George Ivanovich Gurdjieff was a Greek Armenian philosopher, mystic, spiritual teacher, music composer, and movements teacher (free movements of body dance). He had a powerful presence in England and when he spoke, people wanted to listen. If Gurdjieff was going to speak on a particular evening at six o’ clock, five hundred people would come to one great hall somewhere in London. If somebody was late by even a minute, the doors would be closed. He was called ‘Rascal Saint’. One person who made Gurdjieff famous was a person called P. D. Ouspensky who was a very famous man by himself. He was a great philosopher, mathematician, and a great intellect. He had written a book on truth, which was hundreds of pages long.

Gurdjieff’s ‘Law of Three’ is referred by himself as “the second fundamental cosmic law”. According to this law, every incident consists of three separate forces, which are Active, Passive and Neutral. This law applies to everything in the universe including organic life on earth. The active force is dominant, passive force is submissive, and the neutral force is holy spirit (spirituality).

I have read Gurdjieff’s work which is bit difficult to understand, its bewildering. I am giving hereby my thoughts on law of three. Gurdjieff says we human beings live unconsciously which means our thoughts constantly flood in and out, and we often fall prey to them. The thoughts could be good, ugly, mysterious, magical, fearing or bad. We are always on autopilot mode; we let those thoughts drive our thinking and take action without realizing its reality and effects. Instead, if we direct our mind to live consciously it could be a game changer. It is taking control of our life, about thinking what decision we are taking, rather than allowing them to sway us.  

If we live consciously,  we could rather settle for a life which suits us, which fits us. Here I mean, understanding our strengths and weaknesses and shaping them for a fitter life. If we’re drifting through life, if we feel out of control, or don’t know how we got here, trust me we are on an autopilot mode of thoughts.  Scientists have found that an average person has about 12,000 to 60,000 thoughts per day. Of those thousands of thoughts, 80% are negative, and 95% are  exactly the same repetitive thoughts as the day before.

If you allow yourself to notice all thoughts that come into your head as you are consciously aware of your breathing most thoughts are imaginary. The process of breath itself may not be in most people’s recognition. They may only be conscious of the sensations caused by the movement of air in their nostrils or lungs. If we notice, pay attention to our breathing, we will learn to appreciate the Universal Energy, the Shakti. And if we recognize our breathing process sincerely, we may accept these thoughts, without judgment. Thoughts are not bad or good, positive or negative, they just are what they are.  You are separate from your thoughts.

So, a thought might occur: “you are not wise”, “you look good today”, “she is jealous of me”, “I will get this job“ etc, etc, etc.  You may become aware that you are having difficulty thinking about your thoughts – so think about that. You may be thinking: “I can’t do this very well,” “I am being ignored”. Well, those are thought too. Allow yourself to think about that. Some people allow the thoughts to just float like leaves on a stream, or clouds in a sky, noticing each passing thought and each coming after the other, first, second, third, fourth and so on.

A Buddhist idea is to think of thoughts as pages written on water. There is similarity between the Buddhist idea and one stanza in the song whahan kaun hai tera from Movie “Guide” 1965 there is a stanza of the song ‘kehete hai gyani, duniya hai paani, paani par likhi likhai’ earth is a watery planet because 70% of the earth’s surface is covered by water. Whatever is written on water does not hold significance because the writing will never last as water keeps flowing. Nothing is permanent in life; name, fame, and fortune do not stay permanently. We come into the world empty-handed and leave empty-handed.  It’s 2025, and I still can’t get over S.D. Burman’s voice and Shailendra’s lyrics, it is one of the finest songs.

You may notice that just now you become aware of a thought, it passes and is replaced by another thought. That’s what happens – thoughts come, and they go. Finally, bring yourself back to awareness of the breath. Behind Gurdjieff’s teaching lies the idea that human beings live and die in a state of sleep, but do not realize this. In this sense, all human beings are divided into two categories – those who realize they are asleep (ignorant) and other ones who are attempting to awaken. Gurdjieff says that human beings live mostly in a kind of sleep.

My understanding from Gurdjieff’s teaching is if we awaken from “waking sleep,” we understand who we are. That most humans exist in a state of “waking sleep,” where they remain unaware of their infinite potential and ultimate value as human beings. If we awaken from the waking sleep, we can enjoy full freedom of the cosmic benefits. Cosmic benefits are energies of sun, moon, stars, earth, air, night sky, ocean, sea, trees, greenery, rain, winter, summer, flowers etc, and we are interwoven with the cosmic energy.    

This song plays at the very start of the movie showing the titles of the movie and a bewildered Dev Anand who played the role of Raju Guide – the protagonist of the movie who is released on parole from jail for his crime of forging the signature of his lover. Raju guide rescues Rosie (Wahida Rehaman) a dancer from a toxic marriage and he motivates her to follow her passion for dancing. She rises because of the constant motivation and backing of the protagonist.

The story of Guide is set in a small village with archaeological unexplored ruins which brings together three very different characters who are passionate about their vocations; an eccentric archaeologist Marco who cannot look beyond his work, and his beautiful wife who is an accomplished dancer but is frustrated and trapped in a loveless marriage and is forced to suppress her passion to dance and an adventurous and lively tourist guide Raju, who takes on the task helping Marco in exploring the pre-historic ruins (caves). Raju ends up as Rosie’s friend, confidante and guide.

In 1965 Guide became a path breaker movie in more ways than one. It is a film adapted from the English novel The Guide written by R K Narayan. Hindi films in the fifties and sixties were usually based on film scripts or stories adapted from Hindi, Bengali or Marathi literature. Rosie’s relationship with Raju starts on a note of sympathy and support and develops into love. A live-in relationship was unthinkable in the sixties and, Raju’s inner transformation in jail.

The song ‘wahan kaun hai tera’ in fact tells the story of the movie. The song is philosophical which conveys that this world is an illusion. According to cognitive scientists such as Donald Hoffman we are being tricked into believing our own reality. We all are seeing around us a   façade that guides our way around a far more complex and hidden background. We are all travellers in this beautiful yet wild world; each one experiences a different journey.  The song tells that traveller must rest under the shade for a few moments. Here the lyricist Shailendra perhaps wanted to emphasize taking a pause for rejuvenating and restarting the remaining travel. Pausing increases productivity, and pausing works miraculously. In your travel you will meet a lover, a companion, a guide, friends, partner, dependents, and enemies so on and forth. But nobody will cry for you in your sorrow.

I love one stanza in the song ‘kehete hai gyani, duniya hai paani, paani par likhi likhai’ earth is a watery planet because 70% of the earth’s surface is covered by water. Whatever is written on water does not hold significance because the writing will never last as water keeps flowing. Nothing is permanent in life; name, fame, and fortune do not stay permanently. We come into the world empty-handed and leave empty-handed.  It’s 2022 and I still can’t get over S.D. Burman’s voice and Shailendra’s lyrics, it is one of the finest songs.

The Indian Hindi cinema world cannot be imagined without songs and dance sequences. Film songs serve a variety of purposes. They are put at thoughtful intervals all through the story; they make a more telling statement than only dialogues. They are both entertaining and enlightening. Many a hit songs, penned by legendary poets and lyricists, have contributed to a film’s box office revenue. This post is about some of the most famous poets in the world of Hindi cinema. You can hear a romantic, sad, bhaktirasa (devotional), patriotic, bravery, lonely, laughter, compassion, fighting all sorts of songs. The songs come in form of cabarets, qawali, bhajan, kirtan, ghazal, disco, dance and romantic songs. Urdu played a crucial role in the growth and development of the Bollywood, especially adding rhyme and lyricism to the Hindi numbers. The most famous poets of Bollywood have penned their poetries in Urdu/Hindi mix language. I hereby give an account of my favorite poets:

Shakeel Badayuni 

He was an accomplished lyricist of the 1950s and 60s, Shakeel started participating in inter-college and inter-universities Mushairas when has studying in Aligarh Muslim University, and won frequently. He moved to Mumbai in 1944 with the ambition to write songs for films. He met producer A. R. Kardar and music composer Naushad, who signed him up for Kardar’s Dard (1947). The songs of Dard proved to be very successful especially Uma Devi’s (Tuntun) ‘Afsana Likh Rahi Hoon Dile Beqrar Ka’. Shakeel wrote for more than 90 films and most of his films had music composed by Naushad. Together he and Naushad became one of the most sought after composer/lyricst duos in the industry. Although Badayuni worked most extensively with Naushad, he also collaborated with Ravi and Hemant Kumar to give many great hits.

Kaifi Azmi

The renowned Urdu poet, Kaifi Azmi, like most of the Urdu poets, began as a ghazal singer. His stint in films includes working as lyricist and writer. His greatest feast as a writer-cum-poet was Chetan Anand’s Heer Ranjha (1970) wherein the entire dialogue of the film was in verse. It was a tremendous achievement and the first and the only one of its kind in Hindi cinema. Though Azmi belonged to a landed family, he was drawn, from an early age, to communism. His family wanted him to become a cleric, and he was enrolled in a seminary. However, he gave up formal education in the wake of the Quit India movement and joined the Communist Party of India. He moved to Bombay in 1943 to work as a trade unionist and write for the party’s Urdu papers, including Qaumi Jung (“People’s War”). He also published his first volume of poetry, Jhankar, that year. During this period he became closely associated with the Progressive Writers Association and the Indian Peoples’ Theatre Association, and he even acted in plays with other leftists such as the actor Balraj Sahni (1913–73).

Tum Itna jo muskara rahe ho……….Movie: Arth (1983), Singer: Jagjt Singh, Music Director: Jagjit Singh

Sahir Ludhianvi

The famous Urdu poet, Sahir Ludhianvi, debuted in films with his lyrics for Naujawan (1951). His first major success came the same year with Guru Dutt’s directorial debut Baazi, again pairing him with composer S. D. Burman. Together they created some of the most popular songs ever: ‘Yeh Raat Yeh Chandni Phir Kahan (Jaal), ‘Jayen to jayen Kahan’ (Taxi Driver). Sahir Ludhianvi’s poetries were accepted in its purest form; he never had to make changes in his poetries to suit the situation as demanded in the films. Instead, producers and composers adapted their requirements to his poetry. His songs in films like Pyaasa, Naya Daur and Phir Subah Hogi have attained the status of classics. Sahir was a sensitive man because of his troubled childhood and his troubled love relationships. He didn’t marry in his life. He rose as people’s poet through the golden era of Hindi film music, the 1950s and 1960s. One of my favorite songs penned by Sahirsab is “Mein zindagi ka sath nibhat chal gaya….” It has become my mantra of life! In clear, modest words and a playful music, the song conveys the secret to life and happiness; it so well picturized on evergreen Dev Anand.

Shailendra

One of the most popular lyricists of the golden era of Hindi cinema, Shailendra used almost all his literary genius for writing great songs which were poems in themselves. Shailendra spent his childhood in Mathura (U. P.). His father hailed from Bihar. This U.P.-Bihar cultural influence was to show later in his folk-style film songs – ‘Chadh Gayo Papi Bichhua’, Sajanwa Bairi Ho Gaye Hamar’ and ‘Abke Baras Bhaij Bhaiya Ko Bab’. Poetry was his first love and his poetic zeal and passion appealed to Raj Kapoor who was in the audience of a stage program where Shailendra recited his poems. Raj Kapoor immediately contacted Shailendra for his next film Barsaat. From then onwards he became the permanent member of the famous R. K. musical quartet – Shankar-Jaikishan, Hasrat Jaipuri and Shailendra. This group of talented artistes remained together for years and made some of the greatest songs. Raj Kapoor and Shailendra shared a fantastic camaraderie and a highly productive working relationship. But above all, they were friends. Raj Kapoor fondly referred to Shailendra as “Pushkin” (name of one of the famous Russian poet) or “Kabiraj”. In fact, the legendary actor-director was often at the latter’s house.  Raj Kapoor and Shailendra worked together on several movies, around 21 films in total.

Dil ka haal sune dilwala, seedhi si baat na mirch masala, Movie Shree 420(1955) Singer: Manna De, Music Director: Shankar- Jaikishan

Majrooh

Majrooh was an established Hakim, but, he used to write and recite ghazals at a mushaira in Sultanpur. One of his ghazals became famous with the audience and Majrooh saw his calling. In 1945 he visited Bombay where the renowned poet Jigar Muradabadi introduced him to producer A. R. Kardar and composer Naushad, who put the young writer to test. Naushad gave Majrooh a tune and asked him to write something in the same meter, and Majrooh wrote ‘Jab Usne Gesu Bikhraye, Badal Aya Jhoom Ke’. Naushad liked what Majrooh wrote and gave him a break as lyricist in Kardar’s film Shahjehan (1946). The songs of the film became immensely popular. Majrooh went on to write lyrics for hit movies in the 1950s and 60s. It was Majrooh’s versatility that producers swore by, for Majrooh could captivate listeners with his every work. Majrooh won Filmfare award for Dosti. He wrote over 4000 songs and his success rate in terms of popularity of his songs was 95 percent.

Anand Bakshi

He was an avid movie buff right from childhood, Anand Bakshi’s dream to become a big shot in Bollywood was realized with a chance meeting with producer Bhagwan who offered him to write lyrics for his film Bada Admi. A few years later Jab Jab Phool Khilen released and the song ‘Pardesion Se Na Ankhian Milana’ proved to be a big hit. His career took a big leap forward when the songs of Haryali Aur Raasta became chartbusters. The film had many hit songs including the timeless number ‘Bol Meri Taqdeer Mein Kya Hei’. It was Milan (1967) that finally took Bakshi to the top. Songs like ‘Sawan Ka Mhina’, ‘Bol Gori Bol’, and Ram Kare Aisa Ho Jaye’ and ‘Hum Tum Geet Yug Yug Geet Milan Ke Gayen’ were hummed in every nook and corner of the country. He never looked back after Milan.  Anand Baxi’s association with Lakshmikant-Pyarelal and R. D. Burman gave some of the most beautiful renditions in movies like Farz, Do Raaste, Bobby, Amar Akbar Anthony, Ek Duje Ke Liye, Kati Patang, Amar Prem, Hare Rama Hare Krishna, to  name a few. His work in particularly Amar Prem stands out among his best – ‘Chingari Koi Bhadke’, ‘Kuch to Log Kahenge’ and ‘Raina Beet Jaye’. Anand Bakshi won Filmfare awards for some of his songs.

Nida Fazli

He was a prominent Indian Hindi and Urdu poet, lyricist and dialogue writer. He was awarded the Padma Shri in 2013 by the government of India for his contribution to literature. While still young, Fazli was passing by a Hindu temple where a singer was singing bhajan by Surdas about Radha sharing her sorrow with her maids at being separated from her beloved Krishna. Nida got so inspired by Surdas’s poetry that he began studying Hindu mythology poetries. He got inspired by Meera’s bhjanas, Kabir’s dohas, Mir, Ghalib. He also widened his knowledge of poetry by studying T.S. Eliot, Gogol, Anton Chekhov etc. He became known among readers and ghazal singers for his elegant presentation and exclusive use of colloquial language for ghazals, dohaas and nazms. I am a big fan of Nida Fazli’s poetries.

I give hereby a beautiful, haunting song composed to perfection by the great composer Khayyam; this remains an example of the poet’s life philosophy. The song talks about endless human desire yet the reality that nobody’s desires are fulfilled in this lifetime. Singer Bhupinder Singh recollects that when he sat down to read the song for the first time, he had tears in his eyes, he was filled with emotion. Nida Fazlisab seemed to have poured far too much heart and reality into it, says the singer. Bhupinder said that it wasn’t just another ghazal for him.

Gulzar

His real name is Sampoorna Singh Kalra, he Is one of the most versatile poet, lyricist, producer, director. Gulzar is one of those sensitive people whose work is laced up with lyrical but psychologically adept examination of human sensibilities. He used to work as a touch-up guy for paints for cars in garage. His first break as lyricist came when he wrote ‘Mora Gora Ang Lai Lae’ for Bimal Roy’s Bandini (1963). The song was a big hit and gave Gulzar the opportunity of his lifetime  writing hit songs for films that include Anand, Namak Haram, Khamoshi, Safar, Andhi, Mausam, Lekin, Machis, Masoom, Rudali, Thodi Si Bewafai, Sadma, Ghulam, Dil Se, Satya and many more musical hits. Gulzar has won Filmfare awards for Best Lyricist seven times: Do Diwane Shahar Mein (Gharonda-1977), Aanewala Pal Jaanewala Hai (Golmaal-1970) and few other numbers.

Gopaldas Neeraj

He was popularly known as Neeraj was known for his intense poetries. He wrote under the pen name “Neeraj”. He was Padma Shri and Padma Bhushan. Besides writing, he earned his living by working as a Professor of Hindi literature in Dharma Samaj College, Aligarh; he even became Chancellor of Mangalyatan University for a while. He wrote equally well in Hindi and Urdu.

He wrote songs for several Hindi films and was proficient in both Hindi and Urdu. In a television interview, Neeraj called himself an unlucky poet who had to concentrate on the poetry form instead of writing songs for films. His career as a film lyricist ended when he became miserable by the deaths of some of the film music directors with whom he had worked. He noted in particular the deaths of Jaikishan of the music duo Shankar-Jaikishan and S.D.Burman for both of whom he had written highly popular film songs.

Poets are usually sensitive people. I mean that they are more aware of emotions. They can sense wide variety of emotions than just being sad and happy. Little thing around can them act as stimulant to give rise to intense emotions in them.  All of the poets I have mentioned in this post made 1950s and 1960s a golden era.

I am sure, like me many readers might be Dev Anand’s die-hard fans. Can Dev Anand be called the style icon? Yes certainly. In the 50s, 60s and 70s he brought in the fashion of scarves, mufflers and jackets and his signature puff which he imitated from his childhood idol Gregory Peck. He was a trendsetter and a guide, who gave an impetus to Bollywood fashion. On screen he personified serious and romantic roles with a penchant. His eyes spoke – he had the most expressive eyes that usually expressed more than words. Besides being a good looker Dev had the oodles of charm which left viewers spell bound!

He has the most memorable songs like Abhi na jao chodkar; koi son ke dlilwala, koi chandi ke dilwala, Jia o, Khoya khoya chand, aise to na dekho, tu kahan ye bata, arre yar mere tum bhi ho gazab, kahin bekhayal hoke, oh I can go on and on. Music was another facet of his films. He was lucky to have great singers rendering voice to him off screen and some of the great composers.

Some of the most popular Bollywood songs were filmed on him. Dev Anand’s association with music composers like – S. D. Burman and R. D. Burman, lyricists – Majrooh Sultanpuri, Neeraj, Shailendra and playback singer Mohammad Rafi and Kishore Kumar produced some of the best songs in the Bollywood history. Considering the fact that he was so full of life and bubbling with energy all the time, it doesn’t come as a surprise that the only film Dev Anand had a death scene in, was Guide. Dev Anand never went on funerals and never mourned anyone’s death. His philosophy about death was different.

Dev Anand had girls swooning over him. There was a time when female fans passionately started sending him letters in their blood especially after seeing him in a black suit. Such was his personality that he was warned or “banned” from wearing a black suit in public.

He preferred to look ahead, than looking back with nostalgia; in such a wonderful career that had milestones such as Baazi, Kala Pani, Kala Bazar, Paying Guest, Guide, Jewel Thief, Hum Dono , Teen Deviyan, Maya, Nau-Do-Gyarah  etc; this because he had the tireless energy and the genius to craft more and more films.

It is said that in the 50s and 60s, the day his films were released, colleges and universities used to wear an abandoned look. His hurried style of dialogue delivery, his enchanting smile and the frequent nodding of head became his unmatched style, what is called ada in Urdu. He romanced yesteryear’s bold and beautiful actresses; most of them have vouched him being a gentleman.

Dev Anand was spotted by Ashok Kumar, who gave him a lead role in Ziddi, a production of Bombay Talkies. Before this, he had acted opposite the famous singer- actress Suraiya in the 40s, but Suraiya’s popularity surpassed his talent – leaving him high and dry. But, his off-screen failed romance with Suraiya filled many gossip columns.

It was during his period of struggle that he came across Guru Dutt, and the two made a promise to each other, whosoever achieved success first, would help the other. And, the rest is history. In 1951 Guru Dutt made Baazi, starring Dev Anand and Geeta Bali. The film became a trend-setter in urban crime thrillers and was a hit. The film also introduced Kalpana Kartik, who became Dev Anand’s lead heroine for many films like House No 44, Nau Do Gyarah and Taxi Driver (1954). After delivering some hits, Kalpana married Dev and retired from films.

He was a simple at heart. He never had stylish cars, never had a huge birthday bash and no show offs. Dev Anand took keen interest in politics. He formed a party called National Party of India which he later dispersed. He was among the group of film personalities who stood up to the internal emergency imposed by then Prime Minister of India, Indira Gandhi. In 1977, he actively campaigned against her with his supporters in the Lok Sabha.

He began his early career as he worked in the postal department of armed forces for a while. The actor was paid Rs 165 a month. His work was to read the letters that came for soldiers and censor any unwarranted information.

For Dev Anand, life in all shades was a festivity. Today, though he is not around, he still remains a dream hero with his peculiarity as well as eccentricity. His puffed hair style, a scarf around neck, drawl, the speech, the gait… all these made him what he was. Can brand Dev Anand ever be replaced? Certainly not.