By Ashok Kumar
Kaifi Azmi was not just a poet; he was a revolutionary thinker whose words carried deep emotions, social consciousness, and timeless beauty. His poetry touched hearts, inspired movements, and gave Hindi cinema some of its most soul-stirring lyrics. His work blended romance, realism, and resistance, making him one of the finest Urdu poets and lyricists of all time.
Though Azmi belonged to a landed family, he was drawn, from an early age, to communism. His family wanted him to become a cleric, and he was enrolled in a seminary. However, he gave up formal education in the wake of the Quit India Movement (in which Mahatma Gandhi urged the British to “quit [leave] India”) and joined the Communist Party of India.
Azmi moved to Bombay (now Mumbai) in 1943 to work as a trade unionist and write for the party’s Urdu papers, including Qaumi Jung (“People’s War”). He also published his first volume of poetry, Jhankar, that year. During this period he became closely associated with the Progressive Writers Association and the Indian Peoples’ Theatre Association, and he even acted in plays with other leftists such as the actor Balraj Sahni (1913–73)
Financial need led Azmi to write the lyrics for some of the songs in Shaheed Latif’s Buzdil (1951; “Coward”). He is best remembered for several classic songs he wrote subsequently, notably “Waqt ne kiya kya haseen sitam” (Kaagaj ke Phool, 1959), “Dhire dhire machal” (Anupama, 1966), “Chalte chalte yun hi koi” (Pakeezah, 1971), and “Koi ye kaise bataye” (Arth, 1982).
Azmi’s best-known writing for films is the critically acclaimed Garm Hava (1974; “Scorching Winds”), directed by M.S. Satyu. That film, based on an unpublished story by Ismat Chughtai and starring Balraj Sahni in what is considered to be one of his best roles, won Azmi awards for best story (shared with Chughtai), best screenplay (shared with Shama Zaidi), and best dialogue. Azmi himself had a major role in Saeed Akhtar Mirza’s award-winning film Naseem (1995; “Morning Breeze”), a powerful tale of a Muslim family’s fears as they witness the communal frenzy in the days before the demolition in 1992 of Ayodhya’s Babri Masjid (built in the 16th century by the Mughal emperor Babur). His daughter Shabana Azmi was a leading actress of what is called the Indian New Wave, or Parallel Cinema (comprising art films that treat serious issues), at the end of the 20th and the beginning of the 21st century.
Some of his most iconic songs:
“Waqt Ne Kiya Kya Haseen Sitam” (Kaagaz Ke Phool, 1959) – This song, set to S.D. Burman’s melancholic tune, is a haunting portrayal of love lost in the tides of time. Kaifi Azmi’s poetry beautifully captures the pain of separation and the inevitable passage of time.
“Tum Jo Mil Gaye Ho” (Hanste Zakhm, 1973) – A song rich in imagery and poetic depth, this masterpiece speaks of the overpowering joy of love, blending hope with longing.
“Koi Yeh Kaise Bataye” (Arth, 1982) – One of the most profound songs about heartbreak and existential sorrow, penned with incredible sensitivity and depth.
“Kar Chale Hum Fida” (Haqeeqat, 1964) – A patriotic song that still gives goosebumps, dedicated to the soldiers who sacrifice everything for the nation.
His shayari is equally powerful:
“Aaj Ke Daure Mein Ae Dost Yeh Manzar Kyun Hai, Jab Har Ek Cheez Mehnga Hai To Musavvir Kyun Hai.”
(Why is it that in today’s world, my friend, everything is expensive, but an artist is still undervalued?)
“Ek Zakhm Aur Mili, Chup Rahe, Roye Nahin, Apni Khatir Kabhi Aawaaz Uthayi Na Gayi.”
(I received another wound, but I remained silent, I did not cry; I never raised my voice for myself.)
Kaifi Azmi’s words weren’t just poetry; they were a voice for the voiceless, a mirror to society, and a source of eternal beauty. His legacy continues to inspire lovers, dreamers, and revolutionaries alike
