Saturday, May 21, 2011

Gazal: Meri baahon mein aake yu toot ke bikhar...

Meri baahon mein aake yun toot ke bikhar,
Ke sadiyon ki doori ik pal mein simat jaaye....

1): Mere bujhe armaanon ko chingari de,
Ke sadiyon ki dhool ne jo hain dhake,
Do pal ka jhoota hi sahi,
Magar mere bharam ko zindagi to de,
Saat samandar paar hi sahi,
Dil se tu door nahin,
Milenge-2 hum zaroor milenge,
Ke sirf dil ka nahin, Ye rishta rooh ka hai.

2): Humnein hi tavajoo di zamane ko itni,
Varna to log is layak kahan,
Ke kuch to fark ho hummein-inmein,
Varna to ye sab kitna aasan ho,
Magar bandhan tooteinge ek din,
Ke ye dil na suneinge kisis ki,
Sadiyon ki khalish mit jayegi us din,
Bus khwaab ko haqeekat hone tak ka intazaar hai....

Song: Sapna mera aazad savera...

Dhoom Dhoom dhoom dhoom dhoom
Tana na na na na na na na na na

Sapna mera.....................
Aazad savera...................
Khole bahein...................
Aakash humara..................
Har insaan jahan khilkhilaye, muskuraye,
Ik aisa jahan hum banayein.............
Ik aisa jahan hum banyein..............

1): Mitti mein lahoo ki khushboo na ho,
Hawa na ho ye rookhi,
Bacche na bhookhe soyein,
Aur hasi rahe na roothi,
Nafrat ka namo-nishan na rahe,
Ghar na jayein loote,
Har jagah, har oor se,
Bus pyaar ke ankur phootein,
Insaan ko insaan samjha jaye jahan,
Ik aisa jahan hum banayein........
Ik aisa jahan hum banayein........

2): Jaag re insaan jaag,
Pachtayega na bhag,
Jaag re insaan jaag,
Pachtayega na bhag,
Jaan lahoo ki keemat,
Aur pyar ke moti baant...
Tu pyaar ke moti baant......
Tu pyar hi pyar baant..........

Monday, May 16, 2011

Blog: The Auteur who outshines failure!

His inception was a flick which doesn't deal with components of - what we call success. Debuted with a movie which dealt with the emotions and feelings of the dumb and the deaf, he made a risky attempt to carry the 'what may be the' result thing on his shoulders. Unperturbed with the result of his flicks, he has that guts to bear his heart on his sleeves.

His characters release that life, energy, that aura which obligates us to think - this person must have for sure lived his characters. Far somewhere form this scintillating light of limelight, devoting and dedicating his life to his work - a man burns with the fire of damn packed passion - is Sanjay Leela Bhasali.

A person who emanates a burning desire every now and then, who rejuvenates his characters, flicks with a mind capturing narrative, he works for the far beyond world, which is away from the horizons of success and failure. The remains of his films stay for a longer period in hearts and souls amongst the very few - who understand the meaning of emotions and feelings. If I were to judge him amongst the directors of all times, I would have conferred him a PhD. in film making. I would have kept him at the pinnacle amongst all the directors of our times.

And once again he's come with a flick which again deals with human emotions - the core of the movie. He uses all that he's known for - the blue tones, the classy direction, the best camera angles, and of course the best - his characters. Acting like a mentor, SLB has sucked all the acting components from the protagonist's body, making the rest of it a non-sensible item, except the face through which he adds and emanates the acting bacteria. The movie is not for movie-goers, but it's for the masses that are human beings.

His subjects has that diversification form the story of a deaf and a dumb, to the saga of a triangular love, from the life of a ruined royal to the story of a disabled student's desires, he is the man who takes on all the challenges 'head on'. The merchant of emotions, the tycoon of feelings does it not for moolah but for masses. "Sabne kaha Paro ko cchhor do........, the famous dialogue from his flick Devdas, still races through myriad minds.

The encroacher makes a studious effort to live his characters, drowns himself in the ocean of human physce to get the heart and soul out. 120-150 is roughly the number of films made in India every year, and among those only few which makes it to be successful - is his films. Once in 2-3 years he comes with a new film but that stays for long, which gets diluted in the veins and blood of the masses.

Love has been portrayed for ages in films, but it's only his films which shows a passionate and difficult love - which finally makes the flick engaging. Having encountered more failures than success in his life, the auteur still goes on to show what his heart says, irrespective of whether the movie will make it big at the box office or not. The "dare to bare all", what heart says gets it's exact meaning reaching at the doorstep of SLB. Our very revered nightingale - Lataji - keeps a special place reserved in her heart for Bhansali. In one the interviews she says that during the Filmfare or National Awards, she continually kept on praying for Black - that it should get the highest number of awards. Like the most, she is one of the avid viewers of his movies and respects SLB a lot for his extraordinary talent and differentiable hardwork.

Silence - is what he thinks is the best thing to express the love, when you don't have to prove love by singing a song or when you don't have to say I love you. And above all the amalgamation of the music and emotions in his films is what makes them "out of this world". He admits that at times it's really tough to make other people or his team understand, why are you fighting to improve something which already sounds just right. And in that respect he took the baton himself this time and spearheaded even the music direction himself in Guzaarish. Having developed that ear for music, he has kept no stone unturned, fought day in and day out to compose such a music which is just perfect. So, music is the another domain he's got expertise in.

Love is a universal concept and to love is your karma in the world, believes the director. And that's the reason he's a "doctorate in love portrayal." If Sachin is the God in cricket, Big B is the God in acting, Lataji is the Goddess in singing then without any exception he is the God of direction and film making. He doesn't make films for money or business, but for the masses. Even if his movies face debacle at the box office, he's the talk of the town (would want to replace my words with) "talk of the world." Always a part of hotly debate, among the critics and the people who don't like him, he's the man who colours his flicks with his own hues, a person having his fingers in many pies.

Gazal: Us darr ko shabdon mein...

Us darr ko shabdon mein dhaalte hain aaj,
Ke koi padhe to seekhe, ye jaane,
Ke gar na tode bandhan, na laanghi seemayein,
To fir aap bhi kaheinge kaash.

1): Tum na aaye, har ek aate jaate shksh ko hum bade gaur se dekha kiye,
ke rok paate kaash unhein hum, Gar ye lab sile na hote,
Na hausla dubak ke chupa hota, dil ke ek andhere kone mein.

2): Kaash kuch keh pate us waqt,
Ke ye dil hadh se guzar bhi sakta tha,
Ragon mein garam lahoo dauta-firta rehta tha,
Vo junoon, vo khumaar kahin na kahin to tha,
Jo aaj gum hai gumnaamiyon ke andhere mein,
Magar haqeekat badal gayi hai ab,
Ke tere mere aaj do juda jahan hain.

3): Waqt ke ret sang tum behte gaye,
Hum purane neem ke ped ki tarah ade rahe,
Kaash ukhad jaate kisi toofan mein hum bhi,
To tod paate sabhi hadon ko hum bhi,
Darr ka ek patla sa libaas na oodhe rehte gar dil pe.