Adil Najam
Readers of this blog know the reverence in which I hold Faiz Ahmed Faiz. The video tribute that I had done based on his hum daikhain gay was not only the very first post on this blog but serves at the ATP Credo – a symbol of our hopes, our aspirations and also our reality. Readers also know of how fond I am of Khansaheb Mehdi Hasan Khan, particularly his ghazals, and of my fascination with old Pakistani movie songs (here and here). This post is a way to pay homage to all three.
Mehdi Hasan, of course, was an icon of Pakistani film music – rivaled, possibly, only by Madam Noor Jahan. But what many people forget is that Faiz Sahib, too, was closely associated with the Pakistan film industry when it was at its zenith. Indeed, some of his most memorable works first became famous as film songs.
Nothing is as symbolic of this combination of Faiz Ahmad Faiz, Mehdi Hassan and Pakistani movie music as the ghazal gulouN mein rang bharay, baad-i-nou bahar chalay. It is widely considered to be amongst the most popular as well as the very best of Faiz Sahib’s ghazals. Indeed, as many would consider it to also be amongst the best of Mehdi Hasan’s ghazals.
There is a story that I have never been able to confirm (maybe Zaheer Kidvai can shed light on this) that suggests that Faiz Sahib liked Mehdi Hassan Sahibs rendition of the ghazal so much that he used to say that the ghazal no longer belonged to him (Faiz) but now belonged to Mehdi Hassan. Anwar Maqsood has joked that this may have been Faiz Sahib’s way of disowning the song rather than praising it. I prefer the original interpretation.
For me at least, this is one of the most beautiful of ghazal’s, most beautifully sung.
What is interesting is that this was a movie song (for the film Farangi). Yes, this is what Lollywood movie songs used to sound like once. Can you imagine today a song with such depth of meaning, such elegance of poetic craft, and sung with such musical mastery being a movie song!
Here is a video of the movie song. The video quality is not very good; nor, I must admit, is the picturization or the acting by Allauddin. It is, nonetheless, a rare and amazing treat. Enjoy!
For those who may be interested, here are the lyrics:
Guloun main rung bharaye, baad-e-naubahaar chalaye
Chalaye bhi aao kay gulshan ka karobaar chalaye
Qafas udas hai yaaro saba say kuch tou kaho
Kahain tou bah-re-khuda aaj zikr e yaar chalaye
Kabhi tou subah tere kunj-e-lub say ho aaghaaz
Kabhi tou shab sar e kaakul se mushk baar chalaye
kabhii to sub’h tere kunj-e-lab se ho aaGhaaz
kabhii to shab sar-e-kaakul se mushk-baar chalaye
Jo hum pay guzri so guzri mager shub-e-hijraun
Humaraye ashk teri aaqibat sanvaar chalaye
Maqaam faiz koii raah main jancha hi nahi
Jo kuh-e-yaar say niklay tou suu-e-daar chalaye
“Requiem for an unsung messiah” is a priceless collection of Faiz’ most famous poetry and ghazals sung by some of Pakistan’s best. Although the audio on some of the tracks is not upto par it still is the best investment I ever made :)
Nayyara Noor, Firdausi begum and other stalwarts such as Mehdi Hassan, Iqbal Bano, etc. are brilliant in this collection.
Every time I hear “Aaj ke naam” it takes me into another world. “Gar mujhe is ka yaqeen ho” is one of my all time favorite poems in any language.
Faiz was a divine gift to the people of Pakistan. It is a shame he is not studied more comprehensively in schools and colleges in his own country. There are no national memorials to remember and discuss some one who felt so deeply and eloquently for his people. A humanist whose social poetry still has the power to bring change in this society as an alternative to the mindless cacophany of fascist and pseudo-religous hogwash being fed to the masses.
About “Gulloun Mein….”. Originally this was a radio gazal rendered by Mahdi Hassan on Radio Pakistan. The instant popularity of this Ghazal made Faiz, who at that time (fifties) was known mostly in the literary circles and among the educated class, a known name among population in general. The rendition of this ghazal in his smooth voice made Mahdi Hassan a house hold name as well. It is only later on, as is the case with many of Faiz’s works, this ghazal was adopted for the film. The ghazal had no place in the film, but it was popular enough that producers included it in their film. Faiz’s involvement with Soviet Union and Socialism and Communism and in Rawalpindi Conspiracy Case to overthrow Pakistan government on behest of Soviet Union also made him a well known political figure. At a time he was more popular in other counties than Pakistan. This is not to take any thing away from his place in literature. His eminence is at level with Ghalib and Iqbal and he admired both of them. Faiz goes beyond Mahdi Hassan and Mahdi Hassan is much more than singing Faiz. He is a classical singer par excellence. When the two collaborate it is the best that comes out. They both has contributed tremendously towards Pakistan’s otherwise stagnant world of Arts and Literature. Pakistan has to be proud of both of them.
Can there ever be too much Faiz?…..
Raat youn dil mein teri khoyee hui yaad aayee
Jaisay veraanay mein chupkay say bahaar aajaay
Jaisay sehraon mein haolay say chaley bad-e-naseem
Jaisay beemaar ko be-wajaah karaar aajaay
and
Raushan kaheen bahaar kay imkaan huwaay tau hein
Gulshan mein chaak chand garaiban huwaay tau hein
Abhi khizaan ka raaj hai laikin kaheen kaheen
Ghunchay rah-e-chaman mein ghazal-khwaan huwaay to hein
and…
and…
I love this. My breath catches in my throat when I hear it and its almost too much beauty to bear. Thank you for reminding me.
My super-duper favourite Faiz sheyr:
Duniyaa ne teri yaad se begaana kar diyaa
Tujh se bhi dil-fareb haiN gham rozgaar ke