There have been numerous acceptable lyricists throughout the entire existence of Hindi film, yet a couple have figured out how to rise above the limits of time to remain significant over many years, along these lines making their work immortal. Gulzar, conceived Sampooran Singh Kalra, is absolutely that author. Obviously, it has helped that the movie producer, author and lyricist was there to observe the change of what we currently know as Bollywood.At 87, Gulzar is an artiste who hones constantly his specialty, making it more quick, effective and still so wonderful simultaneously. It is a workmanship that relatively few have, or perhaps they don’t work at it however much this virtuoso scholar does. Be that as it may, even Gulzar needs an ideal opportunity to ponder and concoct something never-ending. While talking with producer and writer Nasreen Munni Kabir for their book Jiya Jale: The Stories of Songs, Gulzar opened up about composition for Mozart of Madras AR Rahman. He said that the writer once needed him to compose an extra tune when they were in Chennai, yet Gulzar denied, saying, “I’m apprehensive I can’t compose that way. I need time.” This reaction provoked Rahman to talk about the famous and presently dubious artist and lyricist Vairamuthu, who clearly can produce a couplet from nowhere.But Gulzar is unique, his methodology is straightforward as can be examination and perception and afterward consolidating it with his otherworldly ability to make entrancing verse. Here is an illustration of how Gulzar functions — in the previously mentioned book, the lyricist talked about the fact that take your direction from the content of the movie when composing its melodies. Discussing Omkara track “Beedi Jalai Le,” Gulzar said, “It’s the content that guides you to compose the melody that works inside the account. You should likewise coordinate with the tune’s jargon with the discourse of the characters. The language of Omkara is Awadhi as is the song.”It is this scrupulousness that makes Gulzar what his identity is. Also, it is this very capacity that gives him his reach. Unnecessary to add that his insight into language is thick and consistently extending. For the unenlightened, Gulzar has been composing tunes since the 1963 film Bandini, where he appeared as a lyricist with the charming “Mora Gora Ang.” His most recent Hindi film work was the 2019 Priyanka Chopra Jonas and Farhan Akhtar film The Sky Is Pink, where he composed every one of the melodies of the film. In the middle, he has written numerous a jewel, including “Woh Shaam Kuch Ajeeb Thi,” “Mera Kuchh Saaman,” “Maine Tere Liye,” “Musafir Hoon Yaaron,” “Tujhse Naraz Nahin Zindagi,” “Satrangi Re,” “Lakdi Ki Kathi,” “Dil to Bachcha Hai Ji,” “Chappa,” “Kajra Re,” “Ae Watan”… it is difficult to name the melodies that came from his pen in one article.
In another book by Nasreen Munni Kabir, named In the Company of a Poet, Gulzar talks about continually being available to change. Another nature of the artist author that demonstrates his chameleon-like expertise to shape his discourse, composing example and thought by the current undertaking he may be chipping away at. “You should consistently be open and responsive. The psyche is continually tolerating, dismissing, turning and curving all that you learn and assimilate,” Gulzar had said at the time.From an affection number, to an awakening hymn, and a coy and exotic melody, Gulzar has done everything. Truth be told, it would not be a misrepresentation to express that there is a Gulzar melody for each state of mind. Take for example, Dil Se melody “Jiya Jale,” which, notwithstanding not being shot as a wedding tune in essence, brings out comparative pictures. The lady to-be, played by Preity Zinta, is sitting effortlessly enhanced in white, as her hands are being finished with henna. Here, she begins singing and envisioning her existence with Shah Rukh Khan’s person.