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 characterized by a poetic finesse that seamlessly blends with the cinematic form, creating an experience that is both intellectually stimulating and emotionally resonant.
The moment I opened the door, the book on my table flipped its pages and said: “Friend, Where were you for so long?”
Gulzar
Birth and Early Life
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 Meets Bimal Roy
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.
Sensitive Filmmaker
The ability to weave social commentary with human drama, which Gulzar learned 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 radicalization of youth, and unemployment. 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 drama “Aandhi,” starring Suchitra Sen and Sanjeev Kumar. The film 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.
Gulzar’s Stories
With his divers filmography he over and again shows his ability to handle different genres, from drama to comedy. He directed “Khushboo (1975),” based on a novel of Sharat Chandra Chattopadhyay. He explored the cross-generational saga of love and regret in “Mausam (1975),” starring Sharmila Tagore and Sanjeev Kumar. In 1977 he came up with Kinara (1977), a story exploring human relationships in the backdrop of tragedy. “Kitab (1977)” explored the psyche of a child who finds it difficult to understand the grownups around him.
In “Meera (1979),” he revisits the legend of Meera Bai and her divine love for his beloved Krishna. Through “Namkeen (1982),” he explored the lives of four women who struggle to survive in a remote mountain. In 1982, he adapted the novel Bhranti Bilas by Ishwar Chandra Vidyasagar, which was based on Shakespear’s The Comedy of Errors. The film was Sanjeev Kumar, Maushumi Chaterjee and Deven Verma starrer Angoor.
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.
Later Work
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 it a must-watch.
Gulzar explored the extramarital relationships in Libaas (1988) with utmost sincerity. He then explored the themes of undying love in “Lekin… (1990),” a timeless story. He sensitively approaches the issue of terrorism and its causes in “Maachis (1996).” He directed his last film, “Hu Tu Tu,” in 1999, which explored the corruption in Indian politics.
Gulzar – The Lyricist with a difference
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. In the 70s and 80s, his collaboration with R.D. Burman gave some of Hindi cinema’s most beautiful songs. More recently, he worked extensively with Vishal Bharadwaj and A.R. Rahman. His collaboration with Rahman on Jai Ho, earned him the Academy Award for best song.
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.
Accolades
Over the years, Gulzar recieved numerous awards and accolades, including the Dada Saheb Phalke Award (2013), India’s highest film honor. He also got the 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 married renowned 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.
Guzar on Rekhta
