Gulzar is a towering figure in Indian cinema, whose work as a filmmaker, lyricist, and writer has left an indelible mark on the hearts and minds of audiences. His style is characterised by a poetic finesse that seamlessly blends with the cinematic form, creating an experience that is both intellectually stimulating and emotionally resonant.
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Willum Skeener
Gulzar was born Sampooran Singh Kalra, to Makhan Singh Kalra and Sujan Kaur, in Dina, Jhelum District, now in Pakistan. Gulzar’s early life was marked by the partition of India, which forced his family to relocate to Mumbai. Here, he took up various jobs, including one as a car mechanic/painter, which he enjoyed as it allowed him time to read and write. His father initially disapproved of his literary pursuits, but Gulzar’s passion for colours and words only grew stronger.
As a director, Gulzar’s films often delve into the complexities of human relationships and societal issues, presented through a lens that is both sensitive and insightful. His screenplays are tight, often laced with witty dialogues that carry a weight beyond their humor. The themes he explores are universally human, touching upon love, loss, and the myriad shades of life.
Gulzar’s journey in cinema began under the tutelage of greats like Bimal Roy and Hrishikesh Mukherjee, where he honed his craft in storytelling and lyrical writing. He started writing songs for films with Bimal Da’s “Bandini.” “Mora Gora Ang Layee Le” is supposed to be his first song. Although his first film to be released was Kabuli Wala, which also had some all-time greats like “Ganga Aaye Kahan Se,” Bandini and Kabuliwala were followed by “Shriman Satyawadi,” “Sannata,” “Biwi aur Makan,” “Prem Patra,” “Purnima,” “Do Dooni Chaar,” “Aashirwad,” “Khamoshi,” “Rahgir,” and others.
The ability to weave social commentary with human drama, which Gulzar learnt from his Guru Bimal Roy, is evident from his directorial debut, “Mere Apne (1971).” Gulzar successfully shows the themes of loneliness, societal decay, the search for compassion, political corruption, the radicalisation of youth, and unemplyment. A recurring motif in the film is the “Village” and “Aam Ka Baghecha,” a promised land where Anandi, played by Meena Kumari, wants to go back.
He continued to explore diverse themes with films like “Parichay” (1972) and “Koshish” (1972), which dealt with family dynamics and the challenges faced by deaf and mute couples, respectively.
He directed the 1975 movie “Aandhi,” starring Suchitra Sen and Sanjeev Kumar, which was allegedly based on the life and marriage of the then-prime minister Indira Gandhi. In reality, the film only borrowed the looks of the politicians “Tarkeshwari Sinha” and “Indira Gandhi,” but the story was fictional.
He then directed “Khushboo (1975),” “Mausam (1975),” “Kinara (1977),” “Kitab (1977),” “Meera (1988),” “Namkeen (1982),” and “Angoor (1982),” which further showcased his ability to handle different genres, from drama to comedy. These films showcase his unique ability to tell stories that are deeply personal yet resonate on a societal level. His technique is subtle, often using silence and the unsaid as powerful narrative tools, allowing the audience to engage with the film on a deeper level.
One of his most notable films in this period was “Ijaazat,” starring Naseeruddin Shah with Rekha and Anuradha Patel. The film, which is now considered a classic, saw Shah’s character conflict between his lover and wife. But believe me, it’s not at all as simple as it sounds. The performances, treatment of the story, and superb music from R.D. make “Ijaazat” a must watch.
Gulzar’s exploration of the themes of extramarital relationships in “Libaas” (1988) is remembered for its sensitivity and exceptional treatment. He then explored the themes of undying love in “Lekin… (1990)” and terrorism and its causes in “Maachis (1996).” “Hu Tu Tu” (1999) was the last film he directed, which explored the corruption in Indian politics.
In the late 1980s, he did one of the most outstanding jobs for the small screen, a series called Mirza Ghalib, starring Naseeruddin Shah as the legendary Urdu poet. “Mirza Ghalib” will remain one of the most memorable TV productions for its music, direction, dialogue, and performances, especially by Naseeruddin Shah.
The filmmaker’s use of music and lyrics in his movies is another aspect that sets him apart. Gulzar believes in the power of music to convey emotions and narratives that visuals alone cannot. His collaboration with composers like R.D. Burman, Vishal Bharadwaj, and A.R. Rahman has produced some of the most memorable songs in Indian cinema, which continue to be cherished across generations.
Apart from his own films, some of the notable films where he wrote the lyrics include “Anubhav,” “Guddi,” “Seema,” “Anand,” “Gharaonda,” “Ghar,” “Devata,” “Khatta Meetha,” “Griha Pravesh,” “Gol Maal,” “Ratnadeep,” “Khubsoorat,” “Thodisi Bewafaii,” “Naram Garam,” “Baseraa,” “Sadma,” “Ghulami,” “Rudaali,” “Mammo,” “hachi 420,” “Daayraa,” “Dil Se..,” “Satya,” “Fiza,” “Asoka,” “Aks,” “Saathiya,” “Filhaal,” “Pinjar,” “Maqbool,” “Paheli,” “Bunty Aur Babli,” “Omkara,” “Jhoom Barabar Jhoom,” “Slumdog Millionaire,” “Kaminey,” “Firaaq,” “Ishqiya, Raajneeti,” “7 Khoon Maaf,” “Do Paise Ki Dhoop, Chaar Aane Ki Baarish,” “Jab Tak Hai Jaan,” “Matru Ki Bijlee Ka Mandola,” “Haider,” “Dedh Ishqiya,” “Talvar,” “Mirzya,” “Rangoon,” “Raazi,” “Khufiya,” “Sam Bahadur,” and many more.
Gulzar’s poetry, often reflective of social issues, is published in compilations like ‘Chand Pukhraaj Ka’ and ‘Raat Pashminey Ki’. His short stories, collected in ‘Raavi-Paar’ and ‘Dhuan’, showcase his narrative prowess. He has also innovated within Urdu poetry with the ‘Triveni’ stanza form.
Gulzar’s work has been recognised with numerous awards, including the Dada Saheb Phalke Award (2013), India’s highest film honour, Padma Bhushan in 2004 and the Sahitya Akademi Award in 2002. Gulzar has won 6 National Film Awards and 22 Filmfare Awards, an Academy Award, and a Grammy Award for Best Original Song for “Jai Ho” from “Slumdog Millionaire.”
Gulzar is married to actress Raakhee; the couple has a daughter, Meghna. Gulzar has given her the nickname ‘Boski’, which is also an eponym for their home, ‘Boskiana’. Gulzar and Rakhi separated when Meghna was one year old, but never divorced. Gulzar has given her nickname ‘Boski’, which is also an eponym for their home, ‘Boskiana’.
