It was the year 1970, and a veteran songwriter and a senior actor were busy chatting in Evernew Studios.

The actor was supposed to play a father to two beautiful ladies in an upcoming film and, at that very moment, one of the ladies — a new entrant — happened to pass by. The actor inquired who the alluring young woman was.

Smitten by her beauty, the songwriter wrote the famous song ‘Kis naam se pukaroon, kya naam hai tumhara, kyun tum ko daikhatay hi, dil kho gaya hamara’ [What name should I call you by, what is your name, why have I lost my heart, the moment I saw you].

The veteran songwriter was none other than Tanvir Naqvi, while the senior actor, Agha Talish, was asking about the ravishing new actress Aasiya. This inquiry led to the lyrics of the immortal song used in Riaz Shahid’s Gharnata.

Tanvir Naqvi aka Shahji had the ability to weave magic with his words. Born in February 1919 in the Iranian city of Abidan, Syed Khurshid Ali took on the name of Tanvir Naqvi as he began his journey as a poet. By 19, he had started writing for films in Lahore, and after acquiring fame and a name for himself, was invited by director A.R. Kardar to try his luck in Bombay.

Legendary lyricist Tanvir Naqvi was one of the first songwriters to use the Urdu language entirely in Bollywood, and could weave magic with his words

Considered the first of the songwriters to use Urdu language entirely, he would get into the skin of the character in search of words. Earlier, songs were written in Hindi, irrespective of the situation. Listeners were used to words such as chanchal balak (pleasing child), moray raja (my prince) and torat jaye (break away) in songs, but Shahji changed all this.

Before Partition, he had gained immense adulation for writing songs for films such as Laila Majnoo (1945), Anmol Gharri (1946) and Jugnu (1947). Singers Muhammad Rafi and Alauddin (yes, the legendary actor who was the mainstay of films later in Pakistan) were introduced to A.R. Kardar by Shahji, while Mousiqar-i-Azam Naushad Ali also sampled success with Anmol Gharri.

Naqvi then migrated to Pakistan and wrote the songs for the country’s first film, Teri Yaad (1948). He returned to Bombay on K. Asif’s insistence, but his association with Mughal-i-Azam was objected to by Naushad, who pushed for Shakeel Badayuni. The two songs Naqvi penned for K. Asif, were given to other films.

Originally meant for the Anarkali-Madhubala-Lata trio, ‘Kahan tak suno gey’ was used in the film Anarkali (1958), a Pakistani version of Mughal-i-Azam, while the other song, filmed on Madhubala for the film Shirin Farhad and sung by Lata Mangeshkar, was the evergreen ditty ‘Guzra hua zamana aata nahin dobara.’

Naqvi frequently employed the use of Farsi (Persian) words in songs. Who can forget the still famous ‘Jaan-i-Baharan Rashk-i-Chaman’ song from Azra (1962). Music director Master Inayat Hussain needed a song that could fit in the Persian setting where Prince Wamiq was praising Princess Azra. Naqvi suggested the words ‘seemeen badan’ to a surprised Hussain, and the result was a gem.

Similarly, Khwaja Khurshid Anwar wanted to incorporate the na’at ‘Saloo Alayhi-waa-aalihi’ in a song for his upcoming film Ayaz (1962). He turned to Shahji, and the result was ‘Jo na hota tera jamalhi, tu jahan tha khwab-o-kayal hi.’

Where legendary songwriters such as Qateel Shifai and Ahmed Rahi appreciated Shahji’s work, Bollywood legend Sahir Ludhianvi considered him his equal in Pakistan. The lyrics of ‘Tujhay pyar aaye kisi pe kab tera jo sitam hai woh besabab’ (Rehguzar, 1961) and ‘Mere dil ke taar bajay baar baar’ (Payal Ki Jhankar, 1966) can be counted as amongst his best works.

The way Shahji addressed the political situation in ‘Bhaag yahan se bhaag’ for Gumnaam (1954) shows his deep study of current affairs, and indicates that even then the influential were involved in corrupt practices. His ‘Woh zamana zaroor ayega’ (Farishta, 1961) gives us hope of better days to come.

His last few songs were ‘Yun kho gaye tere pyar mein hum’ (Mujeeb Alam for Afsana, 1970), ‘Chitthi zara saiyyaanji ke naam likh de’ (Madam Noor Jehan for Dosti, 1971) and ‘Gaa mere deewanay dil’ (Mehdi Hasan for Daulat aur Dunya, 1972).

With his brilliant command over words, Shahji was even more at ease with Punjabi. His contribution to Punjabi cinema would in itself make an entire feature. For starters, ‘Chal chaliye dunya te us nukarray’, ‘Gandlan ta saag te makhan makayi’ and ‘Jedu holay jayi lenda mera naa’ were all penned by him.

Naqvi was married to Madam Noor Jehan’s elder sister for 14 years, and remained dear to all within the film industry. His association with writer-director Riaz Shahid led to films such as Shaheed, Khamosh Raho, Nizam Lohar and Jawab Do. Naqvi last collaborated with Riaz Shahid in Bahisht, but the latter’s death in October 1972 left it incomplete. Shahji was kept unaware of the news of his friend’s demise, and later was admitted in the same hospital as Riaz Shahid. He died exactly a month later, on November 1, 1972.

Tanvir Naqvi lived his life playing with words and still remains in many hearts, just like his immortal words, ‘Gaaye gi duniya geet meray’ [The world will keep on singing my songs].

They still are.

Published in Dawn, ICON, October 29th, 2023