SHAILENDRA: THE PEOPLE;S POET OF HINDI CINEMA AND HIS ENDURING LEGACY

SHAILENDRA: THE PEOPLE;S POET OF HINDI CINEMA AND HIS ENDURING LEGACY

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RAJIV NAYAN AGRAWAL

ARA---------------------------Shankardas Kesarilal, known to the world as Shailendra, stands as a towering figure in Hindi cinema, celebrated as one of its greatest lyricists. Born on August 30, 1923, in Rawalpindi (now in Pakistan), with ancestral roots in Ara, Bihar, Shailendra’s journey from a humble Dalit family to a poetic icon is a testament to his extraordinary talent and profound connection with human emotions. His songs, marked by simplicity, depth, and universal appeal, continue to resonate across generations, long after his untimely death on December 14, 1966. This article weaves together Shailendra’s life, his unparalleled contributions to Hindi cinema, his deep ties to Bihar, and the call for greater recognition of his legacy.

Early Life: From Hardship to Poetry

Shailendra was born into a Dalit family from the Chamar community, with his father and grandfather hailing from Akhtiyarpur in Bihar’s Ara district. Financial struggles and his father’s illness forced the family to relocate from Rawalpindi to Mathura, where his uncle worked in the railways. In Mathura, Shailendra spent 16 formative years, attending Kishori Raman Vidyalay and nurturing his poetic talents alongside his friend Indra Bahadur Khare, often composing by a pond near the railway tracks.

A defining moment in his childhood came during a hockey game when peers taunted him with casteist remarks, saying, “Ab yeh log bhi khelenge” (Now these people will play too). The sting of this discrimination led young Shailendra to break his hockey stick and walk away, an experience that left a lasting mark. Yet, this pain fueled his empathy, later reflected in lyrics that championed human dignity and unity, such as:

Hothon pe sachchai rehti hai, jahan dil mein safai rehti hai
Hum us desh ke waasi hain, jis desh mein Ganga behti hai
(Shree 420, 1955)

These lines, born from a heart scarred by societal prejudice, celebrate a nation where truth and purity of heart prevail, showcasing Shailendra’s ability to transform personal pain into universal poetry.

Entry into Hindi Cinema: A Serendipitous Beginning

In 1947, Shailendra moved to Bombay (now Mumbai) to work as an apprentice at the Indian Railways’ Matunga workshop. Despite his demanding job, his passion for poetry thrived through his involvement with the Progressive Writers’ Association and the Indian People’s Theatre Association (IPTA), where his leftist ideals and commitment to social justice took root.

His cinematic journey began in 1948 when filmmaker Raj Kapoor heard him recite Jalta Hai Punjab, a poignant poem about the Partition’s devastation, at a mushaira. Impressed, Kapoor offered to buy it for his film Aag (1948). Initially reluctant, wary of cinema’s commercialism, Shailendra declined. However, financial pressures after his son’s birth led him to approach Kapoor again, resulting in his debut as a lyricist in Barsaat (1949). Songs like Barsaat Mein Humse Mile Tum Sajan and Patli Kamar Hai, composed by Shankar-Jaikishan, became instant hits, earning him Rs. 500 and launching a legendary collaboration.

The Golden Trio: Shailendra, Raj Kapoor, and Shankar-Jaikishan

Shailendra’s partnership with Raj Kapoor and composers Shankar-Jaikishan produced some of Hindi cinema’s most iconic songs, defining the golden era of Bollywood. Films like Awaara (1951), Shree 420 (1955), Anari (1959), and Sangam (1964) showcased his lyrical genius. Awaara Hoon became a global anthem, resonating in places like Russia, while Pyaar Hua Iqraar Hua (Shree 420) captured the essence of love with timeless simplicity. His versatility shone in romantic (Kisi Ki Muskurahaton Pe Ho Nisaar, Anari), introspective (Dua Kar Gham-e-Dil, Anarkali, 1953), and socially conscious songs (Thahar Zara O Jaane Wale, Boot Polish, 1954).

Shailendra’s ability to weave profound philosophical and emotional truths into accessible language earned him the title of “Jana-kavi” (people’s poet). As Raj Kapoor called him “Kavi-raj” (eminent poet), his lyrics reflected a deep understanding of human struggles, evident in lines like:

Kisi ki muskurahaton pe ho nisaar, kisi ka dard mil sake to le udhaar
Kisi ke vaaste ho tere dil mein pyar, jeena isi ka naam hai (Anari, 1959)

He worked with diverse composers like S.D. Burman (Kala Bazar, 1960), C. Ramchandra (Anarkali), and Pandit Ravi Shankar (Anuradha, 1960), where songs like Jaane Kaise Sapnon Mein captured unspoken dreams with poetic finesse.

A Poet of the People: Bihari Roots and Bhakti

Shailendra’s connection to Bihar’s Bhopjpuri heartland infused his work with an earthy authenticity. Songs like Paan Khaye Saiyyan Hamaar, Sajanwa Bairi Ho Gaye Hamaar, and Chalat Musafir Moh Liyo Pinjre Wali Muniya from Teesri Kasam (1966) evoke the soul of Bihar’s villages, their joys, and their sorrows. His only venture as a producer, Teesri Kasam, a poignant rural drama set in Bihar’s countryside, starred Raj Kapoor and Waheeda Rehman. Directed by Basu Bhattacharya, it won the National Film Award for Best Feature Film in 1967 but was a commercial failure, deeply affecting Shailendra’s health and finances.

His diary, found after his death, listed his “permanent address” as Akhtiyarpur, Ara, Bihar, underscoring his unbreakable bond with his roots. His son Dinesh and daughter Amla recall his unfulfilled desire to visit his ancestral village and his wish to arrange his daughters’ marriages in Bihar. In 2016, Amla and Dinesh visited Ara, retracing their father’s roots, a testament to his enduring connection to the land.

Recognition and Unfulfilled Honors

Shailendra won three Filmfare Best Lyricist Awards for Yeh Mera Diwanapan Hai (Yahudi, 1958), Sab Kuchh Seekha Humne (Anari, 1959), and Main Gaoon Tum So Jao (Brahmachari, 1968). Yet, many believe he was underappreciated by the Indian film industry and literary circles during his lifetime. His songs, however, found immense love abroad, particularly in Russia, where even the Soviet premier was a fan. Gulzar has called him the greatest lyricist, unmatched in his craft, while Javed Akhtar distinguished him from contemporaries like Sahir Ludhianvi and Kaifi Azmi, noting that Shailendra was the quintessential “geetkar” (songwriter) who wrote for the common man.

Despite his monumental contributions, Shailendra never received major governmental honors like the Padma Bhushan or Padma Vibhushan. His admirers question why, even posthumously, the Indian government has not recognized his legacy with such awards. Similarly, the Bihar government’s promises to honor him with institutions, awards, or named streets remain largely unfulfilled, despite assurances from ministers. In 2016, Mathura named a street Geetkar-Jankavi Shailendra Marg, but Bihar has yet to fully embrace his memory.

Legacy: The Timeless Voice of the Common Man

Shailendra’s 900+ songs remain a treasure trove of emotions, blending literary depth with cinematic appeal. His non-film poetry, compiled in Andar Ki Aag (The Fire Within), reflects his Dalit identity and socialist ideals, though he rarely emphasized his caste publicly. Songs like Mera Joota Hai Japani (Shree 420), featured in Hollywood’s Deadpool (2016), and Sajan Re Jhooth Mat Bolo (Teesri Kasam) continue to inspire, their simplicity masking profound truths.

As he wrote in Anari:

Sab kuchh seekha humne, na seekhi hoshiyari
Sach hai duniyawalon ke hum hain anari

These lines encapsulate Shailendra’s ethos—honest, unpretentious, and deeply human. Books like Ummidon Ke Geetkar Shailendra by Yunus Khan and Geeton Ka Jadoogar by Braj Bhushan Tiwari celebrate his craft, while his songs remain anthems of love, life, and resilience.

On his birth anniversary, the call grows louder for India and Bihar to honor Shailendra’s legacy—perhaps with a Padma award, a cultural institution, or a street in Ara named after him. His heart, as his diary and songs reveal, always belonged to Bihar, and his words continue to echo in the hearts of millions, making him the eternal people’s poet.