Seeli Hawa (Libaas)

[Contains spoilers] [Long post]

"Kitne kam logon ko ye baat samajh mein aati hai ki dhun bana lene se hi gaana nahin ban jaata. Tumhare apne lafzon mein, use nourish karna padta hai, uski parvarish karni padti hai. Ghanton aur pahron tak nahin, balki kai dinon tak gaate rahna padta hai. Tab jaakar uski chamak nikalti hai. Tumhari peeth peechhe kaha karta tha, aaj tumhare saamne kah raha hoon - tum jitne bade creative fankaar the, utne hi bade craftsman bhi the."

(Few people understand that creating a tune alone doesn't make a song. In your own words, a song has to be nourished. A few hours won't make it, it has to be sung for days - only then does it really shine. I used to say this behind your back, today I say this to your face - Not only were you a creative artist, you were just as big a craftsman!)

[-Gulzar, about RD Burman]

And thus a song was nourished for days, and allowed to ripen; so that when we reaches us, it lights up not only our brains, but our very hearts. And like a fine wine, it has not only stood the test of time, but gotten better with it. RD Burman, boss, what a musical genius you were indeed! And knowing how you had the perfect tune, not letting it go overboard with instruments, but allowing the mellow voice of Lata Mangeshkar transport us to the neeli nadi and letting us go inside the happy-yet-pained heart of the heroine - brilliant indeed. 

I have wanted to do this song for a long, long time; but was avoiding as I had not watched Libaas. Fact is, I have still not seen the movie, and I'm basing my interpretation of this song on the short-story Seema (also by Gulzar) on which the film is based. (available in a book called "Raavi Paar").

The stage is set thus:
Sudhir (Naseer) and Seema (Shabana) are married - Seema to Sudhir, and Sudhir to the theater. So devoted is Sudhir to his theater that he views Seema first as an actress and then as his wife. ("Seema, theater sirf tumse hi nahin, mujhse bhi jyada important hai.. Hum donon baad me aate hain, aur theater pahle"). Seema ends up finding love in TK (Raj Babbar), Sudhir's happy-go-lucky friend. But is she really in love with TK or just running from the unrelenting demands of Sudhir?

The way I see it, it's the story of Seema as she tries to come to terms with herself and find peace within. Sudhir and TK are just instruments in taking her journey forward. She loves Sudhir, but feels suffocated by his overbearing persona. When she is with him, it feels as if her own identity is fading away. And while TK lets her be, she finds herself thinking of Sudhir more and more. Like a lot of us, she is not absolute. She is still sorting out her confusions and that's what makes her so real

"Ghar mein rahti thi to ghar bore karta tha, theater mein ho to theater bore karta hai.. Hamesha wahaan rahna chahti ho jahaan nahin ho, aur jahaan ho usse kabhi khush nahin ho. You always want to be somewhere else, not where you are... and you don’t even know where you want to be!"
[-Sudhir, about Seema]

Anyway, I was hugely disappointed when I saw in the trailer (posted below), that my favorite song was picturised on Seema and TK. In my mind, I always thought that the song would be picturised while Seems thinks of Sudhir ( + admittedly, I don't much care for Raj Babbar)

So, now that my year-old belief has been turned on its head, I try to interpret this song as well as I can.

Lyrics, and translation:

Seeli hawa chhoo gayi, seela badan chhil gaya
Neeli nadi ke pare, geela sa chaand khil gaya

[[A dampened moon blooms beyond the blue river
At a time like this, even a misty breeze chafes my skin]]

Tumse mili jo zindagi, humne abhi boyi nahin
Tere siwa koi na tha, tere siwa koi nahin

[[I have not shared with anyone the life that you've given me
There was no one but you, there is no one but you]]

Jaane kahan kaise shahar, le ke chala ye dil mujhe
Tere bagair din na jala, tere bagair shab na bujhe

[[Where does this heart of mine takes me to?
Neither a day lights up, nor does a night put itself out without you]]

Jitne bhi tay karte gaye, badhte gaye ye faasle
Meelon se din chhod aaye, saalon si raat le ke chale

[[The closer I try to come, the farther away I feel
Leaving behind days long as miles, I carry with me nights that feel like years]]

[[Kanu's comments: This antara I feel reflects Seema's inner turmoil. The more she's trying to get in touch with herself, the harder it seems. When she was with Sudhir, each day seemed to go on forever under Sudhir's tyranny; but now the nights seem to last forever without him. Earlier she didn't have the peace of mind, now she can't find the peace in her heart.]]

Tujhse naaraaz nahin zindagi (Masoom)

It feels stupid trying to translate one of Gulzar's most iconic and widely loved songs (It got him one of his 10 Filmfare awards for best lyricist (in 1984)). But stupidity is nothing new to me, so here it goes!

The stage is set thus:
Indu (Shabana Azmi) and DK (Naseeruddin Shah) are happily married, with two daughters. The unexpected and unwelcome arrival of Rahul (the love child of DK) in the family shakes the very foundation of their lives. At different points of time in the movie, this song expresses the unspoken feelings of both the protagonists.

But more than that, it speaks for all of us ... of how life keeps throwing surprises our way, much to our bafflement and annoyance. Yet how important these roadblocks are, to maintain the delicate balances in  our lives - of smiles and tears, and of sun and shade.

Lyrics, and Translation:

Tujhse naaraaz nahin, Zindagi! hairan hoon main 

Hairaan hoon main

Tere masoom Sawaalon se, pareshaan hoon main

Pareshaan hoon main

[[Dear Life! I'm not mad at you, just a little weary ...
Stumped by the seemingly innocent questions you keep throwing at me*]]

Jeene ke liye socha hi nahin, dard sambhaalne honge

Muskuraayein to, muskuraane ke karz utaarne honge

Muskuraaun kabhi to lagta hai, 

Jaise hothon pe karz rakha hai

(Tujhse naaraaz nahin...)

[[Somehow I never thought, that I'll have to handle pains in order to live happily

Never realized that I'll have to pay a debt for each smile 

Now every time I smile, 

I am reminded of the debt that's weighing on my lips]]

Zindagi tere gham ne humein, rishte naye samjhaaye

Mile to humein, dhoop mein mile, chaaon ke thande saaye

(Tujhse naaraaz nahin...)

[[Dear Life! But it's not as if these pains are without purpose... because each pain makes me aware of things I never noticed before...

It is only in the scorching heat that we come to know of the relief a cool shade brings**]]

Aaj agar bhar aayin hain, boonde baras jaayengi

Kal kya pata, inke liye aankhein taras jaayengi

Jaane kahan ghum hua, kahan khoya

Ek aansoo chhupa ke rakha tha

(Tujhse naaraaz nahin...)

[[So today, if my eyes well up, I'll cry as long as I want to
Because who knows, tomorrow I may long for these very tears
And then, where will I look for this lone tear drop,
That I had hidden away for so long?]]

My two three cents:

* Earlier I thought the song was addressed not to "life", but to Rahul (Jugal Hansraj). Because just before the song, he asks a question that leaves Naseeruddin Shah totally stumped. I interpreted it as "Main hairaan hoon (ki meri) zindagi tujhse naaraaz nahin" = It amazes me that I am not mad at you  (just baffled by your innocent questions). 

** Something very similar to the lines "Mile jo humein dhoop mein mile, chhanv ke thande saaye" can be found in Gulzar's nazm "Chhaanv-Chhaanv" (from Pukhraj):

Ajeeb hai dard aur taskeen ka saanjha rishta

Milegi chhaanv to bas kahin dhoop mein milegi

(Strange is the relationship between pain and content,

The only place you'll ever find shade, is under the harsh sun)

*** In his album "Pancham: Gulzar Remembers RD Burman", Gulzar introduces this song with the following poignant lines:

"Yaad hai Pancham, jab bhi koi dhun bana kar bhejte the, to saath kah diya karte the, “The ball is in your court”... ye kaun sa ball mere court mein chhod gaye ho tum, Pancham! Zindagi ka khel akele nahin khela jaata... Humari to team hai, aa jao ya bula lo."

Is Mod Se Jaate Hain (Aandhi)

Here is one song that always stumped me when I was younger. I wasn't able to make a head or tale of it. It was after I read the script of the movie (I haven't watched it yet) that the song really started to make sense. A bit delayed, but here it is on my blog :)

About the movie:
Though the movie (Aandhi, 1975) gained much notoriety (and a ban) for bearing a similarity to the life of a certain Ms Gandhi; in my opinion the whole political background was incidental to the movie which is essentially a story about love, ego and personality clashes. But mostly about love. 

The movie traces the love story (and marriage) of an ambitious daughter of a politician (Aarti) and a hotel-manager-by-profession but poet-at-heart guy JK. Aarti's political ambitions prove to be a bit too much for JK and his ego; and they decide to go their separate ways. The movie (constantly switching between flashes from past and present) revolves around what happens when a chance encounter brings them back.

The stage is set thus:
The song occurs at two very important junctures in the movie. First is a mod (turn) in their lives - JK and Aarti have just gotten married and are all starry-eyed about their future. [Spoiler alert!] The second time the song occurs at the climax of the movie; when they finally decide to go their own ways and marks the second mod of their journey.

With this background, let's move ahead to the translation part :)

Lyrics, and English translation:

Is mod se jaate hain

Kuchh sust kadam raste

Kuchh tez kadam raahein

[[From this turn walk by, 

Some lazy paths, 

And a few fast paced lanes.

This is the beginning of a new phase in the relationship of JK and Aarti. Life could take the turn towards the unhurried life that JK dreams of; or could end up in the expressway of Aarti's ambitions. 

Even when de-referenced from the movie, this line sets the tone for the highly abstract yet deeply meaningful lyrics coming ahead.]]

Patthar ki haveli ko

Sheeshe ke gharaundon mein

Tinkon ke nasheman tak

Is mod se jaate hain

[[Towards a mansion made of stones,

In a house of glass

Or a nest of mere twigs

Can we go from this turn

The song further talks about how this turn could lead them towards an everlasting relationship (patthar ki haveli), a brittle one (sheeshe ke gharonde), or one which even the slightest of wind (of trouble) could wreck (tinkon ke nasheman).]]

Aandhi ki tarah ud kar ek raah guzarti hai

Sharmaati hui koi qadamon se utarti hai

In reshmi raahon mein, ik raah to wo hogi

Tum tak jo pahuchti hai, is mod se jaati hai

[[A road, like a raging storm, passes by

And one takes the steps demurely 

Of these silken roads, I look out for the one

That'll take me to you, when I take this turn

The song further speaks of the various tones this relationship could take - volatile like a gale, or a timid one. "But whatever form it takes, of the many enticing options I want to choose the one that'll lead me to you."]]

Ik door se aati hai, paas aa ke palatti hai

Ik raah akeli si, rukti hai na chalti hai

Ye soch ke baithi hoon, ik raah to wo hogi

Tum tak jo pahunchti hai, is mod se jaati hai

[[One road comes from far away and then suddenly takes a U-turn

And there's this lonely road, which neither stops not goes anywhere.

I sit here thinking, there must be a road out there

That'll take me to you, when I take this turn

You're quite sure of the direction of your life, and then it suddenly takes a U-turn. And at times you spend too much time down a road that won't lead you anywhere. 

"But I will sit here and wait for these roads to pass, till the one comes along that'll take me to my lover, my destination.]]

My Two Three cents:

1. This song was written as a nazm, and adapted in the movie. The nazm is not specific to marriage and  its consequences though. Neither is it a love ballad. It simply talks about how one turn could make you end up at a completely different place. Some lines from the nazm:

सहरा की तरफ़ जाकर, इक राह बगूलों में खो जाती है चकराकर

रुक-रुकके झिझकती-सी, इक मौत की ठंडी-सी वादी में उतरती है

इक राह उधडती-सी छिलती हुई काँटों से, जंगल से गुज़रती है -

इक दौड़ के जाती है और कूदके गिरती है, अनजानी ख़लाओं में 

Thanks to @stwta for giving the youtube video of the nazm by Bhupinder Singh.

2. In the movie Aarti tells JK "तुम्हारे पास ये कविता न होती तो तुम बहुत ऑर्डिनरी आदमी होते". I read somewhere that this was something that actually Rakhi told Gulzar. In fact, to me JK's character feels quite similar to Gulzar. His sense of humor and poetic sensibilities are trademark Gulzar. But then, he created the character!

3. Here, Gulzar talks about Sanjeev Kumar and the making of Aandhi.

Mora gora ang lai le (Bandini)

There's a saying in Hindi "पूत के पाँव पालने में ही दिख जाते हैं", meaning "Even in infancy you can tell what the child will turn out to be". With 'Mora gora rang lai le' as his first song as a lyricist*, a star was born on the horizon of Bollywood music industry - a star that will show others the way for decades to come.

Gulzar (at that time probably 26 or 27 years old) takes firm and assured steps as a first-time lyricist, not falling prey to either over-simplifying or over-complicating his words. The words used in this song are simple enough; the multiple layers, metaphors and complexity noticeable in the his later works not coming into play here.

Though the song is about a woman in love, secretly going out to meet her lover, Gulzar steers clear of the typical choice of words - pyaar, milan, dil etc. In a country besotted with all things fair, he chooses a novel path, making the heroine wish that she was darker, so she could go out to meet her lover in the night undetected (becoming one with the night).

The song turns out to be a winner, with just the right mix of naïveté in the lyrics, sweetness in Lata's voice and innocence in Nutan's expressions - and the formidable backbone of SD Burman's score.

Lyrics, and translation

Mora gora ang lai le, mohe shyaam rang dai de

Chhup jaungi raat hi mein, mohe pee ka sang dai de

[[Take my fair body away, and give me a dark skin
If it gives me my beloved's company, I am ready to be one with the night.]]

Ek laaj roke paiyaan, ek moh kheenche baiyaan

Jaaun kidhar na jaaun, humka koi batai de

[[While shyness stops me from going ahead; yearning propels me ahead, tugging at my arms
Will someone tell me, whether to go ahead or not?]]

Badari hata ke chanda, chupke se jhaanke chanda

Tohe raahu laage bairi, muskaaye jee jalai ke

[[The moon peeps at me from behind the clouds
May you get eclipsed, o evil moon, for mocking my misery!]]

Kuchh kho diya hai pai ke, kuchh pa liya ganwaayi ke

Kahaan le chala hai manwa, mohe baavari banai ke

[[I have lost something in me after finding you, and found something new in myself after losing a part of myself to you.
Where is my heart taking me to, now that I'm already crazy in love?]]

Blog author's comments:
1. My favorite line is "Tohe raahu laage bairi" - it has a very spontaneous and rustic feel to it. (In Hindu mythology, Rahu is an asura that causes solar or lunar eclipse.) The word 'Bairi' has a nice mocking tone as well.
2.* Apparently, there's some controversy regarding the first song written by Gulzar. (As pointed out to me by Raj Shekhar ji), but I'll stay out of it for now. :)

Zeehal-e-muskin (Ghulami)

This was inevitable. I know I have done (read translated) this song to death, but I have two reasons to do it again, on this blog.

1. Previosly I had only translated the mukhda, since that was the only part in Persian, and that was what people wanted to know (not that I know Persian, but I had read the translation on net before many around me did :P). Here, I can attempt the full song. 
2. This is a blog about Gulzar's songs, and this one is as awesome as they get.

Since I haven't watched the movie, I'll not go into the the background of, and intentions behind the song; and instead jump right to the translation part :)

Movie: Ghulami (1985)

Music Director: Lakshmikant-Pyarelal

Lyricist: Gulzar

Singers: Lata Mangeshkar, Shabbir Kumar

Lyrics, and translation

Zihal-e-muskeen maqun ba-ranjish, 

Bahaal-e-hijra bechara dil hai

[[Word meanings (Persian to English): Zihal = To notice or see, Muskeen = Poor, Maqun = Do not, 

Ba-ranjish = With enmity/anger, Bahaal = Recently, Hijr = Seperation

In Hindi: Is gareeb/laachaar (miskeen) dil ko jab dekho (zeehal), to gusse se (ba-ranjish) nahin (maqun),

is bechare dil ko haal hi mein (ba-haal) apne mehboob se judai (hijr) ka gham mila hai

In English: Don't look at this poor heart with enmity,

It (the heart) is fresh with wounds of separation.]]

Tere bina zindagi se koi (Aandhi)

'Tere Bina Zingadi Se Koi' from Aandhi (1975) is one of the all time classics, in the voice of Kishore Kumar (amazing how he could yoodley and sing such soulful songs with equal ease) and Lata Mangeshkar (IMO, the greatest singer of all time). This song is composed by R.D. Burman and written by Gulzar. 

The stage is set  thus:

Aarti Devi (Suchitra Sen) and JK (Sanjeev Kumar) are married, but estranged (mainly due to her political ambitions). During one of Aarti Devi's election rallies, they meet again after many years. It's then that they begin to ask themselves, that though they have been living apart for so long, have they really lived all these years, (or merely existed)? This song conveys regret at losing one's love, and raises the question if anything you gained after sacrificing your love was worth it.

Lyrics, and translation:

Tere bina zindagi se koi, shikwa nahin (shikwa nahin, shikwa nahin)

Tere bina zindagi bhi lekin zindagi to nahin (zindagi nahin, zindagi nahin)

[[There is not much to complain about, in a life without you.

But then, a life without you is hardly a life]]