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Dr. Saeed Ahmad Ali
LAHORE, Oct 26 (APP):When it comes to romantic poetry in Urdu language films, the first name that comes to mind is Sahir Ludhianvi, whose contributions to both literature and cinema made him an iconic figure in Pakistan and India. His rise to fame began at a young age, and his impact was such that he remained at the peak of popularity until his death.
Poets typically gain recognition for writing love poems, but Sahir did not simply write love poems—he embodied love itself in a way that became synonymous with his name, earning lasting fame both for himself and his muse, Amrita Pritam. Their connection transcended mere affection, and it’s still hard to say whether it was love that made them famous or whether their love gained its immortality through their shared passion. Even now, half a century after his passing, Sahir Ludhianvi and his profound love for her remain etched in memory.
Sahir Ludhianvi’s fame can be attributed more to his romantic persona than to his actual poetry. Of course, his poems were iconic, but it was also his personality—larger than life—that captivated generations of fans. Alongside this fame, it was the songs he wrote for Bollywood films that brought him millions of admirers, spanning Generation X to Generation Alpha. Every year on October 25, his death anniversary is observed, and this year marks the 45th anniversary of his passing.
While many of the people who personally witnessed Sahir’s life have since passed, his poetry continues to grow in value, much like rare diamonds whose brilliance only increases with time.
Raza Naeem, a translator and literary activist, has published a remarkable research excerpt detailing six formative years of Sahir’s life, from 1943 to 1949 in Lahore. Naeem sheds light on Sahir’s early years, his time living on Abbott Road, his lifestyle, and his philosophical outlook on life. Naeem also highlights the struggle behind the publication of Sahir’s first poetry collection, ‘Talkhiyan’, which later went on to become a bestseller.
At the age of 21, Sahir moved to Lahore after being expelled from Ludhiana College due to his romantic involvement with a girl. Heartbroken, he sought refuge in Lahore, the capital of undivided Punjab at the time. During his stay, Sahir became close to figures like A. Hameed, Ibn-e-Insha, and Fikar Taunsvi.
Despite his growing popularity as a poet, no one was willing to publish his poetry collection initially. Naeem narrates how Gurbakhsh Singh, editor of Savera, took the risk of publishing Sahir’s first collection, ‘Talkhiyan’, in a pocket edition. This collection became an instant hit, cementing Sahir’s place in the literary world.
While only a select few with a deep literary taste have read Sahir’s non-film poetry, his songs for Bollywood films have made a permanent mark on music lovers’ hearts across South Asia for generations.
It’s challenging to pinpoint a single “most loved” song by Sahir, but some of his iconic songs—written for Hemant Kumar—have become timeless classics. These songs were born out of innovative experimentation, blending Eastern and Western musical traditions. Though many musical trends have come and gone over the years, these songs remain a fixture in the lives of many, especially during university and hostel life.
One of Sahir Ludhianvi’s most famous songs, “Kabhi Kabhi Mere Dil Mein Khyaal Aata Hai,” earned him the prestigious Filmfare Award for Best Lyricist. Other beloved songs include “Yun To Hum Ne Lakh Hussain Dekhde Hain,” “Yeh Raat Ye Chandni Phir Kahan,” “Neele Gagan Ke Tale,” “Urrein Jab Jab Zulfein Teri,” and the motivational anthem “Tadbir Se Bagri Hoi Taqdeer Bana Lay,” sung by Geeta Dutt and filmed on Geeta Bali.
Sahir’s iconic lines from his film songs like “I am a poet of Pul Do Pul” or “Jane wo kaise log they jin ke pyar ko pyar mala” have resonated through generations.
Sahir’s real name was Abdul Hai, and behind his pen name, ‘Sahir’, lay a bold social conscience. His poetry—once the voice of a newly independent nation—remains alive today, almost like a perpetual revolutionary manifesto. This manifesto continues to speak to the wounds of our world today, its epigraph found in his own words:
“The death of the body is not a death;
Human beings do not perish with the disappearance of the body.”