Aligarh Wale Akhtar Ul-Iman-: जिनके घर शीशे के होते हैं, वो दूसरों के घर पर पत्थर नहीं फेंका करते...

 बी.आर. चोपड़ा की सुपरहिट फ़िल्म 'वक़्त' में गुजरे ज़माने के मशहूर अभिनेता राजकुमार जब कहते हैं कि 'चिनाय सेठ! जिनके घर शीशे के होते हैं, वो दूसरों के घर पर पत्थर नहीं फेंका करते' तब यह संवाद लोगों की ज़ुबान पर चढ़ गया था।

 

राजकुमार साहब की संवाद अदायगी के लोग कायल तब भी हुआ करते थे और अाज भी उन्हें उनकी कड़क अावाज के चलते याद किया जाता है। ऊपर से इस 'डॉयलॉग' ने दर्शकों को तालियां बजाने के लिए मजबूर कर दिया। खैर, इस संवाद को ताे राजकुमार साहब ने अपनी आवाज देकर अमर कर दिया।

 

लेकिन क्या आप जानते हैं कि ये पंक्तियां लिखी किसने? अपने समय के मशहूर शायर, लेखक अख़्तर-उल- ईमान ने लिखी थी ये लाइनें। अख्तर साहब अपने समय के बहुत संजीदा शायर थे। 'सरों-सामान' किताब में उनकी शायरियों का संकलन है। यह किताब 1983 में सारांश प्रकाशन से प्रकाशित ङुई थी।   

Akhtar-u-l-Iman

Akhtar Ul-Iman(1915-1986) का जन्म उत्तर प्रदेश के नजीबाबाद में हुआ था, जो गाँव की मस्जिद के इमाम के बेटे थे, और एक छतविहीन मदरसे में अरबी और उर्दू में शिक्षा प्राप्त करते थे। परिवार एक गांव से दूसरे गांव चला गया। उनकी बचपन की यादें आसपास के जंगलों के साथ हैं, जो हिरणों के झुंड के साथ घूमते हैं और गांव की सीमा से बाहर भटके हुए मवेशियों और बच्चों पर शिकार करने वाले हाइना के पैक्स बनाते हैं।

 

Akhtar Ul-Iman की शिक्षा अलीगढ़ मुस्लिम विश्वविद्यालय में हुई

उनकी शिक्षा दिल्ली कॉलेज और अलीगढ़ मुस्लिम विश्वविद्यालय में हुई, जहाँ वे प्रगतिशील लेखकों के संपर्क में आए। स्नातक स्तर की पढ़ाई के बाद, उन्होंने विभिन्न क्षमताओं में काम किया, जिसमें ऑल इंडिया रेडियो के लिए एक कर्मचारी कलाकार भी शामिल था। 1944 में वे पूना / पुणे के शालीमार पिक्चर्स से जुड़े और जीवन भर फिल्म इंडस्ट्री से जुड़े रहे।

 

उर्द शायरी के अधिकांश प्रेमी स्वीकार करेंगे कि अख्तर-उल-इमान शायद उनकी मृत्यु तक भाषा के सबसे महान जीवित कवि थे। उनका काम उनके अन्य महान समकालीनों जैसे कैफ़ी आज़मी और भारत के अली सरदार जाफ़री या पाकिस्तान के अहमद फ़राज़ और कातेल शिफ़ाई के रूप में बहुत सरल कारणों से प्रसिद्ध नहीं है: उनके पास एक मुशायरा व्यक्तित्व नहीं है, वह तरन्नुम (जप) और उन्होंने शायद ही कभी फिल्मी गीतों की रचना की।

सोचा न था कि आएगा ये दिन भी फिर कभी

इक बार हम मिले हैं ज़रा मुस्कुरा तो लें।    

अख्तर साहब सिर्फ फिल्मों में संवाद लेखन के लिए ही नहीं अपनी नज्मों और ग़ज़लों के लिए भी जाने जाते हैं। अक्सर लाेग उन्हें फ़िल्मी लेखक के रूप में जानने-समझने की भूल करते हैं लेकिन फिल्मों आने से पहले वो एक नामचीन शायर और कहानीकार थे, और जब तक इस दुनिया में रहे, शायरी लिखते रहे।

 

शायरी और नज़्म लेखन ने ही फिल्मों में इंट्री की ज़मीन तैयार की। उनकी नज़्में अपने आप में एक मुकम्मल कहानी लिए हुए हाेती हैं, पाठकों के लिए सवाल छोड़ जाती हैं, एक संवेदनशील शायर की संवेदनाओं की बानगी देखिए-

He was the father-in-law of actor Amjad Khan.

Amjad Khan with wife Shehla  and children

Amjad Khan

ये आधुनिक उर्दू नज़्म के संस्थापकों में शामिल हैं। दिल्ली विश्वविद्यालय से उर्दू साहित्य में एम.ए. करने वाले ईमान साहब ने आल इंडिया रेडियो से कॅरियर की शुरुआत की। कुछ समय बाद जब उन्होंने फिल्मों में लिखने का निर्णय लिया तो 1945 में वे मुंबई की तरफ चल दिए। 1948 में फिल्म 'झरना' से शुरुआत की लेकिन फिल्म 'कानून' उनके लिए मील का पत्थर साबित हुई।

 

यहाँ से वे सिनेमा की दुनिया में बतौर लेखक स्थापित हो गए। इत्तफ़ाक़, क़ानून, धुंध, पाकीज़ा, पत्थर के सनम, गुमराह जैसी कई फ़िल्में, जिनके संवाद लोगों के जुबान पर चढ़ गए तो उसके पीछे अख्तर-उल-ईमान साहब की कलम ही थी। 

 

नुक़रई घंटियाँ सी बजती हैं

धीमी आवाज़ मेरे कानों में

दूर से आ रही हो तुम शायद

भूले-बिसरे हुए ज़मानों में

अपनी मेरी शिकायतें-शिकवे

याद कर कर के हँस रही हो कहीं।

अख्तर साहब उर्दू की दुनिया के एक ऐसे शायर थे जो अपनी शायरी में बहुत यथार्थवादी और आधुनिक थे, उनकी नज्मों में आम आदमी की जिंदगी और दर्द की कहानियां हैं। तारीक सय्यारा (1943), गर्दयाब (1946), आबजू (1959), यादें (1961), बिंत-ए-लम्हात (1969), नया आहंग (1977), सार-ओ-सामान (1983) अख्तर साहब के काव्य संग्रह हैं। उर्दू साहित्य में योगदान के लिए उन्हें 1962 में साहित्य अकादमी अवार्ड से नवाजा गया।

 

फ़िल्म 'धर्मपुत्र' और 'वक़्त' में संवाद लेखन के लिए उन्हें दो बार फ़िल्मफ़ेयर अवार्ड मिला। 9 मार्च 1996 को ईमान साहब ने शायरी और सिनेमा ही नहीं इस दुनिया को अलविदा कह दिया, मुंबई में उन्होंने आख़िरी सांस ली लेकिन उनकी नज्में, उनके लिखे हुए संवाद आज भी लोगों के जुबान पर हैं। 

भारतीय सिनेमा

हिंदी सिनेमा को उनका योगदान महत्वपूर्ण है, उनकी पहली ऐतिहासिक फिल्म कानून थी जो उनकी बड़ी हिट फ़िल्म थी। अन्य महत्वपूर्ण फिल्मों के लिए उन्होंने एक स्क्रिप्ट लेखक के रूप में योगदान दिया धर्मरूप (1961) - जिसके लिए उन्हें फिल्मफेयर मिला पुरस्कार - गुमराह, वकत, पाथर के सनम, और दाग़ ।एक फिल्म जिसमें उनके गीत हैं "बिखरे मोती"।

 

फिल्मोग्रफी

विजय (1988) - लेखक

चोर पुलिस (1983) - लेखक

लाहु पुकेरेगा (1980) - निदेशक

मुसाफिर (1978) - लेखक

चंडी सोना (1977) - लेखक

ज़मीर (1975) - लेखक

36 घांटे (1974) - लेखक

रोटी (1974) - लेखक

नया नशा (1 9 73) - लेखक

बड़ा कबूतर (1973) - लेखक

दाग़ - लेखक

धंद (1973) - लेखक

जोशीला (1973) - लेखक

कुणावाड़ा बदन (1973) - लेखक

दस्तान (1972) - लेखक

जोरू का गुलाम (1972) - लेखक

आदमी और इंसान (1969) - लेखक

चिराग (1969) - लेखक

इत्तेफाक (1969) - लेखक

आदमी (1968) - लेखक

हमराज़ (1967) - लेखक

पत्थर के सनम (1967) - लेखक

गबन (1966) - लेखक

मेरा साया (1966) - लेखक

फूल और पत्थर (1966) - लेखक

भूत बंगला (1965) - लेखक

वकत (1965) - लेखक

शबनम (1964) - लेखक

यादें (1964) - लेखक

आज और काल (1963) - लेखक

अक्ली मट जययो (1963) - लेखक

गुमराह (1963) - लेखक

नीली आंखें (1962) - लेखक

धर्मपुत्र (1961) - लेखक

फ्लैट नंबर 9 (1961) - लेखक

बारूद (1960) - लेखक

कल्पना (1960) - लेखक

कानून (1960) - लेखक

निर्दोष (1950) - लेखक

अभिनेत्री (1948) - लेखक

झरना (1948) - लेखक  

The End

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Bhatiyar Gali: Heaven of Street Food lovers In Ahmadabad

Traveling of Ahmadabad is incomplete without a treat in Bhatyar Gali. This Street food Gali is treated as heaven for food lovers of Ahmadabad.

After 9pm there’s no place in Ahmadabad to walk. That’s the time to come to Bhatiyar Gali. Appease your hunger cramps by heading to this one-stop-destination for all your street-food cravings.

 

The narrow lanes of Bhatiyar Gali in Ahmedabad come alive in the evening every day, with stalls selling a variety of street delicacies to gorge on. After 9pm there’s no place to walk. That’s the time to come to Bhatiyar Gali. Appease your hunger cramps by heading to this one-stop-destination for all your street-food cravings.

It derives its name from the word ‘Bhathiyara’, which means a person who cooks and sells food. The vendors say they started out as Bhathiyara (cooks) serving meals to weary travellors coming from North. Slowly, as the city developed, they turned to business and this place exists to this day as a street food bazaar.

 

Indeed, ‘tradition’ is a recurring theme at Bhatiyar Gali, which prides itself on being almost as old as the city itself. Members of the Bawarchi community preside over the kitchens here, and maintain that their forefathers came to Ahmedabad alongside Ahmedshah Badshah in the 1400s. 

Bawarchid’s of Bhatiyar Gali boast that they are a traditional community of cooks and still use the Mughlai recipes and techniques. The masalas are made by the ladies of the family.

 

It is just adjacent to Teen Darwaza bazaar in Ahmedabad, a place of constant clatter. Everywhere there are high-pitched shoppers and handcarts piled with fluorescent glasses and furry rugs. Gigantic pink teddy bears dangle from the branches of a dispirited tree. The evening azaan faces stiff competition from the thunk-thunk of energetic ladles.

 

As you make your way through crowded lanes and by lanes, you see cooks hurriedly giving final touches to their delicacies. The tandoors are all set for dishing out mouth-watering delicacies.

 

The exhaust fans, somehow attached to the makeshift charcoal grills fill this Bhatyar Gali with irresistible aromas. People from all age groups including the health-conscious souls happily relish these lip-smacking dishes. 

The aroma of frying fish quarrels with the not-so-polite odors of an overcrowded old city. Waves of heat emanate from a hundred frying pans, tavas and bhattis. A small crowd munches away near the chicken tikka Wala, nimbly protecting toddlers and toes from crazy Scotties.

 

Few of mouth watering dished are, its 600-year old tradition of non-vegetarian delicacies. Bera Samosa is known for serving tiny, spicy meat samosas and deep-fried meatballs. Tava-Biryani, Bheja Masala, Chicken Angaar, Keema Samosas, Chaap Fry, Bhuna Gosht, spicy Skewers charcoal-grilled ,seekh kababs, Mutton and Chicken Tikkas.

The ambiance of Bhatiyar Gali (or shall we call it atmosphere) is one thing which is even better than our both favorite places – neater, cleaner, greener, more sophisticated, less crowded & the entire feeling of newness! There are around 12-13 food joints.

 

I’ve realized that the people of Ahmedabad want eating out to be an experience. "This could be a romantic ‘Dil Se’ evening at Bhatiyar gali.

The End

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Ali And Nino: A Peacemaking Tragic love Story From Azerbaijan

These doomed lovers inspired an automated moving statue named after them, which now stands by the seashore of Batumi, Georgia.

True Love Never Has an Ending

These tragic love stories carry the fragrance of emotions which make hearts wail and eyes fill with tears. And then there is an uncanny relief that follows after these stories end.

 

Ali and Nino is a tragic love story of romance between Ali Khan Shirvanshir, a descendant of a noble Muslim family, educated in a Russian high school for boys., exposed to western values in school and through his love to Nino Kipiani a Georgian princess(Christian tradition) with “the most beautiful eyes in the world” .

 

She has been brought up in a Christian tradition and belongs more to the European world. It was a time of First World War. Before they can marry, however, World War I erupts. Ali's friends enlist in the Russian army, but Ali bides his time until his homeland is actually threatened. 

This story takes a dramatic turn when a (Christian) Armenian, Melik Nachararyan, whom Ali thought was a friend, kidnaps Nino. In retaliation, Ali pursues him on horseback, overtakes his "lacquered box" car and stabs him to death with a dagger.

 

Contrary to the tradition of honor killing urged by Ali's friend Mehmed Heydar, Ali spares Nino's life. Ali then flees to Dagestan to escape the vengeance of Nakhararyan's family. Melik Nachararyan death sparks a blood feud between his family and Ali’s.

 

After many months, Nino finds Ali in a simple hill town in the mountains near Makhachkala. The two marry on the spot and spend a few months in blissful poverty. As turmoil follows the Russian Revolution, Ali Khan makes some tough ideological decisions. 

When the Ottoman Army moves closer to his native Baku, Ali Khan watches the developments closely. The Bolsheviks recapture Baku, and Ali and Nino flee to Iran (Persia). In Tehran, Ali is reminded of his Muslim roots, while Nino is fundamentally unhappy in the confinement of the harem in Iran, and is eager to return home.

 

Upon establishment of the Azerbaijan Democratic Republic, Ali and Nino return and become cultural ambassadors of their new country. Ali is offered a post as ambassador to France – an idea Nino had arranged – but Ali declines, because he fears he will be unhappy in Paris.

 

When the Red Army descends on Ganja, Azerbaijan, Ali takes up arms to defend his country. Nino flees to Georgia with their child, while Ali Khan dies in battle as the Bolsheviks take the country.

 

(The Bolshevik victory led to the establishment of Soviet domination of Azerbaijan from 1920 to 1991 and the end of the short-lived Azerbaijan Democratic Republic, which lasted from May 1918 to April 1920.)

 

Despite the fact that they had a different religion, they overcame all the difficulties, and they got married. However, they were separated by the invasion of Soviet Russia in Azerbaijan. When Ali had to choose between his family or the country, Ali chose to die bravely for his own country.

The End

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Pyaasa---“Yeh duniya agar mil bhi jaye toh kya hai”. The call from a broken heart

 Is gane men Jo aag hai wo aapko jalaegi nahi balki gala degi...“Jala do ise phook dalo yeh duniya…Yeh duniya agar mil bhi jaye toh kya hai”.

 

It is poetry of defeat and sorrow, which has long been popular in Urdu literature.

 

I have seen film pyasa so many times than any other film,and yet it never becomes old.I have a great passion for the song ---“Yeh duniya agar mil bhi jaye toh kya hai…”. This song, this film is of such a high quality, that I am confused from where to start.

 

The song highlights the ultimate achievement of this all-time loser – a slap in the face of the society. After a dead beggar wearing his coat is mistaken for him, his love Gulab, a prostitute, gets his poems published with her earnings. When Gulab finds Vijay is alive, she organizes a function to present the real Vijay to the world.

It is worth listening to the lamentations of a broken poet. Someone who is broken not only by the insidious forces of society, but also by his love, his loss and the spirit of living that he lost somewhere down the line. 

 Now that when world is willing to accept him and his popular writings, Vijay (Guru Datt) has no desire to attain the world any more. Why revel in a shallow world that ignores the living?

 

Yeh Duniya Agar Mil Bhi Jaye To Kya Hai Lyrics

Ye mahalon, ye takhton, ye taajon ki duniya

Ye insaan ke dushman samaajon ki duniya

Ye daulat ke bhukhe rawaajon ki duniya

Ye duniya agar mil bhi jaaye to kya hai

 

Har ek jism ghaayal, har ek ruh pyaasi

Nigaaho men ulajhan, dilon men udaasi

Ye duniya hai ya alam-e-badahawaasi

Ye duniya agar mil bhi jaaye to kya hai

 

Jahaan ek khilauna hai insaan ki hasti

Ye basti hai murda paraston ki basti

Yahaan par to jiwan se hai maut sasti

Ye duniya agar mil bhi jaaye to kya hai

 

Jawaani bhatakati hai badakaar banakar

Jawaan jism sajate hain baazaar banakar

Yahaan pyaar hota hai wyopaar banakar

Ye duniya agar mil bhi jaaye to kya hai

 

Ye duniya jahaan adami kuchh nahin hai

Wafa kuchh nahin, dosti kuchh nahin hai

Yahaan pyaar ki kadr hi kuchh nahin hai

Ye duniya agar mil bhi jaaye to kya hai

 

Jala do ise funk daalo ye duniya

Mere saamane se hata lo ye duniya

Tumhaari hai tum hi snbhaalo ye duniya

Ye duniya agar mil bhi jaaye to kya hai

 

https://youtu.be/3Em6cZ3wMB4

This song from “Pyaasa” (1957) is a memorable song because of the satire that this song conveys. This song is such a high quality song that one does not know where to begin.

 

The lyrics of Sahir Ludhianvi convey the feelings of the “departed” so emphatically and with supreme satire. The music of S D Burman is appropriately understated. Rafi’s voice covers a range of pitches till in the end it climbs the Mount Everest; such is the high pitch that he achieves as the protagonist is being forcibly evicted.

 

In the exciting climax of film “Pyaasa” – in cold black and white – you see the silhouette of Guru Dutt which gradually comes into focus and by the end of the song you see a larger-than-life Dutt. The reaction shots of each character, especially of Gulab (Waheeda Rehman), are captivating.

 

There is the unforgettable image of Vijay (Guru Dutt) standing in the doorway with a world-weary look on his face. Alone and dejected, he looms large over a morally bankrupt world.

Story of Film Pyaasa

Vijay (Guru Dutt) is an unsuccessful Urdu poet in Calcutta whose works are not taken seriously by publishers or his brothers (who sell his poems as waste paper). Unable to bear their taunting that he is a good-for-nothing, he stays away from home and is often out on the streets.

 

He encounters a good-hearted prostitute named Gulabo (Waheeda Rehman), who is enamoured with his poetry and falls in love with him. He also encounters his ex-girlfriend Meena (Mala Sinha) from college and finds out that she has married a big publisher, Mr. Ghosh (Rehman) for financial security. Ghosh hires him as a servant to find out more about him and Meena.

 

A dead beggar to whom Vijay gave his coat and whom he tries to save unsuccessfully from the path of a running train is mistaken for Vijay.

Gulabo goes to Ghosh and gets his poems published. Ghosh does so feeling he can exploit the poems and make a killing. The poems are very successful. However, Vijay is alive and in the hospital after the train mishap.

 

Ghosh and Shyam, Vijay's close friend, refuse to recognise him and he is committed to a mental asylum since he insists that he is Vijay and is thought to be mad. Vijay's brothers too are bought off by Ghosh not to recognise him and a memorial is held for the dead poet.

 

Vijay, with the help of his friend Abdul Sattar (Johnny Walker) escapes from the mental asylum and reaches the memorial service, where he denounces this corrupt and materialistic world. Seeing that Vijay is alive, his friend and brothers side with a rival publisher for more money and declare that this is Vijay.

 

It is upon Vijay’s presumed death that recognition finally pours in, but by the time he comes back to attend his own memorial meeting, he has seen enough of the world’s materialism and selfishness to reject it. 

And he declares sorrowfully in one of the film’s many classic songs: “Ye duniya agar mil bhi jaye toh kya hai” (“Would I care if such a world were mine?”).

 

Vijay becomes sick of all the hypocrisy in the world around him and declares he is not Vijay. He then leaves with Gulabo to start a new life.

 

On October 10, 1964, Guru Dutt was found dead in his bed in his rented apartment at Pedder Road in Mumbai. He is said to have been mixing alcohol and sleeping pills. His death may have been suicide, or just an accidental overdose.

Note:--

In 2005, Time Magazine selected Pyaasa as one of the all-time 100 movies of 20th century.Waheeda’s character Gulab is based on real-life Gulabo, a prostitute whom Guru Dutt’s friend-director befriended once.

The End

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