Gulzar is all that one imagines a poet to be. Meeting him as I have done over the years, from the time he was married to Rakhi, mainly at the Film Festivals is always like meeting a very lovable child with melting eyes and a charming smile.

Of course that marriage with Rakhi broke up and I remember him telling me once when he was in my music room— ‘I have a Bengal tigress at home’.  I was very keen to read this book to know more about him. Alas it does not tell me anything more than what I know.

He is a script writer, film maker, writer and most importantly, a lyricist. The most creative part of the prolific Indian Film is its musical content. Often the poetical content of them is dismissed as ‘film songs’.

The work of the likes of Shakeel Badayuni, Sahir Ludhianvi, Rajendra Krishen, Shailender and many others certainly merit the title of Poetry. And Gulzar is right up there with them. Any biography of him that does not recount a life leading on to the making of a poet and the study of his poetry, is pointless. 

Chatterji’s Life and Cinema consists mainly of detailed narration of the story content of each of his 21 films. One does not see the point of this as most of us have seen his films which are in the mould of Bimal Roy and Hrishikesh Mukerjee genre, both of whom were his mentors. Full of eulogy, there is not a word of informed assessment of them. For instance Gulzar was capable of misjudgement in casting like when he cast Hema Malini as Meera— ‘Just the sort of regality I was looking for’ or casting Jeetendra and her in Kushboo and Kinara both of whom are limited actors.

Touching hearts

His Koshish, Aandhi, Maachis and the comedies will always be remembered. But what will remain without dimming in time are his songs which pulsate with thoughts with direct access to most sensitive hearts. I knew a Delhi tycoon who upon learning that I knew him begged me to introduce him. I gave him my card with a note. He met him and ever since has been inundating him with all kinds of gifts.

There are so many who want to meet the man who had moved them with words that some get to waiting for a long time, which is what happened to Vishal Bhardwaj when he was a struggling film maker. Now they are great friends and Bhardwaj is one of the most original talents in Indian Cinema. 

All are lured by the man as a poet who seems to be constantly reinventing himself. Who could believe that the man who began with ‘Mere Gora Ang Lai Le’ for Bimal Roy’s Bandini has also done the recent chart buster ‘Kajarare’ in Bunty Aur Babli!

There was once his great friend R D Burman who could do magic with his lyrics, mostly when driving together. The man who, when presented the lyric ‘Mera Kuch Samaan Tumhare Paas Pada Hai’, remarked— “At this rate you will one day bring a newspaper article to me and ask me to set that to music”, then proceeded to tune that into one of the finest songs in recent years, always held that when he composed a tune, one could tell a Gulzar kind of tune from the others.

Fortunately, the recent trend towards folk and classical orientation of music has found in Gulzar the greatest living lyricist who, at the age of 70, continues to inveigle us in the gossamer thread of his poetical fancies. That thread is missing in this book which attempts a coffee-tabler only on the strength of synopses and pictures.