How Majrooh Sultanpuri Shaped Hindi Film Music Across Six Decades

Majrooh Sultanpuri’s entry into Bollywood coincided with a pivotal period in Indian cinema, where lyricists began to craft songs that reflected everyday emotions. His background—rooted in madrasa education, Unani medical studies, and a brief practice as a hakim—gave him a unique perspective that enriched his poetic voice.

After initially turning down A.R. Kardar’s offer in 1945, Majrooh was persuaded by Jigar Muradabadi to explore film songwriting as a viable career. The partnership with music director Naushad produced his debut song for *Shah Jahan* (1946), establishing a template for the lyrical intimacy he would bring to cinema.

In the following years, Majrooh’s versatility became evident. He penned romantic ballads for *Andaz*, suspense‑filled verses for *CID*, and soulful reflections for *Guide*. His ability to tailor language to the music of composers such as S.D. Burman, O.P. Nair, R.D. Burman and Naushad allowed him to stay relevant as Bollywood’s musical styles evolved from classical orchestration to Western‑influenced arrangements.

The 1970s saw him adapting to newer themes, contributing songs like “Papa Kehte Hain Bada Naam Karega” for *Kayamat Se Kayamat Tak* and “Pehla Nasha” for *Jo Jeeta Wahi Sikandar*. Even in the 1990s, his work on *Hum Kisi Se Kam Nahin* displayed his knack for contemporary storytelling through verse.

Majrooh’s distinction was recognized with several honors: the 1965 Filmfare Best Lyricist award for “Chahunga Main Tujhe Saanjh Savera”, the Dada Saheb Phalke Award in 1993 (the first time a lyricist received it), and literary accolades such as the Ghalib and Iqbal awards. His passing on 24 May 2000 closed a chapter of lyrical mastery that still defines Hindi film music today.