Why Sahir Used To Give A Twist To The Relationship By Not Taking It To The End

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Why Sahir used to give a twist to the relationship by not taking it to the end
क्यों साहिर रिश्तों को अंजाम तक नहीं ले जाके उसे एक मोड़ दे देते थे
In 1944, Sahir Ludhianvi, a poet and budding lyricist would first meet Amrita Pritam at a mushaira (poetry reading) in the village of Preet Nagar, between Lahore and Delhi. He was all intensity and idealism. She was striking, both for her beauty and her gift with words. It began like a worn-out cliché: their eyes met across a dimly lit room. However, the love story that followed was anything but conventional.
Yet Ludhianvi never committed to her. Theirs was a romance that was conducted through distances that Ludhianvi didn’t seem to want to bridge. They’d write love letters to each other, but the few times they met in secret, there were more silences than words.

In her autobiography, Rasidi Ticket, Pritam writes about how they’d sit in silence and gaze into each other’s eyes while Ludhianvi chain-smoked his cigarettes. After he left, Amrita picked up the stubs left by him and smoked them, pressing her lips upon the invisible imprint of his.

The challenges that faced Pritam and Ludhianvi were many. There was a period when both Ludhianvi and Pritam lived in Lahore, but soon he would move to Mumbai and when Partition happened, Pritam and her husband moved to Delhi. Pritam was prepared to give up her marriage — she’d eventually leave her husband anyway, without needing any encouragement from Ludhianvi — and her stature in Delhi as an intellectual and poet for the chance to be with Ludhianvi. He shimmers across Pritam's poetry and she makes no secret of her love for him in her autobiography Rasidi Ticket.
He, on the other hand, seemed less sure of himself and the future they may have. The attraction that he felt for her was compelling enough to shimmer across some of beautiful lyrics he penned, which is significant because Ludhianvi was at his poetic best when he embedded social critique and political idealism in his verses. Romance played second fiddle in his oeuvre. Still, Pritam and their unfulfilled love story did inspire him to write “Mehfil Se Uth Jaane Walo” for the film Dooj ka Chand (1964).

According to Manwani, the song was inspired by a meeting Ludhianvi had with Pritam years later, when she was with her long-standing partner, the artist and poet Imroz. The couple visited Ludhianvi in Mumbai, in 1964, and seeing Pritam with another man brought these lines out of Ludhianvi:

The untold love story of Sahir Ludhianvi and Amrita Pritam
He, on the other hand, seemed less sure of himself and the future they may have. The attraction that he felt for her was compelling enough to shimmer across some of beautiful lyrics he penned, which is significant because Ludhianvi was at his poetic best when he embedded social critique and political idealism in his verses. Romance played second fiddle in his oeuvre. Still, Pritam and their unfulfilled love story did inspire him to write “Mehfil Se Uth Jaane Walo” for the film Dooj ka Chand (1964).

According to Manwani, the song was inspired by a meeting Ludhianvi had with Pritam years later, when she was with her long-standing partner, the artist and poet Imroz. The couple visited Ludhianvi in Mumbai, in 1964, and seeing Pritam with another man brought these lines out of Ludhianvi:





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