Aziz Qaisi moved to Mumbai in the late nineteen-fifties, and became an active part of Mumbai's literary and film scene. He was associated with a number of successful and critically acclaimed films, including Kunwara Baap, Ankur, and Dayavan. Early in his life, he became associated with Progressive Writers' Movement, which had a strong presence in Hyderabad and Mumbai.

Aziz Qaisi started writing early, and by the mid-nineteen-fifties had already established himself as a writer of poetry and short stories. Although he was more famous as a poet, he is equally deft at prose. His poems consists of both ghazals as well as nazms. He published three poetry collections. His works has been translated into other Indian languages as well as English. His poems and stories have been part of various important anthologies of Indian and Urdu literature.

His contribution is abiding to contemporary Indian literature . He is counted among the important poets who contributed significantly to Urdu poetryafter 1947 and introduced new trends. Conflict of man with the modern world is the recurring theme of his poetry[2]. His ghazal, "Har shaam jalte jismon kaa gaadhaa dhuaan hai shahar"[3] is unique in the sense that it does not talk about love and wine-for what ghazal generally is famous-in not a single couplet, yet it is a very sensitive expression about one of the most important issues and problems of modern man in India. His nazm 'Main', is considered one of his best nazms, is a fine example of his creative application of symbolism and imagery in his own unique style.

1. Dushman Duniya Ka (1996) (dialogue) (screenplay) (story), 

2. Indrajeet (1991) (screenplay), 

3. Dayavan (1988) (dialogue), (Lyrics), 

4. Apne Apne(1987) (script) 

5. Sarkari Mehmaan(1978)(dialogue) 

6. Oonch neech Beech 

7. Pyaar Bana Afsana 

8. Kunwara Baap (1974) (written by) 

9. Rakhi Aur Hathkadi (1972) (Screenplay) 

10. Bansi Birju (1972) (dialogue) (screenplay) (story) 

11. Ankur (1974) 

12. Rakhi Aur Hathkadi (1972) (screenplay)