Gulzar

Early Life and the Making of Gulzar

Gulzar full name and family background

Born into a Sikh family, Sampooran Singh Kalra, who we now know worldwide as Gulzar, came into this world on August 18, 1934. His birthplace was a small town called Dina in the Jhelum District of British India (now part of Pakistan). His father Makhan Singh Kalra ran a small business, and his mother was Sujan Kaur. Life dealt him an early blow when he lost his mother as an infant. His relationship with his stepmother never quite worked out. The young boy spent most of his childhood at his father’s shop instead of home. School didn’t interest him much, but books sparked something special in him, even though he didn’t pass his intermediate exams.

Impact of Partition on his early years

The catastrophic Partition of 1947 changed everything for Gulzar just as he entered his teenage years. His family, like millions of others, had to leave their ancestral home and start fresh across the newly drawn border. They first moved to Amritsar, then settled in Delhi’s Sabzi Mandi area. Young Gulzar saw things no child should see. He later spoke about stepping over dead bodies—half-burnt and dismembered—while the smell of rotting corpses filled Subzi Mandi during the riots. These haunting memories of violence and displacement showed up repeatedly in his work. He once said in an interview that he wrote about Partition because “he had seen Partition, read about Partition, but could not write in those days”.

First jobs and literary influences

Money was tight, and Gulzar had to stop his studies since his father couldn’t afford them anymore. His family needed support, so he started working at a Delhi petrol pump. Mumbai (then Bombay) beckoned with better opportunities, and he made the bold move to the city. He picked up whatever work he could find, including a job at a Worli garage. At Vichare Motors on Bellasis Road, he mixed paint colors to fix damaged cars. “I had a knack for colors,” he once said about this time. Books remained his true love through these tough times. Someone handed him “The Gardener” by Rabindranath Tagore. This book lit a fire in him to become a writer, though his father wasn’t happy about it.

Adoption of the pen name ‘Gulzar’

Mumbai’s literary scene drew him in quickly. He became a regular at Association of Progressive Writers meetings, where he met many established writers, including Shailendar, a prominent film lyricist back then. Though born Sampooran Singh Kalra, he first wrote as “Gulzar Deenvi”—Deenvi coming from his hometown Dina. Later, he kept it simple with just “Gulzar,” a name that would become legendary in Indian cinema and literature. His father, who once scolded him for writing, never imagined this pen name would belong to one of India’s most celebrated literary figures. These early experiences—from Partition’s horrors to working odd jobs while chasing his writing dreams—built the foundation for his remarkable journey ahead.

From Garage to Lyrics: The Start of a Creative Journey

Joining the Progressive Writers’ Association

During his early days in Mumbai, Gulzar worked as a car mechanic at a garage in Worli while nurturing his love for literature. His job gave him time to read books and build his literary dreams. He felt drawn to the Progressive Writers’ Association (PWA), a group of forward-thinking literary minds. PWA meetings changed his creative path and helped him connect with big names in film and literature. These Sunday gatherings brought him close to poet-lyricist Shailendra and famous director Bimal Roy, who would shape his career path. Their support made the shy young poet think over a career in films.

First break with ‘Bandini’ and S.D. Burman

The year 1963 saw Gulzar step into Hindi cinema as a lyricist with Bimal Roy’s film “Bandini”. Funny enough, Gulzar said no at first, telling Roy, “I don’t want to be a lyricist”. He had strong feelings against the Hindi film industry until then. The legendary music director S.D. Burman made him think again. Shailendra, who wrote other songs for the film, gave him a shot at writing “Mora Gora Ang Layle”. Bimal Roy wanted a song with Vaishnav bhajan touches for a specific scene. Gulzar spent five days crafting lyrics that met this need and captured a young woman’s emotional awakening. Lata Mangeshkar’s beautiful rendition became a hit right away.

Rise as a lyricist in the 60s and 70s

Following his successful debut, Gulzar wrote lyrics and dialogs for Hrishikesh Mukherjee’s “Aashirwad” in 1968. His career didn’t take off right away. The song “Humne Dekhi Hai Un Aakhon Ki Mehekti Khushboo” from “Khamoshi” (1969) put him in the spotlight. This moving composition showed off Gulzar’s unique poetic style with its unusual imagery and emotional depth. He built strong partnerships with music directors like Hemant Kumar, Salil Chowdhury, and most importantly, R.D. Burman. His work in “Anand” (1971) and “Mere Apne” (1971) with Salil Chowdhury made his name even bigger. These partnerships let his unique lyrical voice grow as he developed his signature style.

Gulzar’s songs that became timeless classics

Among Gulzar’s most enduring contributions stands “Humko Man Ki Shakti Dena” from “Guddi” (1971). This deep composition started as a scene where the main character leads a school prayer. The song grew beyond the movie and became a prayer song in schools across India. “Tere Bina Zindagi Se” from “Aandhi” (1975) captured lost love’s essence so well that it remains the go-to song for romantic melancholy.

Gulzar’s work with R.D. Burman created gems like “Musafir Hoon Yaaron” from “Parichay” (1972), a deep look at life’s path. Through the 1970s, his songs in films like “Khushboo,” “Mausam,” and “Kinara” showed how well he could mix deep thoughts with relatable emotions. He worked with every major music director of that time—from Shankar Jaikishan and Laxmikant-Pyarelal to Madan Mohan. These partnerships helped Gulzar become a lyricist whose words touched hearts, sparked minds, and captured life’s complex experiences.

The Director Emerges: Gulzar’s Cinematic Vision

Movies directed by Gulzar in the 70s and 80s

Gulzar moved from writing to filmmaking with his 1971 directorial debut “Mere Apne,” which adapted the Bengali film “Apanjan.” This started his remarkable 20-year career as a director. His second film “Koshish” (1972) showed the life struggles of a deaf-mute couple and proved his skill at handling unique subjects. The 1970s saw him create several acclaimed films like “Parichay” (1972), “Achanak” (1973), “Aandhi” (1975), “Khushboo” (1975), “Mausam” (1975), and “Kinara” (1977). He continued his creative streak in the 1980s with “Angoor” (1982), “Namkeen” (1982), “Ijaazat” (1987), and “Libaas” (1988)—though “Libaas” stayed unreleased for many years. His final film “Hu Tu Tu” (1999) completed his legacy of 17 directorial works.

Themes of human emotion and social issues

Gulzar’s films took a closer look at complex relationships and human connections against social backdrops. “Aandhi” broke new ground by showing a political leader’s personal life when Indian cinema rarely touched such themes. “Mausam” explored abandonment and moral responsibility through a man who finds his former lover’s daughter. His movies struck a perfect balance between entertainment and social commentary. “Maachis” (1996) tackled sensitive issues like the aftermath of the 1984 anti-Sikh riots and terrorism in Punjab. Unlike his commercial contemporaries, Gulzar focused on emotional truth and psychological depth instead of formula-based storytelling. His characters stayed relatable despite their complex moral situations.

Use of flashbacks and narrative style

Gulzar created his own unique cinematic language with non-linear stories and poetic visual compositions. He mastered the use of flashbacks, which showed clearly in films like “Aandhi” and “Ijaazat” where past memories shape present moments. “Achanak,” based on the famous K.M. Nanavati case, used a broken timeline to reveal the protagonist’s motives bit by bit. His background in poetry shaped his visual style, creating frames that looked like moving poems with careful imagery and symbols. His dialog writing brought literary quality to everyday conversations while staying authentic. Even his adaptation of Shakespeare’s “Comedy of Errors” into “Angoor” kept both the original story’s essence and Gulzar’s poetic touch.

Collaborations with actors and musicians

Gulzar built strong creative partnerships with actors who gave their best performances under his direction. Sanjeev Kumar worked with him in seven films including “Koshish,” “Aandhi,” and “Angoor.” He helped Jeetendra show his dramatic skills beyond his commercial image in “Parichay” and “Khushboo.” His work with Vinod Khanna in “Achanak” and “Meera” created memorable performances. In music, his long partnership with R.D. Burman produced some of Hindi cinema’s most loved soundtracks. Films like “Aandhi” and “Ijaazat” had songs that became cultural landmarks. After “Maachis,” he started working with Vishal Bhardwaj, a partnership that continued long after he stopped directing. This showed his skill at working with new generations of filmmakers.

Poetry, Prose, and Beyond: The Literary Side of Gulzar

Gulzar poetry style and language

A linguistic virtuoso, Gulzar writes mainly in Urdu and Punjabi, but his creative work spans Braj Bhasha, Khariboli, Haryanvi, and Marwari. His poetry follows the Triveni style – a three-line form that mirrors the mythological hidden Saraswati river, where deeper meaning flows beneath the first two lines. His unique style comes from the way he mixes multiple languages in one poem. He once said, “People have prejudices and divide languages,” and expressed this thought in a triveni: “Aao ab zabaanein baant le apni apni hum / Na tum sunogee baat na humko samajhna hai / Do anpadhon ko kitni mohabbat hai adab se”. His poetry runs so deep in Indian culture that some works like “Hum Ko Man Ki Shakti Dena” – now a morning prayer in many schools – have grown beyond their creator’s identity.

Books and short stories authored

An extensive literary output marks Gulzar’s career beyond films. His poetry collections feature Chand Pukhraaj Ka, Raat Pashminey Ki, and Pandrah Paanch Pachattar. His narrative skills shine in short story collections like Raavi-paar (known as Dustkhat in Pakistan) and Dhuan. 100 Lyrics and its sequel Another 100 Lyrics stand out as brilliant collections of his poems from film and non-film albums. He showed his storytelling magic in Gulzar’s Angoor, where he explores human relationships with deep empathy. His stories range from Partition tales (Raavi) to stories about human greed and its effects. His nine-year project A Poem A Day shows his love for poetry – he picked and translated 365 contemporary poems from 34 languages across India.

Gulzar quotes that reflect his philosophy

Philosophical depth runs through Gulzar’s thoughts about life and art. He believes “Poetry is not about personal pain or tragedy. It should reflect society’s grief,” highlighting literature’s role in society. About language, he says: “I believe words should amaze or amuse. Only then will the listener want to understand the meaning of the song”. He worries about preserving language heritage, warning that without protecting mother tongues, “children will soon lose out on words like bichhoo and chhipkali because their parents use ‘scorpion’ and ‘lizard’ in daily conversations”. His belief that “Poetry is not just for syllabus; it must be woven in life” shows how he wants to make literature part of everyday life.

Work in television and children’s content

Television revealed another side of Gulzar’s creative genius. He created lyrics and dialogs for many Doordarshan shows including Jungle Book, Alice in Wonderland, and Hello Zindagi. He directed the acclaimed series Mirza Ghalib (1988) with Naseeruddin Shah, bringing the famous Urdu poet’s life to screen. His series Kirdaar (1993-1995) brought touching short stories from renowned Indian writers to life. He adapted Munshi Premchand’s works in Tehreer Munshi Premchand Ki (2004) for TV audiences. Beyond adult content, he’s created impressive children’s material, including works for the Karadi Tales audiobook series. At a literature event, he pointed out the gaps in children’s literature, noting that “sparing Bengali, Marathi and Malayalam, not much was being contributed for children’s literature in the country”.

Recognition, Family, and Legacy

A Legacy Beyond Words

Gulzar’s remarkable trip from a garage mechanic to one of India’s most celebrated creative minds has without doubt changed artistic excellence in multiple domains. His extraordinary versatility shines through his work as a poet, lyricist, screenwriter, and filmmaker. Each role shows his unique sensibility and deep understanding of human emotions. He started his career reluctantly with “Bandini.” This hesitant step grew into a creative odyssey that spanned several decades. His work earned him unprecedented recognition including an Oscar, a Grammy, and India’s highest literary honor – the Jnanpith Award.

The Poet’s Vision

Of course, Gulzar’s distinctive cinematic style carries his poetic sensibilities’ unmistakable mark. His films take a closer look at complex human relationships against sociopolitical backdrops. He uses innovative narrative techniques like his signature flashbacks. Unlike many commercial filmmakers, he chose emotional authenticity and psychological depth over formulaic storytelling. His cinematic language flows from his poetic foundations. This creates visual compositions that feel like moving poems with carefully crafted imagery and symbolic elements.

Words That Surpass Time

Gulzar’s mastery over language remains his most striking quality. He blends multiple languages with innovative imagery and deep philosophical insights. His work appeals to people across generations. His words have become part of India’s cultural fabric, from school prayer songs to reflections on social issues. His steadfast dedication to preserving linguistic heritage goes beyond his own work. Projects like “A Poem A Day” celebrate India’s rich poetic traditions across 34 languages.

A Cultural Icon

Gulzar stands tall as a cultural icon after decades of creative work. His influence reaches way beyond entertainment. His work shows his belief that art must serve a social purpose while remaining available to ordinary people. Despite his numerous accolades, he approaches his craft with humility and dedication. Gulzar’s legacy lies in knowing how to turn everyday experiences into profound artistic expressions. These expressions touch hearts, stimulate minds, and capture human experience in all its dimensions.

Key Takeaways

Discover the remarkable transformation of Gulzar from a humble garage mechanic to India’s most celebrated poet-filmmaker, whose artistic journey spans multiple languages, mediums, and generations.

• From Trauma to Art: Partition’s devastating impact on young Gulzar became a recurring theme in his works, transforming personal tragedy into universal artistic expression.
• Reluctant Genius: Despite initially refusing to work in films, Gulzar’s debut with “Bandini” (1963) launched a legendary career spanning poetry, lyrics, and filmmaking.
• Linguistic Virtuoso: His effortless blending of Urdu, Punjabi, Hindi, and regional languages created a unique poetic style that transcends cultural boundaries.
• Cinematic Poetry: Gulzar’s films prioritized emotional authenticity over commercial formulas, using innovative flashback techniques and symbolic imagery to explore complex human relationships.
• Cultural Legacy: From school prayer songs to Oscar-winning lyrics, his words have become deeply embedded in Indian culture, proving that art can serve both entertainment and social purpose.

Gulzar’s journey exemplifies how personal struggles, when channeled through artistic vision, can create timeless works that resonate across generations and linguistic barriers.

Also Read: Journey of Ustad Bismillah Khan, Khushwant Singh

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