Kaminey - Music review

The last Vishal-Gulzar outing was with No Smoking, the stoner movie by Anurag Kashyap. The duo is back in Vishal's own directorial venture named "Kaminey". The trend of using swear words in songs has been around for a while and was popularized in the recent past by "Kambakht Ishq", a high energy number from the RGV flick "Pyaar tune kya kiya". It was sung with tremendous gusto by Sukhwinder and Asha Bhosale (Sonu Nigam also had some lines, but he fails miserably in comparison to Sukhi and Asha).
Fast forward to 2009 and we have reached a new high (or low, depending on how you look at it) - with a movie title called "Kaminey" (as in the wise words of wisdom from Dharam paji: "Kutte Kaminey, main tera khoon pee jaoonga").

Kaminey looks like a gangster comedy set in the ever fascinating underworld of Bombay. Gulzar once again deftly weaves English, Hindi, Urdu and street slang into his words and challenges the composer to weave melody around his sometimes unusual and complex poetry. Vishal does a fantastic job at it - RD would have been proud of this man.

Dhan tan nan
This one is what one calls a complete KNOCK-YOUR-SOCKS-OFF number. It's a heady concoction of a James Bond theme, 70s Hindi Cinema background score and RD Burman (somewhere I sensed the Pulp Fiction's theme in the background). Sukhwinder Singh and Vishal Dadlani (of Vishal-Shekhar) are in high gear and in a complete masti mood. This one will have you hit the repeat button on your mp3 player a number of times (and it also makes for a fantastic running track). There is a remix version of this, which is also groovy, but I am still hooked to the original one, and why not when it's so damn good. Sample these lines and you will notice how Gulzar weaves English words seamlessly:

Aaja ke one way hain yeh zindagi ki galee ek hi chance hain
Aage hawaa hi hawaa hain agar saans hain toh yeh romance hain
(Another brilliant usage was in 'Kajra re' of Bunty aur Babli:
Aankhen bhi kamaal karti hain, personal se sawaal karti hain)

Kaminey
Who else can weave this obnoxious word in a delicate verse other than Gulzar?

Meri aarzoo bhi kaminee
Mere khwaab bhi kaminey
Ek dil se dosti ki thi, yeh huzoor bhi kaminey!!

Maan gaye ustaad! Vishal Bharadwaj keeps this for himself and lends his voice for this number which is soaked in a beautiful symphony with interesting orchestration (notably - piano and trumpet). This is like a glass of good wine, will win you slowly, steadily but surely.

Fatak
Listening to this one for the first time, it was hard to comprehend what the song was about, the occassional sound of a whiplash just added to the puzzle. And then there was the revelation in the end:
Yeh ishq nahin aasaan, AIDS ka khatraa hain
- the entire song fell into perspective. Yes, this is a song with a social message around safe sex and AIDS. This one could be an anthem for the AIDS awareness campaign. Kailash Kher and Sukhwinder Singh both have the throaty quality in their voice which lends well to such songs. Gulzar uses many similes and metaphors in the lyrics which are revealed to you once you know the underlying message in the song.

Raat ke dhaai baje
Rekha Bharadwaj can do no wrong. She teased in "Namak" in Omkara, she was melancholic and naughty in "Gendaa phool" of Dilli-6 and here she is back to rock our world. She is joined by Sunidhi Chauhan, Kunal Ganjawala and Suresh Wadkar. It's always a treat to hear Wadkar's voice, last heard in another Vishal composition - Jag ja from Omkara.

Rekha has the unique quality of giving an impression of just fleetingly touching the words, like hovering over words without actually saying them. Right from the opening notes this one keeps you wanting for more and more. A great ensemble song.

Pehli baar mohabbat ki hain
This is a lazy love ballad sung by Mohit Chauhan who delivers on every note, staying and lingering on sounds and words just enough for creating the right effect. Once again Gulzar's words are dripping with many emotions:

Khwaab ke bojh se kapkapaati huyee halki palkein teri,
yaad aata hain sab, tujhe gudgudaana sataana yunhi sote huye,
gaal pe teepna meechna bewajah besabab,
yaad hain peepal ke jiske ghane saaye the,
humne gilharee ke jhoothe matar khaaye the!

Classic Gulzar - hits all the right spots.

Overall a knock-out soundtrack. More power to the Gulzaar/Vishal teaming.

Gulzar Kuch Huye Nagme - 8

Movie: Kabuliwala (1966)
Music Director: Salil Choudhury
Singer: Hemant Kumar

In 1966 Bimal Roy Productions adapted the short novella of Rabindranath Tagore “Kabuliwala” to the silver screen. Salil Chaudhury composed the music to Gulzar’s poetry. Manna Dey’s soulful rendition of “Aye mere pyaare watan” still evokes emotions in all those who have left their homelands in search of a better life in a distant foreign nation. The song that got overshadowed by the popularity of the above song was the one sung by Hemant Kumar – “Ganga aaye kahaan se”.

The composition purely relies on the vocals and makes minimal use of musical instruments - the most prominent being a one string instrument and a small percussion instrument (called – duff or duggi) used in rural eastern India. Gulzar uses Ganga as a larger being to drive home the point: “Equality amongst religion, color, race, social status, languages and caste”. Gulzar shies away from using Urdu or difficult Hindi words, instead chooses light rural slang, sample these: Maati instead of Mitti, Ujiyaaraa instead of Ujiyaalaa, Kaari instead of Kaali.

Gangaa aaye kahaan se, Gangaa jaaye kahaan re aaye kahaan se,
jaaye kahaan re laharaaye paani mein jaise dhuup-chhaanv re

raat kaari din ujiyaaraa mil gaye donon saaye
raat kaari din ujiyaaraa mil gaye donon saaye
saanjh ne dekho rang roop ke kaise bhed mitaaye re
laharaaye paani mein jaise dhuup-chhaanv re
Gangaa aaye kahaan se, Gangaa jaaye kahaan re
laharaaye paani mein jaise dhuup-chhaanv re

Here, Gulzar masterfully uses the metaphor of evening (saanjh) to convey the message about how it eliminates (or mixes) the difference in the brightness of the day and the darkness of the night – the former being a reference to fairness/beauty and the latter being the dark skinned/ugly (could also be referenced to the caste system which was much more prevalent in the sixties).

kaanch koyi maatii koyi rang-birange pyaale
kaanch koyi maatii koyi rang-birange pyaale
pyaas lage to ek baraabar jis mein paani daale re
laharaaye paani mein jaise dhuup-chhaanv re
Gangaa aaye kahaan se, Gangaa jaaye kahaan re
laharaaye paani mein jaise dhuup-chhaanv re

This one is my personal favorite of the three couplets. Translating this literally, he is saying that when one is thirsty it doesn’t matter how one drinks the water (of the Ganga) - through a cup made from clay or made from colorful glass. I leave the underlying meaning for you to figure out. Other than the meaning, what I really like about this couplet is the structure. He starts with describing the different types of cups in the first line, and then gets to saying that if you are thirsty, they are all the same when you fill them with water. It’s hard to structure it in English the same way, but if you listen to the song for the first time without knowing the subsequent line, it enhances the effect a thousand times than if it was structured linearly.

naam koyi boli koyi laakhon roop aur chehre
naam koyi boli koyi laakhon roop aur chehre
khol ke dekho pyar ki aankhen sab tere sab mere
laharaaye paani mein jaise dhuup-chhaanv re
Gangaa aaye kahaan se, Gangaa jaaye kahaan re
laharaaye paani mein jaise dhuup-chhaanv re
Gangaa aaye kahaan se, Gangaa jaaye kahaan re

This one is straight: He is talking about how God has many names, forms, faces, but when viewed through the eyes of love, they are all the same – your (Gods) and my (Gods). Each couplet begins and ends with the reference to Gangaa which seems to be flowing for no purpose and from no particular place to no place in particular. Get it?

Overall, a song with an underlying message (without being too obviously preachy),a haunting melody and a distant quality in the voice of Hemant Kumar makes this a timeless classic.

Gulzar Kuch Khoye Huye Nagme - 7

Movie: Namkeen (1982)
Music Director: RD Burman
Singer: Kishore Kumar




I had planned to write about this song for a long long time now. I came across this post today and I think it describes all that I feel about this song and much more. I am not even going to try write anything more about it. Read it for yourself.

Gulzar: Kuch khoye huye nagme - 6

Every Hindi film music aficionado knows about the greatness of this man named Sampooran Singh Kalra aka Gulzar. We have all heard his famous songs a thousand times now, such as: “Tere bina zindagi se” from Aandhi, “Hazaar Rahen” from Thodisi Bewafayee, “Mera kuch saaman” from Ijaazat, or “Kajra re” from Bunty aur Babli. This series is about those lesser known songs penned by this master poet.
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Movie: Omkara (2006)
Music Director: Vishal Bhardwaj
Singer: Suresh Wadkar


(part of the song from 3:40 onwards)

Jag ja ri gudiya
Misri ki pudiya
Meethe lage do naina
Nainon mein tere, hum hi base the
Hum hi base hain, hain na?
O ri rani, gudiya,
jag ja, ari jag ja, mari jag ja.

Halka sa kosa,
Subhon ka bosa,
Maan jaa ri, ab jaag ja.
Naak pe tere, kaatega bicchoo
Jaag ja, tu maan ja
Jo chahe le lo, dashrath ka vaada
Nainon se kholo ji raina
O ri rani, gudiya, jag ja
Ari jag ja, mari jag ja.

Kirnon ka sona,
Os ke moti,
Motiyon sa mogra.
Tera bicchauna, bhar bhar ke daroon,
Gulmohar ka tokra.
Aur jo bhi chaho, maango ji maango,
Bolo ji, meri maina.
O ri raani, gudiyaaaa,
Jag ja, ari jag ja, oye jag ja.

Jag ja ri gudiya
Misri ki pudiya
Meethe lage do naina
Nainon mein tere, hum hi base the
Hum hi base hain, hain na?

Vishal’s Omkara was an adaptation of Shakespeare’s Othello. For those who do not know the plot of Othello, here’s a brief background because it is essential in understanding the subtle possessiveness, anger and jealousy in the words of this song. Omkara (Othello), who is a dark skinned average looking guy, is deeply, madly and intensely in love with Dolly (Desdemona) who is a fair and a beautiful maiden. She loves him back equally, but Omkara is not quite sure about her love. His close aide Langda Tyagi (Iago) pollutes his mind further by hinting that she might have feelings for Kesu (Cassio). This leads to Omkara constantly questioning Dolly's love for him.

Now equipped with this background, go back and read the lyrics one more time. You will notice the insecurity in - “nainon mein tere hum hi base the, hum hi base hain, hain na?” – “I was the only one for you, I still am the only one, Am I?”

His intense possesiveness and desperation in owning her by every which way possible (despite the fact that she belongs to him already) is evident in –
“jo chahe le lo, Dashrath ka waada” – take what you want from me, I promise you just like the promise made by Dashrath.
Here, Gulzar has weaved in an analogy by measuring the integrity of Omkara’s promise with that of Dashrath’s – the king of Ayodhya who sent his dear sons to exile just to honor his promise that he made to his wife Kaikeyi. Many a poets have used different ways of comparing lover’s promises in their songs – my promise stands till the end of time, till the end of the universe, till the day I die - on and on and on. The Dashrath’s promise analogy however trumps all of the above - it feels more real, more understandable and more achievable.

Gulzar has a fascniation with the “gulmohar” flowers. These trees are found in the tropical countries and bloom in late spring/early summer. They bear non-fragrant,deep red colored flowers. Another song with the mention of these flowers is “Gulmohar gar tumhara naam hotaa” from “Devata”. Here, once again he mentions these flowers in the following line:

“tera bichona bhar bhar ke daloo, gulmohar ka tokra
Aur jo bhi chaho, maango ji maango bolo ji meri maina”
- I will spread basket full of gulmohar flowers on your bed.
More about this line later in the post.

Outside of the poetry, the music and the singing of this song is completely in sync with the mood. Suresh Wadkar makes a rare appearance and his delicate rendition elevates Vishal’s composition. Minimal use of instruments and the tune of the song give it an easy hummable quality. Suresh Wadkar infuses a child-like innocence and a suggestion of violence at the same time in certain lines - “naak pe tere kaatega bichoo” - a scorpion will bite your nose - and “ari jag jaa…mari jag jaa..” - please wake up, wake up you dead one. A part of this song makes another appearance later in the movie and this one line takes a whole new meaning in that scene.

(Second version of the song from 3:20 onwards. Could not find better quality video links)
Rememeber the "Gulmohar" line that I mentioned above and said I will revisit it? Watch the video, Dolly is wearing red, Gulmohars are red. Get it? Bravo Vishal. (A very well-written review of Omkara here)

Gulzar: Kuch khoye huye nagme - 5

Every Hindi film music aficionado knows about the greatness of this man named Sampooran Singh Kalra aka Gulzar. We have all heard his famous songs a thousand times now, such as: “Tere bina zindagi se” from Aandhi, “Hazaar Rahen” from Thodisi Bewafayee, “Mera kuch saaman” from Ijaazat, or “Kajra re” from Bunty aur Babli. This series is about those lesser known songs penned by this master poet.
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Movie: Kinara (1977)
Music Director: Rahul Dev Burman
Singer: Bhupinder, Hema Malini

Ek hi khwab kai baar dekha hai maine
tune saari main uras lee hai meri chabiyan ghar ki
Aur chali aayi hai
bus yoon hi mera haath pakad kar
ek hi khwab kai baar

Mej par phool sajate hue
dekha hai kai baar
aur bistar se kai baar
jagaya hai tujhko
chalte phirte tere kadmon ki vo
aahat bhi suni hai

Gungunati hui nikli hai naha kar jab bhi
Apne bheege hue baalon se tapakta paani
mere chahre pe chhitak deti hai tu, tiku ki bachhi

Taash ke patton pe ladti hai
kabhi kabhi khel main mujhse
aur ladti bhi hai aise ki bus
khel rahi hai mujhse
aur aagosh ko nanhe ko liye

aur jaanti ho tiku,
jab tumhara yeh khwab dekha tha,
apne bistar pe main us waqt pada
jaag raha tha…

In the romantic songs from nineties onwards, you have seen the hero and the heroine in designer wear frolicking in the Alpine valleys, the meadows of Baden-Baden,the tulip fields of Holland or with the background of the skyline of some of the most famous cities of the world. If this is your idea of a romantic song, look another way. This simple song (more like humming than a traditional song), tops in my list of the most romantic song ever shot on the screen. The glorious seventies, there was more creativity in Hindi cinema than it exists today (there were no jump cuts….thank God for that). Gulzar directed and wrote the screenplay for Kinara. It’s a simple story about relationships which happens to be Gulzar’s favorite topic, about adults and told for adults with due respect to the intelligence of both the characters and the audience.

The poetry in this song is not laden with heavy words or emotions, it’s about a husband and wife doing everyday things and the husband romaticizing about these very things that make life with your loved one special. Dharmendra and Hema were a real life couple and their chemistry shows on the screen - they seem to be completely oblivious to the camera.

Bhupinder’s voice is perfect for this composition which is casual, lazy and relaxed. Hema Malini’s voice - not a big fan of her when she talks with the “unnhhaa” at the end of every statement - is dripping with tender sensuality in this song.
Simplicity and minimalism – clear winners.

Gulzar: Kuch khoye huye nagme - 4

Every Hindi film music aficionado knows about the greatness of this man named Sampooran Singh Kalra aka Gulzar. We have all heard his famous songs a thousand times now, such as: “Tere bina zindagi se” from Aandhi, “Hazaar Rahen” from Thodisi Bewafayee, “Mera kuch saaman” from Ijaazat, or “Kajra re” from Bunty aur Babli. This series is about those lesser known songs penned by this master poet.
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Movie: Masoom (1983)
Music Director: Rahul Dev Burman
Singer: Aarti Mukherjee



Do Naina aur Ek Kahani,
Thoda Sa Badal Thoda Sa Paani, Aur Ek Kahani
Do Naina aur Ek Kahani

Chotisi do jheeloon mein woh beheti raheti hai
Koi sune ya na sune kaheti raheti hai
Kuch Likh kar kuch zubaani
Thoda Sa Badal Thoda Sa Paani, Aur Ek Kahani

Thodi si hai jaani hui Thodi si nayee
Jahan ruke Aasun wahi puri ho gayi
Hai to nayee phir bhi hai puraani
Thoda Sa Badal Thoda Sa Paani, Aur Ek Kahani

Ek khatm ho to doosri raat aajaati hai
Hoothon pe phir bhulee hue baat aajaati hai
Do nainon ki hai ye Kahani
Thoda Sa Badal Thoda Sa Paani, Aur Ek Kahani

By now, you are probably familiar with the pattern used in this song and have recognized it already - yes I am referring to TRIVENI.

Masoom was directed by Shekhar Kapur way before his Elizabethean days. It was written by Gulzar and tells a touching story of a child born out of wedlock trying to bond with the legitimate family of his father. It had spirted performances by the entire cast (even the ham-queen Urmila was tolerable). The music was composed by RD and songs were written by Gulzar. Other songs like "Tujhse Naraaz nahi zindagi" and "Lakadi ki kaathi" became immensely popular in those days and can be heard on Aakashwani and RD-Gulzar CD compilations even today. This song however got over-shadowed by the popularity of the other songs. It was sung by an unknown singer, Aarti Mukherjee. Her voice works for this simple and fluid tune belonging to the lullaby mould.
The RD-Gulzar team have given Hindi music many timeless compositions. RD, for sure, did not quite understand the complete meaning of Gulzar's poetry, but neverthless was probably the only composer who could compose tunes to such bizarre poetry as "Mera kuch saaman" and "Is mod se jaate hain" to name only two of the hundreds of gems these two creative moguls produced. Quoting Forrest Gump - Them two were like peas n carrots.

Gulzar- Kuch khoye huye nagme - 3

Every Hindi film music aficionado knows about the greatness of this man named Sampooran Singh Kalra aka Gulzar. We have all heard his famous songs a thousand times now, such as: “Tere bina zindagi se” from Aandhi, “Hazaar Rahen” from Thodisi Bewafayee, “Mera kuch saaman” from Ijaazat, or “Kajra re” from Bunty aur Babli. This series is about those lesser known songs penned by this master poet.
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Movie: Lekin (1990)
Music Director: Hridaynath Mangeshkar
Singer: Suresh Wadkar


surmayee shaam is tarah aaye
saans lete hai, jis tarah saaye

koi aahat nahin, badan ki kahin
phir bhi lagtaa hai, too yahin hain kahin
waqt jaataa sunaayi deta hain
tera saaya dikhaayi deta hain
jaise khushboo nazar se chhoo jaaye
saans lete hai, jis tarah saaye

din ka jo bhi pehar guzarta hain
koi ehsaan sa utarta hain
waqt ke paanv dekhtaa hoon main
roz ye chaanv dekhtaa hoon main
aaye jaise koi khayaal aaye
saans lete hai, jis tarah saaye

Suresh Wadkar – he is probably the most “non-filmy “ singer for playback singing. His voice is more suited for an evening mehfil in an open air lawn setting on a chilly Indian winter night. Don’t get me wrong, he is a brilliant singer, it's just that his voice is not suited for some Bollywood hero’s lip-synching.

The poetry is laden with the sense of a feeling of intense immobility, stillness and longing. The words create an environment of time slowed down, an evening that refuses to move forward. There is a generous dose of personification of abstract objects and feelings:
- waqt ke paanv dekhta hoon main - I watch the footsteps of time passing by (in the form of shadows moving or elongating as the evening passes by)
- waqt jaata sunayee deta hain - (I) can listen to the time passing by
- saans lete hain jaise saaye - Like shadows breathing

But the one line that defies all logic and yet somehow makes sense is:
- jaise khushboo nazar se chhoo jaaye

Not only is a sensory feeling - khushboo: fragrance - being personified here, it's being used in conjunction with another feeling which is not related to the sensory feeling of "smell". He associates it with - nazar: vision. He does not stop there, but associates the sense of "seeing" to the sense of touch - "choo jaaye". In essence (no pun intended), the line means - "as if fragrance touching my sight". Something tells me a lot has been lost in that translation.

Gulzar's sense of "senses" is mysterious indeed!

Gulzar: Kuch khoye huye nagme - 2

Every Hindi film music aficionado knows about the greatness of this man named Sampooran Singh Kalra aka Gulzar. We have all heard his famous songs a thousand times now, such as: “Tere bina zindagi se” from Aandhi, “Hazaar Rahen” from Thodisi Bewafayee, “Mera kuch saaman” from Ijaazat, or “Kajra re” from Bunty aur Babli. This series is about those lesser known songs penned by this master poet.
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Movie: Anubhav (1971)
Music Director: Kanu Roy
Singer: Geeta Dutt

The beauty of this song is its sheer simplicity in the lyrics, the music, the singing and the on screen depiction. Basu Bhattacharya deliberately chose to make Anubhav in black and white even though Indian cinema had been introduced to color by 1971.

The song is shot in a situation of a husband-wife enjoying a rainy evening and sharing some intimate moments.

Meri jaan, mujhe jaan na kaho meri jaan
Meri jaan, meri jaan, mujhe jaan na kaho meri jaan
Meri jaan, meri jaan

Jaan na kaho anjaan mujhe, Jaan kahaa rehti hai sadaa
Anjaane, kya jaane, Jaan ke jaaye kaun bhala
Meri jaan, mujhe jaan na kaho meri jaan
Meri jaan, meri jaan

Sookhe saawan baras gaye, Kitni baar in aankhon se
Do boondein naa barse, In bheegi palkon se
Meri jaan, mujhe jaan na kaho meri jaan
Meri jaan, meri jaan

Honth jhuke jab honthon par, Saans uljhi ho saanson mein
Do judwaan honthon ki, Baat kaho aankhon se
Meri jaan, mujhe jaan na kaho meri jaan
Meri jaan, meri jaan, mujhe jaan na kaho meri jaan
Meri jaan, meri jaan

Repetition! Repitition!! Repitition!!! All over the song the word Jaan is used liberally and with different meanings.
Meri Jaan mujhe Jaan na kaho, meri Jaan
Here “Jaan” is "love”. Also note the incredible irony in this line:
“Do not refer to me as Jaan - my Jaan”

Jaan na kaho anjaan mujhe
Here “Jaan” is used as “Life” followed by the reason of why She does not want Him to refer to her as “Jaan” (love) since “Jaan”(life) is temporary.

Some other quintessential Gulzar flavors can be seen in :
“Sookhe saawan baras gaye, Kitni baar in aankhon se” &
“Do judwaan hothon ki, baat kaho aankhon se”
I am not even going to try and translate these lines.

This was also one of the last songs sung by Geeta Dutt. If there were ever a list of the most romantically picturised songs in Hindi cinema this one will definitely feature in it. It does not take the Swiss Alps or the meadows of Baden-Baden to create a romantic song.

Gulzar: Kuch khoye huye nagme - 1

Every Hindi film music aficionado knows about the greatness of this man named Sampooran Singh Kalra aka Gulzar. We have all heard his famous songs a thousand times now, such as: “Tere bina zindagi se” from Aandhi, “Hazaar Rahen” from Thodisi Bewafayee, “Mera kuch saaman” from Ijaazat, or “Kajra re” from Bunty aur Babli. This series is about those lesser known songs penned by this master poet.
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Movie: Pinjar (2003)
Music Director: Uttam Singh
Singer: Roop Kumar Rathod, Uttam Singh

This song is about the partition of British India into India and Pakistan. It brings the ethos, angst and pain of the suffering caused by the separation from one’s own land. Gulzar himself has been the witness of the horrifying events of the partition (he was born in the Jhelum district currently in Pakistan) and has penned many poems on this subject that had left many lives on both sides permanently scarred. I could not find the original video of the song. Here’s one for your listening:



vatna ve oh meriya vatna ve
vatna ve oh meriya vatna ve

batt gaye tere aangan, bujh gaye chhulhe saanjhe,
lut gayee teri heeren, marr gaye tere raanjhe

vatna ve oh meriya vatna ve!
vatna ve oh meriya vatna ve!

kaun tujhe paani poochega faslein seenchega?
kaun teri maati mein thandee chaoon beejega?
bairee kaat ke le gaye teriya thandiyan chawaan ve...

vatna ve oh meriya vatna ve
vatna ve oh meriya vatna ve

Hum na rahe toh kaun basayega tera viraana?
mud ke hum na dekhenge aur tu bhi yaad na aana
getee kanche baant ke kar lee kar lee kutti, vatna ve

vatna ve oh meriya vatna ve
vatna ve oh meriya vatna ve


This song is addressed to one’s country in first person singular - ‘Vatna ve’.

“Kaun tujhe paani poochega faslein seenchega”
- Who will ask you if you are thirsty and need water, who will water your crops
“Kaun teri maati mein thandee chaoon beejega”
- Who will sow the cool calming shades in your soil.

Gulzar (and most poets) personifies inanimate and abstract objects, in this case it’s the nation and its farmlands that he is directly addressing to. The consequence of the action is romanticized beautifully in the second and third line. He talks of sowing cool shades in the fertile soil, which is essentially the result of sowing a seed of a tree that provides it.
The third line is the one that comes as direct result of the devastation that the partition was:
“bairee kaant ke le gayee teriya thandiyaa chawaan ve, vatna ve”
- “Those wretched people slashed away your cool shades”
The “cool shades” represents a lot of things here: a home, the warmth of family and friends, and the peaceful life that’s now in the past.

This three line form of poetry is called “Triveni”. Gulzar makes extensive use of this format in his poems and songs.
In his own words: The Triveni sangam at Prayag (Benares) is of three rivers, Ganga, Jamuna and Saraswati. Ganga and Jamuna are the physical rivers and Saraswati is the mythological meta-physical river that makes the Sangam a “Triveni”. This third metaphysical presence adds a whole new dimension to the Sangam. Similarly, in the “Triveni” style of poetry the third line changes the perspective and adds a new dimension (ek naya pehloo) to the first two lines. The first two lines in itself make a complete poem (sher), but it’s the third line that changes the course of the poem and gives to way to possibilities and thoughts to the first two lines.

Gulzarnama

Its a rainy Monday morning, and I am still in bed. Time for some Gulzarnama - rain and water being the central theme:
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Ijaazat:
Chotisi Kahani se Baarishon ke paani se
Saari vaadi bhar gayee
Na jaane kyon dil bhar gaya na jaane kyon aankh bhar gayee

Shaakhon pe patte thi
Patton mein boondein thi,
Boondon mein paani tha,
Paani mein aansoo the......
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Ek akeli chatri mein jab aadhe aadhe bheeg rahe the
Aadhe sookhe aadhe geele, sookha toh main le aayee thi
Geela man shayad bistar ke paas pada ho
Woh bhijwaa do, mera woh saaman lauta do
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Satya:
Geela geela Paani
Paani surila paani
Hum hum hum hum barse
Aaya hain kiske ghar se..paani paani

Aasma chalka hain, aasma bhar gaya ..bhar gaya!
Geela geela paani, paani surila paani

Sheeshon pe bajti hain boondein
Chehre pe chalti hain boondein
Ni pa, pa ni, gungun karta paani
Kalsi mein bharta paani, paani
Hoom hoom, hoom hoom barse
Aaya hai kiske ghar se paani, paani

Ruk ruk ke chalta hai yeh dil
Mujrim sa lagta hai yeh di
Ni pa, pa ni, honton ne chakkha paani
Boondon mein rakha paani, paani
Hoom hoom, hoom hoom barse
Aaya hai kiske ghar se paani, paani
Aasmaan chhalka hai,
aasmaan bhar gaya....Bhar gaya
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"Boondon mein rakha paani, paani "
Like somebody has placed water in the droplets...a drop being a container and water being contained in it. Hmmm?

"Aasmaan chhalka hai, aasmaan bhar gaya....Bhar gaya "
Very interesting concept, essentially what he is saying is that the sky has overflowed and hence the rain. Chalka is another word in Hindi which has no literal translation in English. It means overflow but something is lost in the translation.
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