Kaifi Azmi
By J.V. Yakhmi
It is with a sense of nostalgia that one remembers Kaifi Azmi, the poet-lyricist who touched our lives through sensitive lyrics that he wrote for Hindi films.
Kaifi Azmi (1919–2002) was a sensitive Urdu poet who never compromised on the quality of his lyrics. Often times, he gave great social messages through very simple lyrics, but never stooped to mediocrity in his writings. No wonder, his lyrics appealed as much to the masses, as to the intelligentsia.
Kaifi Azmi became immortal just by penning “Kar chale hum fida jaan-o-tan saathiyo, ab tumhare hawaale watan saathiyo”, the most popular patriotic number sung by Mohammed Rafi for the film ‘Haqeeqat’ (1964), which had music by Madan Mohan, with whom Kaifi Azmi had a special rapport. ‘Haqeeqat’, a sensitively made film by Chetan Anand on the 1962 Indo-China war, also had a touching group song, “Hoke majboor mujhe usne bhulaya hoga”, and the eve-so-fragile Lata number, “Jara si aahat hoti hai to dil sochta hai…”, both written by Kaifi Azmi. Another number written by him for ‘Haqeeqat’ and sung in a ‘nazm’-style by Rafi was “Main ye sochkar uske dar se utha tha, ki wo rok legi mana legi mujhko”, which presented the mental state of a soldier departing for the battle-front. Thus, the timely and topical ‘Haqeeqat’ demonstrated the mastery of Kaifi Azmi on a wide range of emotions and presented the full range of his poetic genius, possibly for the first time.
However, he never believed in ‘manufacturing’ of lyrics, and would agree to write lyrics for a Hindi film song only if the situation in that film appealed to him. The Guru Datt starrer ‘Kagaz ke Phool’ (1959), with music by S.D. Burman, was one such film for which he wrote most touching lyrics such as “Waqt ne kiya kya haseen sitm” sung by Geeta Dutt, and “Dekhi zamaane ki yari”, by Rafi, both of which are ageless. Unfortunately, the very artistically made ‘Kagaz ke Phool’ was a commercial flop, but “Waqt ne kiya kya haseen sitm” is played even currently on the FM channels.
Expressing emotions in the most imaginative and original manner through lyrics was Kaifi Azmi’s forte, like when he expressed the frustrations of a lover with a rebellious note “Arzoo zurm, wafa zurm, tamanna hai gunah; ye wo duniya hai jahan pyar nahin ho sakta. Kaise bazaar ka dastoor tumhen samjhaoon, bik gaya jo wo kharidaar nahin ho sakta” sung by Rafi for the now-forgotten early film of Dharmendra, ‘Shola Aur Shabnam’, which had music by Khayyam. Similarly, the film ‘Kohra’ (1964), with music by Hemant Kumar, had haunting Kaifi lyrics for the song “O beqaraar dil, ho chuka hai mujhko aansuon se pyar, mujhe tu Khushi na de…”, sung by Lata.
Most of the Hindi film songs written by Kaifi Azmi are very hummable, like the Lata number “Bahaaro mera jeevan bhi sanwaaro” from the Chetna Anand film ‘Aakhri Khat’ (1967), which had music by Khayyam, or, the most enduring Lata number “Chalte-chalte…” from Pakeezah (1971) composed by Ghulam Mohammad, or, the very memorable, “Dheere Dheere machal..” sung by Lata for the film ‘Anupama’ under the baton of Hemant Kumar. Kaifi Azmi was at his best when he wrote “Tum itna jo muskura rahe ho” and “Jhuki jhuki si nazar beqaraar hai ki nahin” — two very sensitive songs for the Mahesh Bhatt directed film ‘Arth’ (1983). Both were sung by the Ghazal Maestro Jagjit Singh, who also composed music for them.
Kaifi Azmi was a purposeful poet in the true sense, who never made any covert efforts to stay in the limelight. No wonder, popular film-lyricist awards did not come his way (not that he cared for them), though he did share the Filmfare best story award with Ismat Chughtai for the off-beat film ‘Garam Hawa’ (1973), directed by M.S. Sathyu, and much acclaimed by the intelligentsia.
A self-respecting person, Kaifi Azmi did not bind himself to any camp in the film industry. However, whenever teamed up with Madam Mohan as music director and Chetan Anand as director, he stole hearts with his lyrics, such as “Do dil toote, do dil haare” or “Milo na tum to hum ghabraayen, milo to aankh churaayen” both sung by Lata and “Ye duniya, ye mehfil mere kaam ki nahin” sung by Rafi — all three from the film ‘Heer Ranjha’ (1970). For ‘Hindustan ki Kasam’ (1973), he contributed the very thoughtful “Hai tere saath meri dua, main nahin to kya” rendered by Lata.
Again, for ‘Hanste Zakhm’ (1973), Kaifi Azmi wrote “Aaj socha to aansoo bhar aaye, muddatein ho gayeen muskuraye” which was sung by Lata. Only Kaifi could pen the couplet, “Dil ki naazuq ragein tootati hain, Yaad itna bhi koyee na aaye” — it is poetry sublime! And, of course, it is not a coincidence that Rafi’s frequently played song on Vividh Bharati channel of All India Radio, “Tum jo mil gaye ho…”, penned by Kaifi Saab is also from a Chetan Anand-Madan Mohan film.
Kaifi Azmi excelled with other composers, too. For example, with music director Ghulam Mohammed, when he wrote “Dil gham se jal raha hai jale par dhooan na ho” for the film ‘Shama’ (1961). For music director Roshan he wrote “Mile na phool to kaanton se dosti kar li”, rendered by Rafi, and “Khushi khushi kar do bida, tumhari beti raaj karegi” by Lata, both for the film Anokhi Raat’ (1968). Another ever-green title number in Rafi’s voice was for the film ‘Bahaarein Phir Bhi Aayengi’ (1966), the music for which composed by O.P. Nayyar.
Kaifi Azmi suffered a brain haemorrhage on 8th February 1973, which led to his left hand and leg paralysed for life. It is then that he decided to return to the village where he was born — Mijwan in Azamgarh District of UP, after living 40 years in Mumbai. He was upset to see that Mijwan was a village frozen in time as he had left it, and still had no road, no electricity, no school, not even a pin code. He founded an NGO, Mijwan Welfare Society at Mijwan for the upliftment of rural population with a focus on the girl child and women. MWS now runs a High School for Girls, an Inter College for Girls, a Computer Centre, and a Sewing and Tailoring Centre, all four named after Kaifi Azmi. Women of Mijwan now have their own bank accounts and control their own destinies. The exquisite chikankari (traditional hand embroidery of Awadh) done by Mijwan’s women has reached the doorsteps of the Film Industry and the Fashion World. Mizwan is today known the world over because of Kaifi’s untiring efforts to uplift it.
