Whenever we talk about love stories or love songs in Hindi films, the one name that automatically comes to mind is Shakeel Budauni, a poet of Ghazal, a genre of poetry dealing largely love – expressing it, celebrating it, or mourning it. Although Shakeel’s poetry and lyrics are a celebration of love, confining him in a bracket is sheer injustice. He was not “progressive” like many of his colleagues. He also does not belong to the block, which dictated the dos and don’ts of literature for a long time. The irony is that the so-called progressive block was also not known for its acceptance of different ideas.
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Willum Skeener
Shakeel Badayuni was born on August 3, 1916, in Badaun, Uttar Pradesh, a city famous for its rich literary history. His father’s name was Mohammed Jamaal Ahmed Sokhta Qadiri, who arranged for his early education in Arabic, Urdu, Persian, and Hindi at home. Later, he joined the historic Hafiz Siddiqui Islamia Inter College, Budaun.
In 1936, Shakeel joined the Aligarh Muslim University for his graduation. Although he started writing poetry at an early age, a hobby his father was not at all fond of, in AMU’s literary atmosphere, Shakeel nurtured his hobby and started participating in “Mushayras,” which made him a campus celebrity.
He also started taking “Islaah (correction)” from Hakim Abdul Waheed ‘Ashk’ Bijnori.
It was a time when Urdu literature was going through a changing phase. People influenced by the new world order and communist and socialist ideas started experimenting with the themes and topics of poetry. All the new poets, be it Majaz, Faiz, Ali Sardar Jafri, or Kaifi Azmi, were in the “sahar (trance)” of Josh Malihabadi’s revolutionary poetry, which talks about breaking shackles and bringing social and political change. Shakeel, on the other hand, was from the tradition of Hasrat Mohani, who, despite being a revolutionary himself, always remained the traditional poet and was called “Shahanshah-e-Taghazzul.” His poetry, like Hasrat, remained romantic, deeply emotional, and a celebration of love in all its form and glory.
After leaving AMU, Shakeel took a job in the supply department in Delhi. He kept participating in Mushayras and gained a reputation as a good poet. In 1946, Shakeel was invited to a Mushayra in Bomaby, where he was noticed by film producer AR Kardar. It was the time when he met future greats like Jigar, Neeraj, Khumar, Nooh Narvi, Mahir-ul-Qadiri, and Majrooh.
Shakeel was feeling trapped in his job and wanted to change when he got the offer to join Kardar Studio as a lyricist through Hakeem Mirza Haider Beg Dehlvi. Shakeel accepted it with some reluctance and moved to Bombay.
Shakeel wrote the songs of the film “Dard (1947),” Satarring Suraiya, Munawwar Sultana, and Nusrat. The music was given by Naushad, consisting of classic songs like “Hum Dard Ka Afsana Duniya Ko Suna Denge by Sahmshad Begum” and “Afsana Likh Rahi Hoon by Uma Devi (Tun Tun).” The success of film and its music started one of the greatest collaborations between two geniuses, which lasted 24 years until Shakeel’s death.
Next comes Dilip Kumar and Nargis starrer Mela (1948), which has songs like “Ye Zindagi Ke Mele,” “Gaye Ja Geet Milan Ke Tu Apni Lagan Ke,” and “Shaayad Wo Ja Rahe Hain, Chhup Kar Miri Nazar Se.” A. R. Kardar’s “Dulari (1948),” starring Madhubala, Suresh, and Geeta Bali, has one of the finest Rafi numbers, “Suhani Raat Dhal Chuki.” The haunting song became an anthem for lovers who are longing for their beloved. Dulari also has one of the most optimistic songs, “Ae Dil Tujhe Kasam Hai, Tu Himmat Na Haarna,” a beautiful deviation from his usual tone.
“Chhod Babul Ka Ghar” and “Milte Hi Ankhen Dil Hua Diwana Kisi Ka” in Babul (1950), “Huye Hum Jinke Liye Barbad” and “Chaman Mein Rakhe Veerana” in Deedar (1951), “Dil Mein Chhupake Pyar Ka Toofan Le Chale” and “Maan Mera Ehsan, Arrey Nadaan” in Aan (1952) established him as a top lyricist of the time.
In 1952, he wrote songs for the historical epic “Baiju Bawra.” A lot of people were sceptical about him writing songs for a film about classical music due to his background as an Urdu poet. Shakeel proved all of this wrong and wrote one of the finest Bhajans of all time, “Man Tarapat Hari Darshan Ko Aaj,” which Naushad composed in Raga Malkauns. The bhajan was sung with such devotion by Rafi Saab that people still get mesmerised by its sheer beauty.
The film also has “O Duniya Ke Rakhwale,” “Door Koi Gaye,” “Tu Ganga Ki Mauj Mein Jamana Ka Dhara,” and “Door Koi Gaye Dhun Yeh Sunaaye.” He also wrote the classical bandish “Tori Jai Jai Kartaar” and the bhajan “Sancho Tero Naam.”
1954 brings Mehboob Khan’s “Amar,” starring Dilip Kumar, Madhubala, and Nimmi. Amar’s songs like “Tere Sadake Balam Na Kar Koi Gam,” “Na Milta Gham Tau Barbadi Ke Afsaane Kahan Jaate,” “Radha Ke Pyare Krishina Kanhai,” and “Umangon Ko Sakhi Pi Ki Nagariyaa Kaise Le Jaaun” are still hummed with love.
Mehboob Khan’s next was his magnum opus “Mother India,” where Shakeel wrote “Duniya Mein Hum Aaye Hain,” “Dukh Bhare Din Beete Re,” “O Gaadiwale,” “Nagari Nagari Dware Dware,” and one of the finest holi songs, “Holi Aayi Re Kanhai,” among others.
1960 was the year when Shakeel gave words to all the people who could not dare to cross the boundries of caste, class, and society with “Ai Mohabbat Zinda bad” and “Pyar Kiya to Darna kiya” in Mughal-e-Azam. Be it “Mohe Panghat Pe,” “Mohabbat Ki Jhooti,” “Teri Mehfil Mein,” “Bekas Pe Karam Keejeye,” or the classical Bandish “Shubh Din Aayo Raj Dulara” and “Prem Jogan Ban Ke,” every song is a gem and a testament to the genius of Shakeel.
The same year came another classic, “Kohinoor,” where Shakeel again put on his devotional hat and wrote “Madhuban Mein Radhika Nache Re,” sung by Mohammed Rafi and Niyaz Ahmed Khan. Very few Krishana bhajans can reach the level of this absolute gem. The film also has songs like “”Do Sitaron Ka Zameen Par Hai Milan Aaj Ki Raat” and “Dhal Chuki Sham-E-Gham.”
The third film of 1960 where Shakeel wrote the song was Gurudutt’s “Chaudhavin Ka Chand,” which earned him his first Filmfare Award for Best Lyricist. The music director was Ravi. “Insaaf Ki Dagar Pe,” one of the most popular patriotic songs in Hindi cinema, comes in “Gunga Jamuna (1961). Some other songs from the film are “Do Hanson Ka Joda,” “Nain Lad Jaihe To,” and “Dhundo Dhundo Re Sajna.” The same year, Ravi “Gharana (1962)” received another Filmfare Best Lyricist Award for the song “Husnwale Tera Jawab Nahin.”.
Shakeel’s golden phase continues with “”Sahab Biwi aur Ghulam (1962),” where he wrote songs like “Na Jao Saiyan Chhuda Ke Baiyan,” “Piya Aiso Jiya Men Samaya Gayo Re,” “Saqiya Aaj Mujhe Neend Nahin,” and “Bees Saal Baad (1962),” which gave him another Filmfare Best Lyricist Award for the song “Kahin Deep Jale” and Mere Mehboob (1993). In Mere Mehboob, he wrote a rare song about a lady praising the beauty of his male lover, “Mere Mehboob Men Kya Nahin.” The film also has songs like “Mere Mehboob Tujhe,” “Yaad Mein Teri,” and “Janeman Ek Nazar Dekh Le.”
In 1964, for Dilip Kumar’s “Leader,” he wrote a song praising the monument of love, Taj Mahal. The song is in direct contrast to Sahir’s famous nazam, “Mere mehboob Kahin aur mila kar mujhse” where he declared Taj Mahal a mockery of the love of poor people. Shakeel wrote
“Taaj vo sham’a hai ulfat ke sanam-khaane ki
jis ke parvaanon mein muflis bhi hain zardaar bhi hain
sang-e-marmar mein samaaye hue khwaabon ki qasam
Marhale pyaar ke aasaan bhi hain dushwaar bhi hain
Dil ko ik josh iraadon ko jawaani di hai
Ik shahenshah ne banwa ke haseen Taj mahal.”
You can choose whatever view you like—complain like Sahir or celebrate the power of love like Shakeel.
In leader there are more gems like patriotic “Apni Azadi ko ham” and enchanting celebration of intoxication with a philosophical touch “Mujhe Duniya walo.” In 1966, two remarkable films were released, both with Shakeel’s lyrics: “Do Badan” and “Dil Diya Dard Liya.” Songs like “Lo Aa Gayi Unki Yaad,” “Raha Gardishon Mein,” “Bhari Duniya Mein Aakhir,” and “Naseeb Mein Jiske Jo Likha” from Do Badan have since become the most popular sad songs in Hindi films. Dil diya Dard liya also has memorable songs like “Koi Sagar Dil Ko Behlata Nahin” and “Guzre Hain Aaj Ishq Mein.”
His last few films are Ram aur Shyam(1967),Noorjehan” “(1967),Palki” “(1967),” “Aadmi” (1968),” “Sungharsh (1968),” and “Jurm aur Saza (1974).
Some of his other famous songs are Mere “Zindagi Denewale Sun” (Dile Nadan), “Jogan Ban Jaungi Sayyan Tore Karan,” “Chandan Ka Palna Resham Ki Dor,” “Aaye Na Balam Wada Karke” (Shabab), “More Saiyan Ji Utrenge Paar” (Uran Khatola), Meri Pat Rakho Girdhari (Ghunghat),” “Nanha Munna Rahi Hoon” (Son of India), “Bekarar Karke Hume,” “Zara Nazaron Se Kah Do Ji” (Bees sal baad), “Ham bhi agar bache hote…” (“Door Ki Awaaz”), “Dil Laga Kar Hum Ye Samjhe” (Zindagi Aur Maut), “Aaj Ki Raat Mere Dil Ki” “Balam Tere Pyar Ki Thandi Aag Mein Jalte Jalte Main,” “Dheere Dheere Bol, Koi Sun Lega Sajna” (Ram aur Shyam),” “Jaanewale Tera Khuda Hafiz(Palki),” “Na Aadmi Ka Koi Bharosa,” “Aaj Puraani Raahon Se (Aadmi),” “Jab Dil Se Dil Takrata Hai” “Ishq Deewana, Husn Bhi Ghayal” “Mere Pairon Mein Ghunghroo” (Sunghursh) and many more.
Shakeel’s non-film ghazals were also equally popular and sung by many popular singers, like Talat Mehmood, Jagjeet Singh, Ghulam Ali, Nirmala Devi, Peenaz Masani, Pankaj Udhas, and most notably Begum Akhtar. Some famous ghazals are “Ae Mohabbat tere anjaam pe rona aaya,” Banaa banaa ke tamannaa mitaaii jaatii hai,” “Khush hoon ki meraa husn-e-talab kaam to aayaa.” “Merii zindagii pe na muskaraa mujhe zindagii kaa alam nahi,” “Shaayad aaghaaz huaa phir kisii afasaane kaa,” “Terii mahafil se uthakar ishq ke maaron pe kya guzari” and “Mere hamnafas, mere hamnawaa” among others.
Shakeels poetry, both film and non-film, explores various facets of love, capturing the essence of human feelings and often giving it a philosophical tone.
His poetry collections like “Rangeeniyan,” “Ranaaiyan,” “Sanam-o-Haram,” Dharti Ko Akash Pukare,” “Door Koi Gaye,” and “Shabistan” delve into themes of love, human emotions, pathos, dejection, and blending muted anger with resilience. She also published a devotional poetry selection, “Naghma-e-Firdous.”
Shakeel Badayuni passed away at the age of fifty-three due to complications from diabetes on April 20, 1970, at Bombay Hospital. He is survived by his wife and four children: two sons named Javed and Tariq, and two daughters named Najma and Raziya.
