His work influenced Indian cinema, in particular Hindi language films.[3] Sahir won a Filmfare Award for Best Lyricist for Taj Mahal (1963). He won a second Filmfare Award for Best Lyricist for his work in Kabhie Kabhie (1976). He was awarded the Padma Shri in 1971.[4][5] On 8 March 2013, the ninety-second anniversary of Sahir's birth, a commemorative stamp was issued in his honor.[6]
Sahir was born on 8 March 1921, in a red sandstone haveli in Karimpura, Ludhiana, Punjab, British India, into a Punjabi Muslim Gujjar family.[7] This is the reason why he added the suffix Ludhianvi after his name. His mother, Sardar Begum, left her husband thus forfeiting any claim to financial assets from the marriage. In 1934, Sahir's father remarried and sued (acrimoniously and unsuccessfully) for custody of his son. In a recent biography titled Sahir: A Literary Portrait (Oxford University Press) written by US-based author Surinder Deol, the author agrees with the very brief conclusion of Pakistani poet Ahmad Rahi, a friend of Sahir over the years, about Sahir's life story in a nutshell, "In his entire life, Sahir loved once, and he nurtured one hate. He loved his mother, and he hated his father."[5][8] Sardar Begum required protection from Sahir's father and suffered financial deprivation.[9] Sahir's place of birth is marked with a small plaque on the building's arched entrance.
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Sahir was educated at the Khalsa High School in Ludhiana. He then enrolled at the Government College, Ludhiana.[10] The auditorium there is named after him.[11] As a college student, Sahir was popular for his ghazals and nazms (poetry in Urdu) and empassioned speeches.[12]
In 1943, Sahir settled in Lahore. There, he completed Talkhiyaan (Bitterness) (1945), his first published work in Urdu. He was member of All India Students Federation. Sahir edited Urdu magazines such as Adab-e-Lateef, Shahkaar, Prithlari, and Savera[12][13] and became a member of the Progressive Writers' Association. However, when he made controversial statements promoting Communism, a warrant for his arrest was issued by the Government of Pakistan. In 1949, after partition, Sahir fled from Lahore to Delhi. After eight weeks, Sahir moved to Bombay.[12] He later lived in Andheri, a suburb of Mumbai. There, his neighbours included Gulzar, a poet and lyricist and Krishan Chander, an Urdu litterateur. In the 1970s, Sahir built a bungalow which he called Parchaiyaan (Shadows), after one of his works, and lived there until his death.
On 25 October 1980, at the age of fifty-nine, Sahir died of a sudden cardiac death.[13] He died in the presence of his friend, Dr Kapoor. He was buried at the Juhu Muslim cemetery. In 2010, his tomb was demolished to make room for new interments.[14]
Sahir was a controversial figure in that he was artistically temperamental. He insisted that the film score should be composed for his lyrics and not the other way around. He also insisted on being paid one rupee more than Lata Mangeshkar and this created a rift between them.[13] Sahir promoted his girlfriend, Sudha Malhotra's singing career.[13] He also insisted that All India Radio credit film song lyricists.
Main pal do pal ka shayar hoon, pal do pal meri kahani hai
pal do pal meri hasti hai, pal do pal meri jawani hai
Mujse pahle kitne shayar aaye, aur aakar chale gaye,
Kuch aahein bharkar laut gaye, kuch nagmein gakar chale gaye,
Woh bhi ek pal ka kissa they, main bhi ek pal ka kissa hoon
Kal tumse juda ho jaaonga, wo aaj tumhara hissa hoon
Sahir might be called the "bard for the underdog". Close to his heart were the farmer crushed by debt, the soldier gone to fight someone else's war, the woman forced to sell her body, the youth frustrated by unemployment and the family living on the street for instance. Jawaharlal Nehru, Prime Minister of India said he was moved by Sahir's lyrics in Pyaasa.[citation needed] Vijay, as he is passing through a red light area sings,
Sahir's poetry was influenced by noted Pakistani poet, Faiz Ahmed Faiz. Like Faiz, Sahir gave Urdu poetry an intellectual element that caught the imagination of the youth of the 1940s, 1950s and 1960s and reflected the feelings of the people of that period. He roused people from an independence-induced smugness. He would pick on the self-appointed custodian of religion, the self-serving politician, the exploitative capitalist, and the war-mongering super-powers. Sahir wrote with verve about the arrest of progressive writers in Pakistan; the launch of the satellite Sputnik and the discovery of Ghalib by a government lusting after minority votes. He wrote Kahat-e-Bangal (The Famine of Bengal) at 25 years of age. Subah-e-Navroz (Dawn of a New Day), mocks the way people celebrate while the poor exist in squalor. Of the Taj mahal, he wrote,
Sahir Ludhianvi asks his lover to meet him anywhere else but at the Taj Mahal: although the tomb has been a symbol of luxurious monarchy for years, there is no need for beautiful (but not famous) hearts to travel to meet there.[7]
Kal aur aayenge nagmon ki khilti kaliyan chunne wale,
Mujhse behtar kahne wale,
Tumse behtar sunne wale;
Kal koi unko yaad kare,
Kyun mujhko yaad kare
Mashroof zamana mere liye kyun
Waqt apna barbaad kare?
Tomorrow there will be more who will narrate the love poems. May be someone narrating better than me.
May be someone listening better than you. Why should anyone remember me? Why should anyone remember me?
Why should the busy age waste its time for me?
The 1957 Hindi movie, Pyaasa now considered a cinema classic, is inspired by Sahir's unrequited affection for the Hindi novelist and poet, Amrita Pritam[20] and features several famous songs with lyrics written by him.
Javed Akhtar, in an interview with Rekhta, has talked about how it is a matter of concern that Sahir's Poetry is still as relevant as it was when he wrote it. He, including many other have always considered Sahir more of a poet than a lyricist, though he played both the roles beautifully. 152ee80cbc
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