonal inflections of sarcasm, pain, guilt and rage. Shakeel as the lyricist had the uphill task of matching these complex emotions with apt lyrics. Many had felt that Naushad could not rise to the occasion and gave sub-standard music. The controversy of Talat having been replaced by Mahendra Kapoor in the duet with Rafi, <em>kaisi haseen aaj baharon ki raat hai, ik chand aasman pe hai ik mere saath hai <\/em>stood out like a sore thumb. The title track by Rafi <em>Na aadmi ka koi bharosa, <\/em>was well received, as was Lata\u2019s <em>kal ke sapne aaj bhi aana<\/em>.<\/p>\n<p>But what has stayed with the music lover as a Shakeel triumph is this Rafi beauty:<\/p>\n<p><em>Beetey dinon ki yaad thi jinme main wo tarane bhool chuka<\/em><br \/>\n<em>Aaj nai manzil hai meri, kal ke thikane bhool chuka<\/em><br \/>\n<em>Na wo dil na sanam, na wo deen dharam<\/em><br \/>\n<em>ab door hoon saare gunahon se<\/em><br \/>\n<em>Aaj purani raahon se koi mujhe aawaz na de <\/em><\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Aaj purani raahon se koi mujhe awaaz na de<\/strong><\/em>(<em>Aadmi<\/em>, 1968) &#8211; Naushad \/ Shakeel Badayuni \/ Mohd Rafi<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/t4GSdumk9gU\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>On the request of one of our informed and knowledgeable readers, Nutsure Satwik, here is one of the best known gems of Begum Akhtar from the pen of Shakeel Badayuni:<\/p>\n<p><em>Aye mohabbat tere anjaam pe rona aaya<\/em><br \/>\n<em> Jaane kyon aaj tere naam pe rona aaya<\/em><\/p>\n<p><em>Yun toh har shaam ummido mein guzar jaati hai<\/em><br \/>\n<em> Aaj kuch baat hai jo shaam pe rona aaya<\/em><\/p>\n<p><em>Kabhi taqdeer ka matam kabhi duniya ka gila<\/em><br \/>\n<em> Manzil-e-ishq mein har gam pe rona aaya<\/em><\/p>\n<p><em>Jab hua zikr zamane mein mohabbat ka<\/em><br \/>\n<em> mujh ko apane dil-e-nakaam pe rona aaya<\/em><\/p>\n<p><span style=\"color: #c2150a;\"><em><strong>Aye mohabbat tere anjaam pe rona aaya<\/strong><\/em> &#8211; Shakeel Badayuni \/ Begum Akhtar<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/AQ0iWPWV-O0\" width=\"100%\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>More to read on the legendary lyricists and music composers<\/strong><\/p>\n<p><strong><a href=\"http:\/\/learningandcreativity.com\/silhouette\/majrooh-sultanpuri-interview\/\">\u2018Bade Achchhe Din Thhe, Bade Pyare Saathi, Aur Guni Bhi\u2019 \u2013 In Conversation with Majrooh Sultanpuri<\/a><\/strong><\/p>\n<p><strong><a href=\"http:\/\/learningandcreativity.com\/silhouette\/ghulam-mohammad-music-director\/\">\u2018Chalte Chalte Yunhi Koi Mil Gaya Thha&#8217;: The Music of Ghulam Mohammad<\/a><\/strong><\/p>\n<p><strong><a href=\"http:\/\/learningandcreativity.com\/silhouette\/sahir-ludhianvi-songs-poetry\/\">Sahir Ludhianvi: The Rebel, The Lover<\/a><\/strong><\/p>\n<p><strong><a href=\"http:\/\/learningandcreativity.com\/silhouette\/shailendra\/\">Shailendra: The Spirit with a Mass Connect<\/a><\/strong><\/p>\n<p><strong><a href=\"http:\/\/learningandcreativity.com\/silhouette\/gulzar-multi-faceted-director\/\">Gulzar: Redefining Poetry and Purpose In Cinema<\/a><\/strong> <\/p>\n<!-- AddThis Advanced Settings generic via filter on the_content --><!-- AddThis Share Buttons generic via filter on the_content -->","protected":false},"excerpt":{"rendered":"<p>Picking up 3 Filmfare Awards in a row was just one of the achievements of poet, shayar, lyricist Shakeel Badayuni, one of the most successful songwriters ever. We remember this versatile and legendary lyricist with some of his choicest songs and ghazals.<!-- AddThis Advanced Settings generic via filter on get_the_excerpt --><!-- AddThis Share Buttons generic via filter on get_the_excerpt --><\/p>\n","protected":false},"author":748,"featured_media":2854,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,821],"tags":[1654,1656,1658,1660,1657,1659,1655],"class_list":["post-2851","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","category-music-makers","tag-shakeel-badayuni","tag-shakeel-badayuni-films","tag-shakeel-badayuni-ghazals","tag-shakeel-badayuni-hindi-songs","tag-shakeel-badayuni-poetry","tag-shakeel-badayuni-shaayari","tag-shakeel-badayuni-songs"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/2851","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/users\/748"}],"replies":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/comments?post=2851"}],"version-history":[{"count":1,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/2851\/revisions"}],"predecessor-version":[{"id":4863,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/posts\/2851\/revisions\/4863"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media\/2854"}],"wp:attachment":[{"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/media?parent=2851"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/categories?post=2851"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/learningandcreativity.com\/silhouette\/wp-json\/wp\/v2\/tags?post=2851"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}