O Mere Dil Ke Chain Song Lyrics

 

O Mere Dil Ke Chain Song Lyrics Song Info

\”O Mere Dil Ke Chain\” is an iconic song from the 1972 Bollywood movie Mere Jeevan Saathi. Sung by the legendary Kishore Kumar, it is a masterpiece composed by R.D. Burman with heartfelt lyrics penned by Majrooh Sultanpuri. The song features the charismatic Rajesh Khanna romancing Tanuja, creating an unforgettable on-screen chemistry. Known for its soulful melody and timeless appeal, it remains one of the most cherished songs in Indian cinema, showcasing the brilliance of its creators and performers.

O Mere Dil Ke Chain Song Lyrics Song Credits

O Mere Dil Ke Chain Song Hindi Lyrics:

 

O Mere Dil Ke Chain Song English Lyrics:

 

Extra Inforamation:

About Mere Jeevan Saathi Novie:

The son of a wealthy father (K.N. Singh), Prakash (Rajesh Khanna) aspires to be an artist. His father pushes him to use his career to support himself. He leaves his father’s house after accepting the challenge. He makes an unsuccessful attempt to sell his beautiful paintings. After being introduced to the world of glamour by Princess Kamini (Helen), he starts to modify his painting style to meet contemporary standards. He is still a philanthropist at heart. An eye specialist named Jyoti (Tanuja) travels from London to Bombay.

Prakash develops feelings for her. They fall in love. He has issues because of his past. Kamini comes to Prakash’s house drunk and while she is trying to woo him, Jyoti arrives and finds them together. She interprets everything incorrectly. Prakash asks The son of a wealthy father (K.N. Singh), Prakash (Rajesh Khanna) aspires to be an artist. His father pushes him to use his career to support himself. He leaves his father’s house after accepting the challenge. He makes an unsuccessful attempt to sell his beautiful paintings.

After being introduced to the world of glamour by Princess Kamini (Helen), he starts to modify his painting style to meet contemporary standards. He is still a philanthropist at heart. An eye specialist named Jyoti (Tanuja) travels from London to Bombay. Prakash develops feelings for her. They fall in love. He has issues because of his past. Kamini comes to Prakash’s house inebriated and while she is trying to court him, Jyoti enters and finds them together. She interprets everything incorrectly. Prakash queries rock, and Kamini dies after falling over the mountain.

After saving her, Captain Vinod brings Prakash to his father’s home, where he finds out that his father passed away a month ago. Prakash is raised by his family when Captain Vinod brings him to their house. After being pressured by Vinod’s parents to become their future daughter-in-law, Jyoti departs in a taxi before she can see Prakash.

When she gets home, she learns that her father suffered a heart attack and expresses his desire to marry his daughter. The engagement celebration starts once she consents to marry Captain Vinod. Prakash shows up for the event and is asked to sing. In the distance, Jyoti begins to cry when she sees him singing.

Afterward, calling Jyoti, Vinod tells her that he is taking his friend to the hospital for eye treatment. Jyoti and Prakash get back together. His eye gets operated on by her. They are later spotted in the garden by Captain Vinod. The two men fight, with Prakash saying he doesn’t want to ruin Vinod’s happiness and Vinod saying he has lost the game of love. Vinod beats Prakash despite Prakash’s resolve to leave, and Jyoti shows up to observe them. After a fight breaks out, her father (Utpal Dutt) shoots Vinod in the leg just as he is ready to kill Prakash. Prakash and Jyoti tie the knot.

About Kishore Kumar:

Born Abhas Kumar Ganguly (pronounced ⓘ), Kishore Kumar was an Indian playback singer, musician, and actor who lived from August 4, 1929, to October 13, 1987. He is considered by many to be among the best, most significant, and most powerful vocalists in the history of contemporary Indian music. Known for his yodelling and versatility in singing, Kumar was one of the most well-liked vocalists on the Indian subcontinent. Although he used to sing in a variety of genres, some of his uncommon compositions—now regarded as classics—were lost to time.

Bengali, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam, Odia, and Urdu were among the numerous Indian languages he sang in in addition to Hindi. In addition, he published a few non-movie albums in several languages, particularly Bengali, which are regarded as timeless masterpieces. As stated Kishore Kumar’s “voice hits the mike, straight, at its most sensitive point” is what made him a popular singer, according to his brother and renowned actor Ashok Kumar.

Kumar was an active actor as well. His debut film performance was in Shikari (1946), in which his brother, Ashok, played the lead role. In the 1951 Bollywood movie Andolan, Kumar portrayed his first leading role. He was more interested in becoming a musician, even though his brother helped him land several acting roles. Following the success of movies like Ladki, Char Paise, and Baap Re Baap, Kumar became interested in acting seriously. As a result, he starred in several successful films from 1955 to 1966. Kumar was the star of Bimal Roy’s Naukari (1954) and Musafir (1957), the first film directed by Hrishikesh Mukherjee.

As an actor, his strongest time was between 1954 and 1968. He holds the record for both winning and nominating the most Filmfare Awards in that category, having received eight of the 28 nominations for the Best Male Playback Singer award. In 1985, the Madhya Pradesh government gave him the Lata Mangeshkar Award. The “Kishore Kumar Award” was established by the Madhya Pradesh government in 1997 as a recognition of services to Hindi cinema. He sold his unpublished final song at the Osian’s Cinefan Auction in New Delhi in 2012 for ₹15.6 lakh ($185,000 USD).

Childhood

Gauri Kunj, also known as Ganguly House, is Kishore’s ancestral home.
Kishore Kumar came from a Bengali Brahmin Ganguly family as Abhas Kumar Ganguly in Khandwa, Central Provinces (present-day Madhya Pradesh).[28] His mother, Gouri Devi, was a homemaker from an affluent Bengali family, and his father, Kunjalal Ganguly (Gangopadhyay), was a lawyer. The Khandwa Kamavisadar Gokhale family recruited Kunjalal Gangopadhyaya to serve as their personal attorney. Ashok (the oldest), Sati Devi, and Anoop were the other three siblings; Kumar was the youngest.

His brother Ashok started acting in Hindi films when Kumar was still a young boy. Later, Anoop also got into movies with Ashok’s aid.[30] Kumar received his degree from Indore’s Christian College.

Early professional life

Following Ashok Kumar’s rise to fame in Hindi cinema, the Ganguly family He was a huge fan of Danny Kaye, a singer and actor from Hollywood. Every day, he would bow reverently in front of the photographs of these three figures that he had displayed at his home in Gouri Kunj.

Playback singer Ahmed Rushdi also had a big influence on Kumar in his later career. In fact, he liked Rushdi so much that he sang some of his songs at the Royal Albert Hall in London as a tribute to the latter.

In several of his songs, such as Yeh dil na hota bechara, Zindagi ek safar hai suhana, and Chala jata hoon, Kumar used yodelling. The manner, which was influenced by Tex Morton and Jimmie Rodgers, eventually became a defining characteristic of his singing.

In the film Half Ticket, for example Salil Chowdhary, the music director, had a duet in mind for one of the songs, “Aake Seedhi Lagi Dil Pe,” and wanted Kumar and Lata Mangeshkar to sing it. However, Kumar resolved the issue by performing both the male and female sections of the song himself because Lata Mangeshkar was out of town and Salil Chowdhury needed to record that song before she could come back. In reality, the duet is for Pran and Kumar, who are costumed as women on television. He performed admirably in both male and female voices, so it all worked out in the end.

It is said that S. D. Burman, the music director, recognized Kumar’s singing ability. When Burman went to Ashok’s residence to make Mashaal (1950), he heard Kumar mimicking Saigal, K. L. He gave him praise and advised him to stop imitating Saigal and instead create his own style. After listening to Tex Morton and Jimmie Rodgers’ albums, Kumar eventually created his own singing style that included yodelling.

60From the 1950s to the early 1970s, S. D. Burman continued to have Kishore sing for Dev Anand. He received tuition from S. D. Burman, who also gave him a lot of encouragement, particularly in the late 1950s and early 1960s, which helped Kumar grow into a fantastic vocalist in the years that followed.

For Dev Anand’s Munimji (1954), Taxi Driver (1954), House No. 44 (1955), Funtoosh (1956), Nau Do Gyarah (1957), and Paying Guest (1957), S. D. Burman recorded Kumar’s voice. Tere Mere Sapne (1971), Prem Pujari (1970), Jewel Thief (1967), and Guide (1965). Additionally, he wrote the music for Chalti Ka Naam Gaadi (1958), Kumar’s home production.

Among their songs were “Ek Ladki Bheegi Bhaagi Si” from Chalti Ka Naam Gaadi, “Maana Janaab Ne Pukara Nahin” from Paying Guest (1957), “Hum Hain Rahi Pyar Ke” from Nau Do Gyarah (1957), and “Ai Meri Topi Palat Ke Aa” from Funtoosh (1956).[43] Burman composed duets that Asha Bhosle and Kishore performed, such as “Arre Yaar Meri Tum Bhi Ho Gajab” from Teen Deviyan (1965), “Haal Kaisa Hai Janaab Ka” and “Paanch Rupaiya Baara Aana” from Chalti Ka Naam Gaadi (1958), “Chhod Do Aanchal” from Paying Guest (1957), and “Ankhon Mein Kya Ji” from Nau Do Gyarah (1957).

“Ye Raatein Ye Mausam” and “Hum Toh Mohabbat Karega” from Dilli Ka Thug, “Piya Piya Mora Jiya” from Baap Re Baap, “Hello Hello Ji” from Bombay Ka Chor, “Michael Hai To Cycle Hai” from Bewaqoof, “Ae Haseeno Nazneeno” from Chacha Zindabad, “Zaroorat Hai Zaroorat Hai” from Manmauji (1961), “Likha Hai Teri Ankhon Mein” from Teen Deviaan,

“Suno Jaana Suno Jaana,” “Pyaar Baatke Chalo” and “Kya Teri Zulfein Hai” from Hum Sab Ustaad Hai, “Khoobsurat Haseena” from Mr. X, “Sultana Sultana” by Shreeman Funtoosh, “Machalti Hui” by Ganga Ki Lahren, “Mera Dil Meri Jaan” and “Pyar Ka Jaahan Hotel” by Jaalsaaz, “Gaata Rahe Mera Dil” by Guide (1965), and “Yeh Dil Jewel Thief’s “Yeh Dil Na Hota Bechara” (1967).

Kumar’s singing ability was also acknowledged by music director C. Ramchandra.[46] They collaborated on songs including “Eena Meena Deeka” from Aasha (1957). “C.A.T. Cat Maane Billi” and “Hum To Mohabbat Karega” from Dilli Ka Thug (1958) by Ravi, “Nakhrewaali” from New Delhi (1956) by Shankar Jaikishan, and “Chhedo Na Meri Zulfein” from Ganga Ki Lahren (1964) by Chitragupta are among Kumar’s works.

Kumar collaborated with Rahul Dev Burman on the soundtrack of the 1968 movie Padosan, where he performed the songs “Mere Saamne Wali Khidki Mein” and “Kehna Hai.” Kishore played a dramatist-musician in the comedy Padosan, Mehmood taught Carnatic music and dance, and Sunil Dutt played Bhola, a simpleton. Kishore’s personality was influenced by his uncle, the classical singer Dhananjay Bannerjee. The film’s high point was the musical and humorous conflict between Mehmood, Kumar, and Sunil Dutt in “Ek Chatur Nar Karke Singaar.”

About R.D. Burman :

One of the greatest and most successful music directors in the Hindi film industry is Rahul Dev Burman, an Indian actor and music director who was born on June 27, 1939, and died on January 4, 1994. From the 1960s to the 1990s, Burman composed musical scores for 331 films, bringing a new level of music ensemble with his compositions.

Burman collaborated extensively with the renowned vocalists Asha Bhosle, Lata Mangeshkar, Kishore Kumar, and Mohammed Rafi. He also collaborated a lot with lyricist Gulzar, with whom he wrote some of his most well-known songs. The only child of composer Sachin Dev Burman and his Bengali lyricist wife Meera Dev Burman, he was known by his nickname Pancham.

His primary area of activity was the Hindi working in the film industry as a composer and contributing vocals to a few pieces. His songs are still well-liked in India and abroad, and he influenced the upcoming generation of Indian music directors . His songs still serve as an inspiration to aspiring singers and composers many years after his passing.

Life story Early years
Burman was born in Calcutta to Sachin Dev Burman, a vocalist and composer for Hindi films, and his wife Meera Dev Burman (née Dasgupta), a writer. His maternal grandmother gave him the nickname Tublu at first, but he eventually adopted the moniker Pancham. Some accounts claim that he was given the nickname Pancham because, as a child, his tears would always sound like the fifth note (Pa), which is the G note in c major.

The fifth scale degree in Hindustani classical music is called Pancham (IAST: Ṣaḍja, Ṛṣabha, Gandhāra, Madhyama, Pañcama, Dhaivata, Niṣāda). According to a separate legend, the baby’s ability to cry in five different notes earned him the nickname Pancham. Another version is that Ashok Kumar, a seasoned Indian actor, gave the baby Rahul the nickname Pancham after he repeatedly said the syllable Pa.

Burman attended Ballygunge Government High School in Kolkata, West Bengal, for his early schooling. His father, S. D. Burman, was a well-known music director in the Hindi cinema industry, which is centered in Mumbai. R. D. Burman wrote his first song, Aye meri topi palat ke aa, when he was seventeen years old, and his father utilized it in the 1956 movie Funtoosh. He also wrote the melody for the song Sar jo tera chakraaye when he was younger, and his father placed it in the Pyaasa (1957) soundtrack.

Samta Prasad (tabla) and Ustad Ali Akbar Khan (sarod) coached Burman in Mumbai. He regarded Salil Chowdhury as his guru as well. He worked as his father’s helper and frequently played the harmonica in his orchestras.

Chalti Ka Naam Gaadi (1958), Kaagaz Ke Phool (1959), Tere Ghar Ke Samne (1963), Bandini (1963), Ziddi (1964), Guide (1965), and Teen Devian (1965) are a few of the well-known movies in which Burman is listed as the music assistance. Burman also contributed to his father’s popular song “Hai Apna Dil To Aawara” on the mouth organ.

This was sung by Hemanta Mukhopadhyay and used in the movie Solva Saal. Burman agreed to serve as the music director for the 1959 movie Raaz, which was helmed by Niranjan, Guru Dutt’s assistant. But the movie was never finished. Shailendra wrote the lyrics for this Guru Dutt and Waheeda Rehman movie. Before the movie was shelved, Burman recorded two songs for it. Geeta Dutt and Asha Bhosle sang the first song, while Shamshad Begum sang the second.

Chhote Nawab (1961) was Burman’s debut motion picture as a freelance music director. The well-known Hindi cinema comedian Mehmood initially asked Burman’s father, Sachin Dev Burman, for the music when he made the decision to produce Chhote Nawab. But S. D. Burman turned down the offer, stating that he couldn’t. Mehmood signed Rahul as the music director for Chhote Nawab after noticing him playing the tabla during this meeting. Later on, Burman and Mehmood became close, and Burman appeared in Mehmood’s Bhoot Bangla (1965).

First successes
Teesri Manzil (1966) was Burman’s first successful motion picture as a music director. Burman credited lyricist Majrooh Sultanpuri for introducing him to the film’s producer and writer, Nasir Hussain. In addition, Vijay Anand claimed to have set up a musical session for Burman prior to Nasir Hussain. Majrooh Sultanpuri wrote all six of Teesri Manzil’s songs, which Mohammed Rafi sang. Burman later married Asha Bhosle, with whom he performed four duets. Nasir Hussain continued by saying

sign Majrooh Sultanpuri, Burman’s lyricist, for six of his films, including as Yaadon Ki Baaraat (1973), Pyar Ka Mausam (1969), and Baharon Ke Sapne (1967). Burman garnered positive reviews for his 1968 score for Padosan. In the meantime, he kept working as his father’s assistant on movies like Prem Pujari (1970) and Jewel Thief (1967).

Getting married
Rita Patel, whom Burman had met in Darjeeling, was his first wife. A fan named Rita had placed a wager with her friends that she would be able to convince Burman to invite her to a movie. 1966 saw their marriage end with divorce in 1971. He wrote the song Musafir Hoon Yaaron (“I’m a Traveller”) for Parichay (1972) while he was staying at a motel following the breakup.

In 1980, Burman wed Asha Bhosle. They recorded a lot of hits together. songs and put on a lot of live shows. They did not, however, cohabitate as he neared the end of his life. Burman struggled financially, especially in his later years. Thirteen years after his death, in 2007, his mother, Meera, passed away. Even before her son passed away, she had been afflicted with Alzheimer’s. She had been transferred to an assisted living facility just before she passed away, and when the matter grew contentious, she returned to her son’s house.

Gaining popularity
Burman rose to fame in the 1970s thanks to Kishore Kumar’s songs in Rajesh Khanna movies. The musical smash Kati Patang (1970) marked the start of a string of films in the 1970s that were helmed by Shakti Samanta, who is famous for Aradhana. “Yeh Shaam Mastani” and “Yeh Yah” Kishore Kumar’s rendition of “Jo Mohabbat Hai” became an immediate hit. In addition to Kishore Kumar, Burman wrote a number of well-known songs that were performed by Asha Bhosle, Mohammed Rafi, and Lata Mangeshkar.

Burman wrote the music for Hare Rama Hare Krishna (1971), a song by Dev Anand, in 1970. This movie’s Asha Bhosle song “Dum Maro Dum” turned out to be a landmark rock song in Hindi cinema music. Because he was concerned that the song would overpower the movie, director Dev Anand did not incorporate the full version of “Dum Maro Dum” into the movie. Burman wrote the soundtrack for Amar Prem that same year.

This soundtrack’s Lata Mangeshkar song “Raina Beeti Jaye” is considered a Hindi film classic music. The love ballad “Raat kali ek khwab mein” from Buddha Mil Gaya and the cabaret number “Piya Tu Ab To Aaja” from Caravan, which featured Helen, were among Burman’s other hits in 1971. For Caravan, he was nominated for his first Filmfare Award.

Seeta Aur Geeta, Rampur Ka Lakshman, Mere Jeevan Saathi, Bombay To Goa, Apna Desh, and Parichay were among the movies for which Burman provided music in 1972. Hits like Yaadon Ki Baaraat (1973), Aap Ki Kasam (1974), Sholay (1975), and Aandhi (1975) contributed to his ongoing success. In 1975, he also wrote a song for the short documentary Maa Ki Pukaar. The music of Mili (1975) was also finished by Burman when his father, S. D. Burman, entered a coma.

Mohammed Rafi got the National Film Award for Best Playback by Male The vocalist for the song “Kya Hua Tera Wada” from Burman’s Hum Kisise Kum Naheen (1977). For movies like Kasme Vaade (1978), Ghar (1978), Gol Maal (1979), and Khubsoorat (1980), he continued to write a number of well-known songs. Sanam Teri Kasam (1981) earned him his first Filmfare Best Music Director Award. He also wrote popular songs for Love Story, Satte Pe Satta, and Rocky in 1981.

Burman gave Abhijeet his big break in Anand Aur Anand (1984). Despite his lengthy career, Hariharan’s first notable performance was a duet with Kavita Krishnamurthy in Burman’s Hai Mubarak Aaj ka Din from Boxer (1984). Mohammed Aziz debuted in 1985 with Burman’s Shiva Ka Insaaf (1985).

The 32 films and songs that the Kishore Kumar, Rajesh Khanna, and R.D. Burman trio collaborated on are still well-known today. The three were good buddies. R.D.Burman composed for 40 films for Rajesh Khanna.

A later career
He was eclipsed by Bappi Lahiri and Laxmikant-Pyarelal in the late 1980s. As a result of his compositions’ successive box office failures, several filmmakers ceased working with him. He was not signed by Nasir Hussain, who had signed him for all of his productions since Teesri Manzil (1966), for Qayamat Se Qayamat Tak (1988). According to Hussain’s press defense, Burman did not provide subpar music for Zamane Ko Dikhana Hai (1982). Manzil Manzil and others (1984). He added that when Zabardast (1985) was being recorded, the composer was going through a lean period.

But after these three films underperformed, Hussain stood down as a director, and his son and successor Mansoor Khan went to other composers. Burman Ram Lakhan (1989) was promised by the director Subhash Ghai, but Laxmikant–Pyarelal received it instead. Burman wrote songs for Ijaazat in 1986, and the score is considered to be among his best. Burman’s commercial film career continued to fall despite the picture’s affiliation with the Parallel Cinema genre of art films. Asha Bhosle sang all four of Ijaazat’s songs, which were composed by Gulzar.

The reviewers praised Burman for establishing the non-rhyming musical arrangement of the song “Mera Kuchh Saamaan” lyrics. Burman earned no National Awards for the score, although Asha Bhosle (Best Female Playback) and Gulzar (Best Lyrics) did. After having a cardiac attack in 1988, Burman had heart bypass surgery at London’s Princess Grace Hospital the following year. He wrote a lot of songs during this time that were never released.

In 1989, he created music for the film Parinda, directed by Vidhu Vinod Chopra. His composition “Chhod Ke Na Jaana” was performed by Asha Bhosle in the movie Gang. However, because of the film’s delayed release and his premature passing, director Mazhar Khan enlisted the then-little-known Anu Malik to compose the soundtrack.

About Majrooh Sultanpuri :

Majrooh Sultanpuri, whose real name was Asrar ul Hassan Khan (1 October 1919 − 24 May 2000), was an Indian Urdu poet and lyricist who worked in the Hindi cinema industry He penned lyrics for the soundtracks of many Hindi movies.

He was a key player in the Progressive Writers’ Movement and one of the most influential musical forces in Indian film during the 1950s and early 1960s One of the best avant-garde Urdu poets of the 20th century, he is regarded as such.[Reference required]

He collaborated with numerous music directors during the course of his six-decade career. He received the Dadasaheb Phalke Award for lifetime achievement in 1993, the highest honor in Indian cinema, and the Filmfare Best Lyricist Award in 1965 for his song “Chahunga Main Tujhe” from the movie Dosti. In the The majority of his work in the 1980s and 1990s was done with Anand–Milind; their most well-known joint ventures were Dahek, Lal Dupatta Malmal Ka, Love, and Qayamat Se Qayamat Tak.

Additionally, he wrote for Jatin-Lalit films such as their debut feature Yaara Dildara and Jo Jeeta Wohi Sikander.

Childhood
Asrar ul Hassan Khan, the Muslim father of Majrooh Sultanpuri, was born in Sultanpur, Uttar Pradesh, in 1919–1920 while his father was employed at the Police Department. Majrooh was sent for a traditional “Madrasa education” because his father did not want his son to receive an English education. This resulted in him earning the certificate of “Alim” after completing a seven-year program called Dars-e-Nizami, which focused on religious matters and required fluency in Arabic and Persian.

When he occurred to perform one of his ghazals at a Sultanpur mushaira, he was a struggling Hakim. Majrooh chose to abandon his nascent medical career and start writing poetry seriously once the ghazal became popular with the public. He quickly became a “regular” at Mushairas and a “shagird,” or follower of Jigar Moradabadi, the top Urdu name for Mushairas at the time. Even though Majrooh is well-known for his work as a movie lyricist, it should be noted that he also wrote one of the most well-known Urdu poetry verses:

“Main akela hee chala tha janibe manzil magar, log saath aate gaye aur carvan banta gaya!” (I had traveled by myself to the end point, but others joined, and we formed a caravan!

Movies
Majrooh traveled to Bombay in 1945 in order to attend a mushaira at the Saboo Siddique Institute. In this instance, the audience greatly enjoyed his poems and ghazals. Film producer A.R. Kardar was among those who listened with admiration He made contact with Jigar Moradabadi, who facilitated his communication with Majrooh. But Majrooh did not think much of movies, so he declined to write for them.

However, Jigar Moradabadi convinced him that Majrooh could support his family and make good money from the movies. The young writer was then put to the test by music composer Naushad, whom Kardar brought over. He asked Majrooh to write something in the same meter after giving him a tune, and Majrooh  penned Badal Aaye Jhoom Ke, Jab Usne Gesu Bikhraye. Majrooh was hired as the lyricist for the 1946 movie Shah Jehan after Naushad approved of his writing.

Majrooh went on to write lyrics for movies such as Anjuman (1948), Doli (1947), and Naatak (1947), but his big break came with Andaz (1949), directed by Mehboob Khan.

In 1949, he received a two-year prison sentence for his politically provocative poetry. After having to restart his cinema career, Majrooh eventually made a comeback with the Guru Dutt production Baaz (1953).

Anil Biswas, Naushad, Ghulam Mohammed, Madan Mohan, O. P. Nayyar, Roshan, Salil Chowdhury, Chitragupt, N. Datta, Kalyanji-Anandji, Laxmikant-Pyarelal, and R. D. Burman were among the numerous music directors with whom Majrooh Sultanpuri collaborated.

One 2 Ka was the final movie he wrote lyrics for 4, which came out following his passing in 2001.

Leanings toward politics
Movie Following Shah Jehan (1946) were Mehndi, Doli (1947), Mehboob’s Andaz (1949), and Arzoo by Shaheed Latif. Majrooh’s communist inclinations landed him into difficulties just as he was becoming a well-known lyricist and songwriter. His anti-establishment poetry did not sit well with the authorities, and he and other communists, including Balraj Sahni, were imprisoned in 1949.

Following the 2nd Congress of the Communist Party of India in 1948, when the communists had resolved to launch a revolution against the Indian government, Majrooh was arrested as part of a statewide crackdown on communists. Majrooh was given a two-year prison sentence after refusing to apologize when requested to. He was detained in 1951 for composing and performing a poem that made Hitler-like comparisons to Jawaharlal Nehru.

Throughout the 1950s, Majrooh continued to write lyrics for well-known motion pictures. Majrooh was regarded as the most famous ghazal author, along with Faiz Ahmed Faiz and Khumar Barabankvi.

Majrooh’s 1965 song “Chahunga Mein Tujhe Saanj Savere” from Dosti earned him his lone Filmfare Best Lyricist Award. Additionally, he became the first lyricist to receive the renowned Dadasaheb Phalke Award in 1993.

Death
After a severe episode of pneumonia, Majrooh Sultanpuri, who had been afflicted with lung disease for a while, passed away in Mumbai on May 24, 2000. He was old 80 at the time of his death.

 

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