Wednesday, July 23, 2014



( Photo Autar Mota July 2014. )
I add lines from a poem of kashmiri poet Moti Lal saqi...

Chhu Kuss Taamuthh Bharaan Rang Kaayanaatus
Dohuss gayee Taapa Faett Shehjaar Raatus
Karam Taem sundh chhu sheraan Rang ta Manazar 
Rachhiev Shaamukk sakoon Voshluun Prabhaatus
( Moti lal Saqi )

 (Some one fills this universe with colours ,
He makes the days so sunny and nights cool.
And His acts of kindness beautify these colours and scenes .
so Save this evening’s tranquility
for our mornings have to blush in light ..)


( Photo  Autar Mota July 2014.)

I add lines from a poem of kashmiri Poet Moti Lal saqi ..

Pazaraeikk Deevi Daaruv Booz
Appaziss Gondahaai sona dastaar 
( Moti Lal Saqi )

 (The truthful abode of the goddess too heard
That a Golden Headgear was ceremonially put on falsehood )



( Photo Autar Mota  July 2014 )

i add lines from a kashmiri poem of Padamshri Moti lal saqi..

Lukka arsaatus munz kunnzoann 
Tchei ti ma chhuyee myonuaai hue haal
Mandinein Mongmuss Raatuk soachh
Raatus dopmuss Tchongaa zaal...
(Moti Lal Saqi )

(" Alone in crowds all over" ,
I believe you too share my ordeal.
At midday,i wished to be granted the night's relief,
And at night i asked for a lamp to be lit..)

( Autar Mota 23.07.2014...Mumbai)

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Thursday, July 10, 2014




In a war , there is no victor or Vanquished . Every one is a sufferer.I begin this mini post with lines from an Anti war poem of Sahir Ludhanavi ..

Fateh ka jashn ho ki haar ka sog
zindagi Mayyaton pe rotii hai...
( Sahir )
(Be it a celebration of Victory or  defeat's Gloom ,
Life  weeps for  deaths only......... )
 Betrayed by Chinese ,A distrauhgt Nehru wept when Great  Lata Sang Kavi Pradeep 's composition  "Aey Meray wattan Ke Logon " before a Mammoth crowd at Ramlila Grounds New Delhi in 1962.The programme  was organised  by  Producer  Mehboob Khan  who also presented  A hefty Donation to  Government on behalf of Film Fraternity  of Mumbai . As a matter of fact It was only Mehboob Khan who had asked kavi Pradeep for  writing a patriotic song for the event .And  next day , kavi Pradeep wrote the  opening lines on a cigarette  packet while  he was on a morning walk in Mahim. He added other lines at his residence .

Mehboob Khan  also sought services of   C. Ramchandra  for  giving musical shape to kavi Pradeep's poem for the event . And Lata Readily agreed to come down to Delhi  to sing it before  a massive Gathering after  the initial recording  at Mumbai. The distinguished audience included president S. Radhakrishnan, Prime minister Nehru, cabinet ministers, virtually the entire film industry comprising stalwarts like Producer Mehboob Khan , Dilip Kumar , Dev Anand, Raj Kapoor, Rajendra Kumar, Sunil Dutt,  Singers Mohammed Rafi, Hemant Kumar and many more.. I add some lines from this song ...

Koyee sikh Koyee jaat Maraatha
Koyee Gurkhaa Koyee Madraasi
Sarhad par Marney wala
Har veer thha Bharatvaasi
Thhay dhanya javaanon woh apney
Thhi dhanya woh unki javaani
Jo shaheed hue hain unki,
Zara yaad karo qurbaani.............
Aey Meray Wattan ke logon.......

About This weeping of Pandit ji ,  Lata  said in her recent interview,

" After the  Ramlila Ground singing  , I received a message that Pandit ji wanted to see me .It was Mehboob Khan who took me to Panditji. When I was sitting in his  room and  waiting for a cup of coffee , Panditji said to me "Tumne Mujhe Rulaaya.... (you made me weep ). Standing by the side of Panditji ,as he spoke to me ,were  Dr .S Radhakrishnan (the then President) and Indiraji, His Daughter "

Pandit ji was equally moved by another  song that  Mohd. Rafi sang same day at NATIONAL   STADIUM  NEW  DELHI before a huge  public gathering  and  V V I Ps on the stage that included  Producer Mehboob Khan ,  Some prominent Film stars ,Pandit Jawahar Lal Nehru and  Dr S Radhakrishnan  . The song " Awaaz Do Hum Eik Hain " was written by urdu poet Jaan Nissar Akhtar .The song played a great role in emotional integrity of the nation during the war with  china.  It  was played in all cinema Halls before the start of  the show . It was like a national anthem during those bitter days of Chinese Aggression.  The  song sent a patriotic shiver down the listeners spine. And Great    Mohd Rafi  had  put his heart  in the song  set to music by Khayaam . It was a great  effort by Films division.
 "Awaaz do hum Ek Hain" I add some lines of this great song ...

ye hai Himaala ki zameen
Taj-o-Ajanta ki zameen
sangam hamaari aan hai
Chittaurr apni shaan hai
Gulmarg ka mehka chaman
Jamuna ka tat Gokul ka ban
Ganga ke dhaare apne hain
ye sab hamaare apne hain
keh do koi dushman nazar
uthhe na bhoole se idhar
keh do ke ham bedaar hain
keh do ke ham taiyyaar hain

Utho jawaanaane wattan
Baandhe huve sar se kafan
punjab ke dil se utho
satluj ke saahil se utho
Maharashtra ki khaak se
Delhi ke arze paak se
Bengal se Gujraat se
kashmir ke Bagaat se
Nefa se Rajasthhan se
kul khaaq e hindustaan se ..

apne sabhi sukh ek hain
apne sabhi gham ek hain
aawaaz do......
aawaaz do ........

(Autar Mota 9.7.2014)

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Monday, July 7, 2014



……………………….. ……….AEY RI JAANE NA DOONGI “

OR “ROSHAN ” ( 1917-1967 )

“ Sharma ji ! Mein Khudkashi Karnaa Chaahata huun OR Sharma Ji ! I want to commit suicide. ” so said Roshan lal Nagrath ( 1917 -1967 ) popularly known as ROSHAN ,to well known Producer , Actor ,Director , Photographer and writer Kedar Sharma (1910-1999) one day .
Roshan had a reason to say so . The very first movie “ Neki Aur Badi “ that Kedar Sharma had offered him as Music Director , had failed miserably . It was 1949 . Roshan had moved to Mumbai leaving his job at AIR New Delhi ( Joined AIR in 1939 )where he served as In house Assistant Music Composer . He had joined the station as a JALTARANG player . He also played SARANGI , SITAR and FLUTE. Recalling this Incident , kedar Sharma once said
“ I simply told him that he should decide where he would jump in the sea for his suicide . Jokingly , I suggested VARSOVA as water was deep over there . I told him that he should not Jump near HAJI ALI . The sea water was shallow at that place . I also suggested that he should wait for some time as I planned to give him one more chance . I had seen his talent and dedication as a composer . The first film failed for many other reasons .And then this film making is a gamble after all . Inspite of stiff opposition from distributors and my team , I of
fered him “ “Baaware Nain ”. It was 1950. He was desperately in need of work . He poured his heart and soul in this movie. Three songs composed by him like “ Khayaalon mein kissi ke “ ,“ Sun Bairi Balam Ibb Kya hoga “ and “Teri Duniya Mein Dil Lagtaa Nahin ” changed the fortunes in our favour . Sunn Bairi Balam was written by me . And I was right in my selection. The movie broke many records and with it Roshan had arrived. ”
At that time ,he had just married IRA MOITRA , his student at Delhi . She was a Bengali Girl and he a Punjabi. Both were intensely attached to music . Unable to afford a rented accommodation , they lived in the Garage of Hussan Lal ( Hussan lal Bhagat Ram ) .


Roshan Lal Nagrath belonged to a liberal and well off Punjabi Khatri family from Gujranwala ( Now in Pakistan ) . His father and uncles were Established contractors who kept changing places on account business interests. When his parents moved to Lucknow , Young Roshan ( who was drawn towards music from his childhood) was sent to learn music from the Great Baba Alla Ud Din Khan sahib ( 1862-1972 ) . A doyen of Maihar Gharana , Khan sahib was teacher to Ravi Shanker , Ali Akbar Khan ,Nilkhil Bannerji , Panna lal Ghosh , Anna Purna Devi ( His Daughter ) and many more stalwarts .Though a Sarod Player , Khan sahib could play any instrument with ease . He is credited with creation of at least 20 New Ragas for Indian classical music . BABA , as he was known to lovers of music , was a devout Muslim who also performed Durga Puja and kaali worship. To his students , khan sahib taught Everything that is best in Indian Classical Music .This is where Roshan landed for his initial training . He also Learnt Sarangi , Jaltarang ,Flute and Sitar . His other teachers were well known Sarangi player Bundu Khan , Pt. Ratanjanker of Lucknow. To polish his skills, he joined Lucknow’s Morris College of Music ( later on known as Bhatkhande College of Music) .


Now Coming back to his films ;

Success of Baawre Nain brought many offers and more work for Roshan . He now teamed up with Talat , Rafi and Mukesh and composed some memorable songs . He utilized the melodious voice of Rafi for all possible ranges . So did he use Mukesh , his old friend from Delhi days .

About lyricists he would say

“ There is an inherent music flowing in poems of some poets . Only a musician can feel it. I always like such poets . I also found Indeevar ,Neeraj and Anand Bakshi also fitting this frame . ”
And true to his words , Roshan gave breaks to Indeevar , Neeraj and Anand Bakshi .
He now shifted his attention towards Lyricists . Sahir was his firs choice. He was equally comfortable with Majrooh. His teaming up with Sahir produced some memorable master pieces . I quote some songs..
(1) Mun re Tu Kaahe Na
(2) Mere Saathhi Khaali Jaam
(3) Lagaa Chunri Mein Daag
(4) Aey Ri Jaane Na Doongii
(5) Jo Vaada Kiya Vo Nibhana Parrega
(6) Jo Baat Tujh Mein Hai Teri Tasveer Mein Nahin
(7) Paaon Chhu Lene Di Phoolon Ko Inaayat Hogi
(8) Yuun Hi Dil Ne Chaaha Thha Rona Rulaana
(9) Garjat Barsat Saawan aayo Re
(10) Mayoos To Huun Vaade Se tere
(11) Tum Ek baar Mohabbat ka Imtehaan To Lo
(12) Maine Shaayad Tumhe Pehle Bhi Kahin Dekha Hai
(13) Bhule Se Mohabbat Kar Baithaa
(14) Tumhaari Mast Nazar
(15) Chura Le Na Tum Ko Yeh Mausam suhaana
(16) Sakhi Ri Mera Mun Uljhe Tun Dole
(17) Chha Gaye Badal Neel Gagan Pe
(18) Tum Agar Mujh Ko Na Chaaho to Koyee Baat
(19) Jurm e Ulfat Pe Hamein Log Sazaa
(20) Phool Gendawa Na Maaro
(21) Na Na Re Na Na Hathh Na Lagaana
(22) Chaand Taktaa Hai Idhar
(23) Duniya Kare Sawaal To Hum Kyaa jawaab Dein
(24) Hum Intezaar kareingay tera Qayaamat tak
(25) Sansaar se bhaage Phirtay ho
(26) Mayoos to Huun Vaaade se teray
(27) Mujhe mil Gayaa Bahaana teri deed ka
Sahir – Roshan Duo gave some exquisite Qawwalis to cinema. These Qawwalis have a timeless charm. “ Na to kaarwaan ki Talash hai ”remains the best Qawwali composed by any music director of Indian Cinema till today . In this qawwali Roshan brought everything like ,different tunes , different instruments , Taans ,Bol Taans and Alaaps. I quote some popular qawwalis of Roshan …
(1) Na To Kaarwaan ki Talaash Hai
(2) Ye Ishq ishq hai
(3) Chaandi Ka Badan Sone Ki Nazar
(4) Nigaahein Milaane Ko Ji Chaahta Hai
(5) Ab jaan Balab Huun
(6) Jee Chaahta hunn Choom Luun
(7) Nigaahe naaz Ke maaron Ka haal kyaa hoga ( Shanker Shambu )

As and when Sahir insisted on giving more space to Sudha Malhotra in his films , Roshan would reply in chaste Punjabi
“ yaar Sab da Chulhaa Balnaa Chaahiye da . Sab Nu Kumm Chahiyedaa . or Friend everyone should have something to cook in the kitchen . All need work. ”
Accordingly , he made Sudha Malhotra , S D Atish ,Balbir , kamal Barot, Suman kalyanpur, Uma devi, Mubarak Begum,Shamshaad Begum, Usha Mangeshkar , Geeta Dutt , Assa Singh Mastana ( Dooj Ka Chaand song Lo apna jahan Duniyawaalon), Minoo Purshotam, Mann Dey and Mahendra Kapur sing for him apart from Mohd Rafi, Mukesh , lata and Asha .

Rakesh Roshan (Roshan’s son and a well known actor , Producer and Director of Hindi cinema) once said ,

“ My father had a strange dedication towards his work. Quite often we would sleep together and then suddenly I would see that the lights in his bed room . Surprised , I would go to the room to find if all was ok. Mother would say that he got up from sleep suddenly as the tune for some song had come to his mind. There he was practicing on his Harmonium with my Mother sitting nearby enjoying and appreciating his music . And next day he would invite Majrooh sahib or Shailendra or Anand Bakshi sahib for writing lyrics . Sahir sahib too obliged him many times by writing songs on his tunes. You could catch him reading music and notations all the time ”

                                                ( Roshan with Mohd Rafi )

With Majrooh , he created some master pieces for Asit sen’s 1966 super hit movie “ MAMTA ” . He brought the core melody of Lata’s voice in some compositions that he created for this movie . Songs like "Chahe To Mera Jiya Lele" "Chhupa Lo Yun Dil Mein Pyar Mera" "Hum Gavanwa Na Jaibe "Rahte The Kabhi Jinke" from MAMTA touched new heights of popularity .Some songs that he composed with other lyricists ( Other than Sahir ) that come to my mind at the moment are
(1) O Re Taal Mile Nadi Ke jal Mein ( Indeevar )
(2) Mile Na Phool To Kaanton Se Dosti Kar Li ( Kaifi )
(3) Rahein Na Rahen Hum Mehka kareingay ( Majrooh )
(4) Chhuppa Lo Yuun Dil Mein Pyaar mera ( Majrooh )
(5) Vikal Mora Manwa Tum Bin haaye ( Majrooh )
(6) Bahaaron Ne mera Chaman Loot kar ( Annad Bakshi )
(7) Uss ko Nahin Dekha hum Ne kabhi ( Majrooh )
(8) Kaaewan Guzar gaya Gubaar Dekhte Rahe ( Neeraj )
(9) Aaj Ki Raat Barri shokh Barri Natkhat hai ( Neeraj )
(10) Dil Jo Na keh Sakaa Vahi Raaze Dil Kehne ki raat aayi Hai ( Majrooh )
(11) Haye Ri Mein To Prem Deewani ( Shakeel )
(12) Bahut Diya Dene waale ne mujh ko ( Shailendra )
(13) Baar Baar Tohe Kyaa samjhaaye paayal ki Jhankaar ( majrooh )
(14) Kabhi To Milegi Kahin to Milegi Bahaaron ki Manzil Raahein ( Majrooh )
(15) Mein Dil Huun Ik armaan Bharaa (Shailendra )
(16) Aapne yaad dilaya tou mujhe yaad aaya ( Majrooh )
(17) Ab kya misaal doon, main tumhare shabaab ki ( Majrooh )
(18) Aaya hai mujhe phir Yaad voh zaalim Guzara zamaana Bachpan ka ( Anand Bakshi )
(19) Duniya Mein aisa kahaan sab ka Naseeb hai ( Anand Bakshi )
(20) Bahaaron ne Mera Chaman Loot kar ( Annad Bakshi )

As composer , he had some exceptional qualities . He could play melody on any instrument . He had mastered the basic grammar of Hindustani classical music with which he used to create different moods for his songs .
Roshan had a deep poetic sense and his characteristic hallmark was his simple, orderly and remarkable orchestration. He refined his song till it glittered with the sheer shine of flawlessness . He used a wide range of ragas in his compositions though YAMAN ( Mun Re Tu kaahe na, Dil Jo Na kah sakaa , chhupa lo yuun dil mein Pyar mera ,Nigaahein Milaane ko ji chaahta hai , Dil Jo Bhi Kahegaa maneigay duniya mein hamaara Dil Hi To Hai and Zindagi Bhar nahin Bhoolegi woh barsaat ki raat ) was his favourite . He also used BHAIRAVI ( laga chunri mein Daag and Phool gendava Na maaro ) and MALHAAR ( Garjat Barasat Saawan aayo re ) . I need to add that Yaman appears to be the favourite Raga of his son and musician Rajesh Roshan as well.

He made Rafi , Aasha ,Manna Dey , lata and Mukesh sing some classical mumbers which are unmatched to this day . I quote some “ Laaga Chunri mein daag “, Aey ri jaane na doongi , “Phool Gendawa na Maaro “, “Chhuppa Lo Yuun Dil Mein Pyaar Mera “ , “ Hum gavanwa na jaibe ho bina jhoolni “, “Sakal ban gagan pavan chalat purvaai re ” , “Chha Gaye badal neel gagan par ”etc. etc.

Salil Chowdhury in his interview once said

“ I admire him as a Great composer because of his use of melody through the instruments like sarengi, tabla, sexaphone, guitar etc. His genre was wide that included Mujras, qawallis, Ghazals, , sad songs , love songs , Bhajans and classical compositions. Almost all the singers including Asha , Rafi, Lata and others have worshipped him like a sage. He was fair to all. ”


Roshan was a patient of Hypertension with an old history of coronary Artery disease . The perfectionist in him only added to these problems. A massive heart attack on 16 November, 1967 ,snatched the maestro from his innumerable lovers . He was just 50 and too much remained undelivered to Music with his sudden death .

He left behind his first name-‘Roshan’, as surname for his sons- Rakesh , Rajesh , daughter in Law Pinki and  grandson- Hrithik .
For his family , ROSHAN proved more lucky than “NAGRATH ”, their original surname . This year on 14th july , this music genius would have been 97 years old. 


And we all know the quality of the music that is being served to us by films presently . The lesser said the better it is .

Saara Aalum Goshe bur Awaaz Hai
Aaj Kin Haathhon mein dil ka saaz hai
Chhupp Gaye woh Saaze hasti chheid kar
Ab to buss Awaaz hi Awaaz hai ………………………

( Autar Mota 07.06.2014 )

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Friday, July 4, 2014




RAJA MEHDI ALI KHAN ( 1928-1966 )

Raja Mehdi Ali Khan belonged to Janjua family of Darpur in Jhelum District of undivided Punjab. His father , Raja Ghalib Mehdi Khan was a chief minister of Bhawalpur state of undivided India . Raja had good education and he graduated from Aitcheson college Lahore .Poetry passed on to him from umbilical cord as his mother was an established poet of her time.

Prior to partition of the country ,Raja and Sadat Hassan Manto worked together at AIR New Delhi . They were close friends for many reasons ; Both were Punjabis , Both liked Humour ,Both shared love for Literature and both were voracious readers. Manto had been looking for some opportunity to bring Raja to Mumbai’s film world where he felt friendless. In Mumbai ,though Manto enjoyed the company of some close friends like Shyam ( Well known hero Sunder shyam Chadda ) , Pran , Ashok Kumar and many more , he still felt companionless as most of them had nothing to do with literature or poetry. So when FILMISTAN STUDIO’S partner S Mukherjee was in lookout for a song writer , Manto recommended Raja . 
In Came Raja and wrote songs for FILMISTAN’s “DO BHAI “ ( 1947 Super hit movie .Music S D Burman starring Ulhaas , Noorjahaan and Rajan Haksar ) and two songs “Mera sunder Sapna beet Gaya ”and “Yaad karoge – Ik Din Hum Ko Yaad karoge “ both sung by Geeta Dutt ( Roy ) turned instant hits . Raja was established .

In Mumbai ,Raja , Actor Shyam and Manto shared accommodation during those troubled days of 1947. About that period Manto writes 

“ A Few months before partition , Shyam moved to my place . Those were karki times in Bombaiya language . We were extremely hard up but there was no let up in our drinking which continued unabated .Raja Mehdi Ali Khan was also around . Raja could not sleep on spring mattress beds . Then shyam would fix a huge measure of Brandy in keeping with Raja’s ample proportions and suggest ‘ Drink this and you will sleep like a log ’. 
One day shyam had burnt his mattress from a cigarette bit that he had thrown on his bed . The flat was full of smoke and a deep stink too spread all over. When I entered their room, I found Shyam sleeping on the floor and Raja snoring on the other bed in the room. I woke up Raja , which was not an easy job as he had no intention of getting up. When he got up , he said ‘ This shyam is like Hanuman Maharaj. I knew what had happened during night when I saw Shyam getting up from his bed with his tail on fire. I had even tried to wake you up Manto. You did not get up but you opened your eyes when I said that a full crate of scotch whiskey had arrived. But you went to your sleep again. And then Shyam had doused the flame . How did it start again.’

And then one day , Manto decided to move to Lahore ( Pakistan )  leaving Shyam and Raja lonely. They missed him a lot.  At that critical juncture , Raja  decided to stay   put in Mumbai and focused on his work. Many composers took notice of his sweet and cheerful songs that became quite popular during those days. He got offers from some well known Music directors with whom he associated which include  Madan Mohan , O P Nayyar , Iqbal Qureshi , Bulo C Rani , Khemchand Prakash, S N Tripathi , Shyam Sunder, Gulam Hyder, Nisar Bazmi , Robin Benerjee ,N Dutta , Dhani Ram Prem,Anil Biswas , Roshan Lal ,S D Burman, Ravi, Roshan, Chitrgupta , C. Ramchandra , Allah Rakha Qureshi , Bipin Babul, Hemant Kumar , Sardar Malik , Usha Khanna , Vanraj Bhatia and Laxmikant Pyarelal . 

Working with Madan Mohan was a great experience and achievement for both . When Madan Moan heard his first songs , he told him 

“ Tu Har velay Meray Naal Hi Rah Yaara . Or Friend , Be always close by   ” . 

Started in 1950 , this friendship continued till Raja’s death in 1966. This duo gave some memorable songs to us . I quote some ..

(1) Meri Yaad mein Tum Na Aansso Bahaana 
(2) Hai issi Mein Pyaar Ki Aabroo
(3) Rang Birangi raakhi le ke aayi Behna 
(4) Jiya Le gayo ri Mora Saanvariya 
(5) Aapki Nazron ne samjha Pyaar ke qaabil Mujhe 
(6) Woh Dekho Jalaa Ghar Kissi Ka 
(7) Agar Mujh Se Mohabbat hai Mujhe sab apne gham de do 
(8) Mein Nigaahein Teray Chehray se hataaon kaise 
(9) Jo Hum Ne dastaan Apni Sunaayi Aap Kyon Roye 
(10) Lag ja Gale ke phir yeh haseen Raat Ho Na ho 
(11) Chorr kar teray pyaar ka daaman 
(12) Naina barse rim Jhim Rim Jhim Piyaa Tore Awwan ki aas 
(13) Teray pass aa Ke Mera waqt Guzar Jaata hai 
(14) Ek Haseen Shaam Ko Dil Mera kho Gayaa 
(15) Kayee din Se jee hai Bekal 
(16) Maine Rang Li Aaj Chunariya sajna Tore Rang Mein 
(17) Jhumka Gira re Bareily ke Bazaar mein 
(18) Tu Jahaan Jahaan Chalega mera saaya saath hoga 
(19) Aap ke pehlu mein Aa kar ro diye 
(20) Naino Mein Badra chhaye 
(21) Teray Bin saawan kaise beeta 
Some songs with other music directors that come to my mind at the moment are 
(1) Mein Pyaar ka Raahi Huun
(2) Aap Yuun Hi Agar Hum Se Miltay rahe
(3) Gardish mein hon Taaray na Ghabrana Pyaare 
(4) Phir Teri Yaad Naye Geet Sunaane aayi
(5) Mein Dekhuun Jis Aur Sakhi Ri saamne Meray saanwariya 
(6) Gore Gore Chaand ke Mukh Par kaali Kaali aankhein Hain
(7) Desh Ka Pyaara Sab Ka Sahaara Kaun Baneja Hum Didi
(8) Phir Tere Shehr Mein Lutne Ko Chala Aaya Hun
(9) Pichhwaare Buddha Khansta
(10) Qareeb Aa Yeh Nazar Phir Mile Mile Na Mile
(11) Tum Bin Jeevan Kaise Beeta Poochho Mere Dil Se Poochho Mere
(12) Sikandhar Ne Porous se ki Thhi Larrai To Mein Kyaa karuun
(13) Poochho na hamein Hum Unn Ke liye 

Raja left behind a great treasure of poetry that he published in his books “ Andaaz e Bayaan Aur and Mizraab “ Apart from writing film lyricist , Raja also wrote for some popular Urdu Magazines like Beeswin Sadi , and Shama . In Lahore and Delhi , he was associated with prestigious urdu literary Journals like Aalamgir , Phool ,and Khayyam . In some poems , Raja combines Humour and satire in his distinct style to expose the hypocrisies of the society that he lived in. I have read some Such poems like “Khud kushi” , “Ek Chehlum Par” , “ Chor ki Dua “or “Aji Pehle Aap “. I quote some lines from his popular poem AJI PEHLE AAP ( After you ,Sir ! )

“Aaj Rakhiye Jannat Ke Dhar mein Qadam”
“ Aaj Pehle Aap “
“ Aaj Wah ! Pehle Na Jaayeingay Hum “
“ Bhai Pehle Aap “
“ Aji Baat iss mein Takaluff ki Kya ,
Qadoom e Mubarak Barraiye zaraa ,
Aji Chaliye Rukk Jaayegi sab jagah “
“Pehle Aap “
Aji Barh Bhi Chukiye Khuda ke liye ,
Sabhi Ab to Jannat Mein Hain Jaa Chukke,
Na Ab Mujh Se kahiye khuda ke liye ,
Aji Pehle aap “

“Move into gates of heaven “
“ after you sir “
“How can I precede , You ever ?
Till You lead , I shall not stir ”
“ Don’t stand on ceremony please ,
Grace the place with your feet .
Hurry Please , make haste ,
Lest they fill up the space .
“ After you, After You! ”
For God’s sake act with speed ,Everyone has had his seat ,
Don’t be formal , waver not ,
Forget this “After you ,” ,My Pal.

Actor comedian Mehmood once worked as his personal Chauffer .

Raja lived like a RAJA in real sense ; Good food , Mannerism , Soft spoken and generous to his friends . So Long so much .

( Autar Mota 04.07.2014 )

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Thursday, July 3, 2014




RAJINDRA KRISHAN (6th June 1919- 23rd Sep 1988.. In this photo on left side )

Rajindra Krishan had come to Mumbai in 1946 and this city gave him everything that he aspired in life. From a petty Clerk in Shimla Municipality , Rajinder Krishan Duggal ( RAJINDRA KRISHAN ) rose to become the most sought after and successful Lyricist , Screen Play and Dialogue writer of Hindi cinema . A low profile was his trade mark. He did not create much literature apart from what he wrote for films . He wrote songs for more than 200 films, Dialogues for more than 100 films and Screenplays for an equal number of films . Though he wrote most melodious songs of his time that created musical sensation , he always maintained a low profile , lived a family life and later on spent his leisure in Horse Racing . After his success in Films ,He brought all his brothers to Mumbai and ensured their settlement . The eldest Madho lal Duggal ,continued to live in Shimla but Rajindra Krishan supported him in all ways and by all means . 

He dressed well, ate well and had a limited number of personal friends that included Sunil Dutt , Madan Mohan, Bhagwan, Mehmood , I S Johar and R K Nayyar . A Punjabi to core , he loved Alu Parantha , Sarson Ka Saag , Chaney Chholey , Saag meat and Curd lassi . 

At a point of time , he was a much sought after screen play writer , lyricist and Dialogue writer in Mumbai’s film circles . From late ‘40s’ to the late '60s ‘ ,there was only one person with whom producers, financiers, directors, composers wanted to work as if he was a superstar; That much sought after person was Rajendra Krishan. His additional qualifications were that he was fluent in Tamil. That made him quite sought after by Many production Houses of Chennai especially AVM .He was known as KING in Chennai and INVISIBLE GIANT in Mumbai film world. 

Luck always remained on his side . D D Kashyap, the producer of film “Badi Behan” Gifted him a Car. His songs “ Chup Chup Kharre Ho Zaroor Koyee Baat hai ” and “Chale jaana Nahin Nain Milaa ke ” broke all previous records of Popularity . He had also written Dialogues or the this 1949 super hit Movie 

And then a windfall; Sometime during late seventies of the last century , he won a jackpot worth Rs.46 lakhs in Horse Racing. 

Rajindra Krishan devoted 50 years of his active life to Mumbai cinema . Starting from Zanjeer ( 1947), his Last movie as Lyricist was AAG KA DARIYA (1990) . Some successful movies wherein he associated himself are .

(1) PADOSAN ( Dialogues , screen play and songs )

(2) BHAROSA ( Dialogue and Lyrics )

(3) ANARKALI ( Lyrics )

(4) BARI BEHAN (Dialogue and Lyrics )

(5) LOVE IN SHIMLA (Lyrics )

(6) NAZRAANA (Dialogue and Lyrics )


(8) JAHAAN ARA ( Lyrics )

(9) DOLI ( Dialogue and Lyrics )

(10) EK SHRIMAAN EK SHRIMATI (Screen Play AND Dialogue )

(11) GOPI ( screenplay )

(12) BOMBAY TO GOA ( Lyrics )

A sample of His popular songs goes as..

(1) Dua Kar Gham e Dil Khuda se dua kar 

(2) Dheere se Aa Jaa Ri Akhiyan Mein Nindiyaa 

(3) Ek Chatur Naar kar ke singaar 

(4) Aey Dil Mujhe Bataa de tu kiss pea a gayaa hai

(5) Aankhon mein Masti sharaab ki 

(6) Dekha na Hai sochaa na Hai Rakh di nishaaane pe jaan

(7) Govinda Aala Re Zara Matki sanbhaal Brijbaala 

(8) Phir Vohi Shaam vohi Gham Voh Tanhaayi Hai 

(9) Aaj Ki Mulaaqat Buss Itani

(10) Aapalum Chaplum

(11) Eenaa Meena deeka 

(12) Chal Urr Ja Re Panchhi 

(13) Woh Bhooli Dastaan 

(14) Jahaan Daal Daal Par sone ki chirriya karto hei Basera 

(15) Pal Pal Dil Ke pass 

(16) Sukh Ke sab Saathi dukh ka Na Koyee 

(17) Mun Dole Mera Tan Dole 

(18) Mere saamne wali khidki mein 

(19) Qadhar jaane na mora Baalam Bedardi

(20) Itnaa Na Mujh Se Tu Pyaar Badaa ke mein ek Baadal

(21) Daal Roti Khaao Prabhu Ke Gun Gaao

(22) Yeh zindagi ussi ki hai 

(23) Bholi Surat Dil Ke khote 

(24) Bindraban Ka Krishen Kannhaya sab ki aankhon ka tara 

(25) Hum Pyaar Mein Jalne waalon ko 

(26) Ja ri Ja ri O Kaari Badariya 

(27) Jadugar Saiyaan Chhorro mori Baiyaan 

(28) Jo Unki Tamnaa hai Barbaad ho ja 

(29) Khuda bhi aasmaan se jab zameen par Dekhtaa Hoga 

(30) Mere Piya gaye Rangoon

(31) 'Ramchandra Keh Gaye Siya Se Aisa Kalyug Aayega

32 Yuun Hasraton Ke Daag 

In an interview, actress Sadhana once said 

"He could write an immortal song in minutes, by itself or to a tune. But he never drummed up publicity through any journalist. I know Krishan ji often wrote his most lasting songs in a matter of 15-20 minutes, and often on the back of any paper readily available - like a cigarette packet . Quite often these paper pieces got misplaced and so many creative compositions were lost.”

Her filmmaker husband R.K.Nayyar mostly engaged Rajindra Krishan ji for their home productions . 

He worked With many music directors that include Husnlal-Bhagatram, Shyam Sunder ,Anil Biswas , C.Ramachandra , Hemant Kumar, Madan Mohan, S.D.Burman, S Mohinder , Chitragupta, Ravi, Shanker-Jaikishan, Salil Chowdhury , Kalyanji-Anandji, R.D.Burman , Laxmikant-Pyarelal, Shiv-Hari, Anu Malik and Anand-Milind. But he had a special liking for Madan Mohan . He would often say 

“ Madan Ji de Vaaste ta mein Free Bhi Kum Karaanga . or For Madan ji , I can work without any remuneration.” 

 It appears that Rajindra  Krishan had  profound knowledge  of Hindi and Urdu literature / poetry. He  kept his songs simple and yet full of melody .

In an interview, Hemant Kumar once said

"Let’s suppose the recording of a song is fixed 15 days hence; he will come to the studio alright, but won’t work. He’ll say, ‘Come I know a place where this item is great! Let’s go eat.’ So we go there. Next day it’s something else. Then he’ll be away at the races. Thus we come to the 12th day. Now we put pressure on him. Then he’ll sit somewhere quietly and come back after 15-20 minutes with the complete song!" 

He died on 23rd Sep. 1988. HMV considered him as one of the major lyricist of India and to honour him, the company brought out an LP containing 12 of his most popular songs.

I end this post with some lines from a gazal of Majrooh ..

Sharh e Gham To Mukhtasar Hoti gayee Uss ke Huzoor 

Lafz Jo Munh Se Na niklaa Dastaan bataa Gayaa..

Jis taraf Bhi Chal Parray hum aabalaa paayan e Shauq 

Khaar se Gul Aur Gul Se Gulsitaan Bantaa Gayaa 

( Autar Mota 03.07.2014 )


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