When Anusuya Singh Estevez, the able babe of Gurbaksh Singh Preetlari, anesthetized abroad aftermost ages in Merida, Venezuela at the age of 84, it created ripples in the arcane circuit. Followers of Shiv Kumar Batalvi alike on the amusing media and declared Anusuya as Batalvi’s barren love, who aggressive him to address the around-the-clock gem, ‘Ik kudi jida naam mohabbat gum hai’ (A girl, whose name is love, is lost).
Composer Amit Trivedi acclimated Batalvi’s ballad to mesmerising aftereffect in Udta Punjab. Articulate by Shahid Mallaya with versions by Diljeet Dosanjh and Alia Bhatt, the song became the defining affection of the blur and continues to be a hit with teenagers.
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Does a burst affection let one pen abundant balladry or is it aloof a allegory broadcast by fans, and, at times, by writers themselves. There are assorted narratives about how the amorous accord amid Anusuya and Shiv was dead afore it blossomed in Preet Nagar, an branch of advanced thoughts created by Gurbaksh Singh, area Eastern and Western account met and begin a articulation in the much-sought-after annual Preetlari.
Old-timers say it was a Nehruvian agreement adjoin a conflict-ridden apple area artistic personalities such as Balraj and Bhisham Sahni, Sobha Singh and Balwant Gargi met and discussed their work. It is said that it was actuality that the ideal affair amid Sahir Ludhianvi and Amrita Pritam additionally took shape.
Noted Litterateur Amrita Pritam.
Senior analyzer of Punjabi literature. Prof. Krantipal. advises followers to apprehend the argument and to not go by the belief associated with it. “By accomplishing so, you are attached the amplitude of the anticipation of the writer,” he says, abacus that it’s usually teenagers on the bend of adolescence who are fatigued to the abundantly handsome Batalvi, whose date attendance charcoal unrivalled.
Most writers of affair in Punjab, he says, were aggressive by the annoyed affair of Shirin-Farhad and Sohini-Mahiwal and Shiv was no different. “According to me, he was not aggressive by aloof one woman or aloof one situation,” says Prof. Krantipal, reminding me of Shiv’s account with the BBC, which is accessible on YouTube.
In the interview, back he is asked of adulation and heartbreak, he denies the abstraction of one image, one adulation and says, in fact, that it was a aggregate of adventures and the chic anatomy of Indian association that afflicted his poetry. He goes on to say he could not accomplish a complete angel of his muse. “It was somebody’s lips, somebody else’s anxiety that aggressive me to write.” But he does accept that every bookish is dying a apathetic death. The youngest to win the Sahitya Akademi Award, Batalvi died of alarmist problems at the age of 35.
In the case of Sahir-Amrita, there is affirmation that Sahir Ludhianvi did address at atomic one song for her that was afterwards acclimated in Bharat Bhushan-starrer Dooj Ka Chand (1964). Akshay Manwani, Sahir’s biographer, says that in her adventures Raseedi Ticket, Amrita, who was addled with Sahir for a continued time, mentions the black back she forth with Imroz, her chambermaid partner, went to accommodated Sahir in his auberge in Delhi. That night, she says, Sahir alleged up at midnight and sang the nazm, ‘Mere saathi khali jaam’, apropos to the abandoned glasses on his table in which the three had been bubbler whiskey that night.
Referring to the conversation, Amrita writes that Sahir told her over the phone, “There are still three glasses lying on the table. By turn, I am sipping from anniversary one of them, and writing.” It resulted in the accepted song, ‘Mehfil se uth jaane waalon tum logon par kya ilzam, tum abaad gharon ki vasi capital awaara aur badnam,’ composed by Roshan and articulate by Mohammed Rafi.
As for belief about Sahir autograph ‘Chalo ek baar phir ajnabi ban jayen hum dono’ (Hamraaz, 1967) for accompanist Sudha Malhotra, Manwani says it is in the area of gossip. “I asked Sudha Malhotra and she denied that the song was accounting for her. These are burghal legends that admirers authority on to with abundant appetite and back somebody clarifies that there is no absolute proof, the followers feel devastated,” he chuckles.
On the aforementioned lines, it is said that artist Gopal Das Neeraj wrote, ‘Carvan guzar gaya gubar dekhte rahe’ back he acquainted abandoned afterwards watching the alliance advance of his admired canyon by. Years later, the song was composed by Roshan and articulate by Mohammed Rafi in Nayi Umar Ki Nayi Fasal (1966). Back this announcer already asked the artist about the adventure abaft the song, he alone said that karuna (compassion) is an capital additive of his activity and the song is one of the bigger examples of it. He was not too blessed with its picturisation though.
The adventure of artist Asrar Ul Haq Majaz is no different. As handsome as Neeraj and Shiv, he was additionally a angel of the date with a huge changeable fan following. Like them, he additionally faced affliction and wrote the nazm, ‘Ae gham-e-dil kya karoon, ae vehashate dil kya karoon’ (Oh sad heart, what shall I do? Oh balked heart, what shall I do?), blue-blooded ‘Awaara’ by him.
Many years later, it was composed by Sardar Malik and acclimated in Shammi Kapoor’s Thokar (1953). The blur flopped, but the song lives on, address Talat Mahmood’s voice.
Suhaib Sherwani who co-produced a affection blur on the activity of Majaz says the Lucknow-based artist had baleful tendencies and begin himself a misfit in Bombay area abounding of his accelerating biographer accompany had migrated.
Guru Dutt in ‘Pyaasa’
It is said that Guru Dutt’s Pyaasa additionally had elements of his life. In fact, in the arena area Vijay (Guru Dutt) is confined drinks afore a anapestic soiree, a angular adolescent man with bouncing beard recites a couplet:
Roodad-e-gham-ulfat unhe kya kehte aur kyoon kehte
Ik harf bhi na nikla honthon se, aur aankhon capital aansoon aa gaye
(What sad adulation belief shall I acquaint her and how. Afore I could absolute a word, I saw tears in her eyes) The brace is taken from a Majaz’s ghazal and sets the accent for ‘Jaane woh kaise log the jinke pyaar ko pyaar mila.’
As Majaz was already affable with artist Sahir and scriptwriter Abrar Alvi, it is said that the brace and the angel of the adolescent artist was their accolade to the artist who anesthetized abroad in 1955, two years afore Pyaasa fabricated it to theatres.
Sherwani, who accomplished English Abstract at Aligarh Muslim University, says the angel of the artist was not necessarily of Majaz. “It reflected a all-around trend afterwards Apple War II back artistic souls were analytic area altruism was headed.”
Wine and woman, he says, are metaphors in Urdu balladry which should not be taken literally. “Many eminent poets resisted the blur apple because it generally does a accurate adaptation of their words through images. It is like legends and belief which are about meant to explain animal behaviour and accept a airy amount but the apprenticed amusement them as bald stories.”
However, over the years, he says, it has been accurate that images can abrasion off but ballad continues to arm-twist new meanings for a new generation.
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