Three different poets. Three different directors. Three different periods. 50s, 60s and 70s. Yet a common thread binds all of them through a striking similarity of poetic expression.
Sample this first from Boot Polish (1954) by Saraswati Kumar Deepak:
"Khela Bachpan Hasin Jawani
Magar Budhapa Tarsata Hai"
Then from Teesri Kasam (1966) by Shailendra:
"Bachpan Khel Mein Khoya
Jawani Neend Bhar Soya
Budhapa Dekh Kar Roya"
And last from (1970) Mera Naam Joker by Neeraj:
"Haan Babu Yeh Circus Hai
Show Teen Ghante Ka
Pehla Hissa Bacpan Hai
Doosra Jawani...
Teesra Budhapa Hai"
........... .........
Basic philosophy of life as conveyed through three different poets is the same in all three poems in three different movies in a span of 16 years. I have no means to know whether it was the first poet who inspired Raj Kapoor or the the two subsequent poets who were inspired by Saraswati Kumar Deepak. Do I believe in the first option that RK was impressed by the poem of "Deepak" to the extent that he persuaded Shailendra to use similar expression in Teesri Kasam ? Unlikely because RK was neither the producer nor the director. Moreover, if he was so impressed he could have asked one of his lyricists (SH) to use the theme in any of the movies produced by him during 1955-61. Since this did not happen, next option to consider is that Shailendra himself was impressed by Deepak's poetry that he chose to use it in context of Teesri Kasam. I am not too sure, because a poet of Shailendra's stature and calibre would have found it below his poetic dignity. The last option is that Shailendra might have helped "Deepak" with lyrics of "Yeh Raat Gayee..." where these words were first used. Highly probable. As for repetition in Mera Naam Joker, I think, after unprecedented success of "Sajan Re Jhoot Mat Bolo) RK must have persuaded Neeraj to use (one more time) this simple philosophy of life in his landmark poem "Aye Bhai Zara Dekh Ke Chalo". Neeraj (now in his late 80s or early 90s) is widely regarded as King of romanticism among contemporary Hindi poets. But, in this particular poem Neeraj surprised all by making a smooth transition from his trademark romanticism to raw realism. The poet in him explores the ultimate frontiers of a Joker's life through hard-hitting words in the concluding part:
....Aur Uske Baad,
Maa Nahin, Baap Nahin
Beta Nahin, Beti Nahin
Tu Nahin, Main Nahin
Kuch Bhi Nahin Rehta Hai
Rehta Hai, Jo Kuch Wo
Khali Khali Kursiyan Hai
Khali Khali Tambu Hai
Khali Khali Ghera Hai
Bina Chidiya Ka Basera Hai
Na Tera Hai, Na Mera Hai
Neeraj was no doubt at his imaginative best when he carried this simple philosophy from (1954) Boot Polish and (1966) Teesri Kasam song to its logical though morbid end in (1970) Mera Naam Joker. Shailendra in heaven must have generously complimented (his contemporary as a Hindi poet) Neeraj for fulfilling what would have been his task had he been alive.
Now, some trivia about film poets in general and Neeraj in particular.
By temperament, Neeraj was not a film-oriented poet. His career in movies started indirectly when Producer of "Nai Umar Ki Nai Fasal" obtained Neeraj's permission to use his famous 50s poem "Karvan Guzar Gaya" in the said film. He remained mostly unnoticed in industry and was sought only after Shailendra's untimely demise. As admitted by Neeraj himself, he shared creative chemistry with Dev Anand, Shankar Jaikishan and SD Burman. After Jaikishan and SD Burman passed away, he virtually quit film industry and went back to his home town Aligarh in UP. He is no more active as a poet though he did write last in 2011 for Dev Anand's unreleased "Charge Sheet".
To conclude. What we wish does not happen. Conversely, it is equally true that what happens is not what we always wish. Except for Shailendra-Gulzar in odd films, we have not seen the greats coming together in the same movie. Why Shailendra-Sahir or Sahir-Gulzar or Neeraj-Shailendra or Sahir-Neeraj could not collaborate in the same film ? Why these celebrity poets or shayars who would have otherwise participated together in many a Kavi Sammelans and Mushairas did not show same spirit in films ?! No easy answers I guess.
Sample this first from Boot Polish (1954) by Saraswati Kumar Deepak:
"Khela Bachpan Hasin Jawani
Magar Budhapa Tarsata Hai"
Then from Teesri Kasam (1966) by Shailendra:
"Bachpan Khel Mein Khoya
Jawani Neend Bhar Soya
Budhapa Dekh Kar Roya"
And last from (1970) Mera Naam Joker by Neeraj:
"Haan Babu Yeh Circus Hai
Show Teen Ghante Ka
Pehla Hissa Bacpan Hai
Doosra Jawani...
Teesra Budhapa Hai"
........... .........
Basic philosophy of life as conveyed through three different poets is the same in all three poems in three different movies in a span of 16 years. I have no means to know whether it was the first poet who inspired Raj Kapoor or the the two subsequent poets who were inspired by Saraswati Kumar Deepak. Do I believe in the first option that RK was impressed by the poem of "Deepak" to the extent that he persuaded Shailendra to use similar expression in Teesri Kasam ? Unlikely because RK was neither the producer nor the director. Moreover, if he was so impressed he could have asked one of his lyricists (SH) to use the theme in any of the movies produced by him during 1955-61. Since this did not happen, next option to consider is that Shailendra himself was impressed by Deepak's poetry that he chose to use it in context of Teesri Kasam. I am not too sure, because a poet of Shailendra's stature and calibre would have found it below his poetic dignity. The last option is that Shailendra might have helped "Deepak" with lyrics of "Yeh Raat Gayee..." where these words were first used. Highly probable. As for repetition in Mera Naam Joker, I think, after unprecedented success of "Sajan Re Jhoot Mat Bolo) RK must have persuaded Neeraj to use (one more time) this simple philosophy of life in his landmark poem "Aye Bhai Zara Dekh Ke Chalo". Neeraj (now in his late 80s or early 90s) is widely regarded as King of romanticism among contemporary Hindi poets. But, in this particular poem Neeraj surprised all by making a smooth transition from his trademark romanticism to raw realism. The poet in him explores the ultimate frontiers of a Joker's life through hard-hitting words in the concluding part:
....Aur Uske Baad,
Maa Nahin, Baap Nahin
Beta Nahin, Beti Nahin
Tu Nahin, Main Nahin
Kuch Bhi Nahin Rehta Hai
Rehta Hai, Jo Kuch Wo
Khali Khali Kursiyan Hai
Khali Khali Tambu Hai
Khali Khali Ghera Hai
Bina Chidiya Ka Basera Hai
Na Tera Hai, Na Mera Hai
Neeraj was no doubt at his imaginative best when he carried this simple philosophy from (1954) Boot Polish and (1966) Teesri Kasam song to its logical though morbid end in (1970) Mera Naam Joker. Shailendra in heaven must have generously complimented (his contemporary as a Hindi poet) Neeraj for fulfilling what would have been his task had he been alive.
Now, some trivia about film poets in general and Neeraj in particular.
By temperament, Neeraj was not a film-oriented poet. His career in movies started indirectly when Producer of "Nai Umar Ki Nai Fasal" obtained Neeraj's permission to use his famous 50s poem "Karvan Guzar Gaya" in the said film. He remained mostly unnoticed in industry and was sought only after Shailendra's untimely demise. As admitted by Neeraj himself, he shared creative chemistry with Dev Anand, Shankar Jaikishan and SD Burman. After Jaikishan and SD Burman passed away, he virtually quit film industry and went back to his home town Aligarh in UP. He is no more active as a poet though he did write last in 2011 for Dev Anand's unreleased "Charge Sheet".
To conclude. What we wish does not happen. Conversely, it is equally true that what happens is not what we always wish. Except for Shailendra-Gulzar in odd films, we have not seen the greats coming together in the same movie. Why Shailendra-Sahir or Sahir-Gulzar or Neeraj-Shailendra or Sahir-Neeraj could not collaborate in the same film ? Why these celebrity poets or shayars who would have otherwise participated together in many a Kavi Sammelans and Mushairas did not show same spirit in films ?! No easy answers I guess.
