Remembering Yash Chopra part II

Even in his first directorial venture, Yash Chopra conceptualised a mature love song that is still some what of a benchmark in the genre. Sung superbly by Manna Dey and done full justice by an eternal favourite Balraj Sahni. Indian society always wanted some things to be left unsaid and such things were not explicitly exhibited. Yet mature couples too need to show their love, isn't it? This song walked the tightrope effortlessly and how! The movie was based on the massive Quetta earthquake of 1935 and therefore the Pathan-Afghan-Baloch feel to the music by Ravi and lyrics by Sahir that add to the charm. And Manna Dey somehow specialised in all Pathan songs right from this one to 'Ae mere pyaare Watan' from Kabuliwallah to 'Yaari hai Imaan Mera' from Zanjeer.
 

Yash Chopra was launched by his elder brother B. R. Chopra who too was a prolific filmmaker and made some hard-hitting movies for decades. He was known for his socially relevant, bold themes. I am sure being brothers they shared a common world view-though the Ambanis explode that myth fantastically! But when it came to producing a movie starring two actors in their late 50s and an ensemble cast of some very uncouth a.and irritating sons and daughters-in-law, and an adorable adopted son played very well by Salman, B. R. took the risk and came out winner. The film inspired from Kannada film School Master (1958) and indirectly from the Hollywood film Make Way for Tomorrow (1937) shook many exuberant Yuppy Indians out of the sheer complacence and cruelty meted out to their own parents in the name of being high flying, busy careerists. Amitabh and Hema sizzled on screen and broke many preconceived notions about criteria for hit films. This song to date is the best sung by Amitabh (with Alka Yagnik) expressing how love in the golden sunset is all about being there for each other in person as much as in thought. And if one can even manage some crackling chemistry, nothing like it!




The same hit pairing was repeated by Yash in Veer Zaara in a more rustic avataar. Long term, mature relationships esp married ones are also as much about fighting and nitpicking as about loving. Most couples will vouch for the fact that often what attracted you in a person irritates you the most a few years down the line! It's a slow process of breaking all marital vows in order of priority and urgency and reminding ....each other of it with a sadistic pleasure! Receiving a gift on a special occasion gives as much delight as ribbing your spouse about forgetting to get one. Ultimately long term relationships are as much about loving each other's strengths as about letting go of weaknesses. This Lata-Gurdas Mann duet with the special flavour of Punjabi Lohri is all about that and kudos to Lata-this is one of the last movies she sang for- to manage the spice in her tone at the ripe old age of 74!





While on Veer Zaara and mature love songs, can't resist this though I have put it earlier. But I love the span of time traversed in this song depicting love that stands the test of time. We eastern cultures have not been big on 'I love yous' and big ticket gifts and snazzy Valentines days, but often spend a life dwelling on one small pleasant memory, one kind gesture. Love the payal scene, one of the most romantic ever on Indian screen. Ask any couple in a long term relationship, it will always be some small silly gesture that clinched it for them. I remember I was on my first date with my hubby. He had borrowed his Dad's then car, a 'Milky White Maruti 800' to impress me and we were off to Priya in Delhi and we turned and the sharp late afternoon sun stared right into my eyes and I squinted. He reached out and put the sun sheild on my side down for me immediately. Haha That did it for me. So even though I kept him hanging for another month, I had decided I could marry this guy!:-)) Love this song and the movie for it's last scene that brings out the triumph of true love that lasts beyond boundaries of time age space!!!




Now before my single friends think, there she goes on her 'smug married' trip again lemme re-emphasise it is not roses all the way. There are challenges and I am not even saying marriage is for everybody. Sometimes finding romance within a long term relationship/marriage can seem almost as difficult -if not more!!-as dressing up to the hilt, going to an overcrowded pub and thinking of smart pick up lines!! It calls for a lot of hard work and effort. But if you do a reality check of your expectations at every stage and let myriad experiences flow into your life without too many preconceived notions, it's a great institution. This song shows a long term relationship go full circle in captivating snapshots. Every couple has a bonding secret uniquely their own. Taking now some of my favourite numbers from films produced by Yash-Raj films coz they have honed and cultivated new directors to make new, modern films with interesting concepts, this being one.



Even if a Yash Raj film turned out a dud, it was sure to have some enchanting moments and songs. And it was not Switzerland all the way, in recent years they have showcased Indian mofussil towns and suburbia in kitschy, kaleidoscopic colours with their quieter rhythms and routines. Films, as life and relationships, have their ups and downs, plus and minus moments but what matters ultimately is that the flashback, as this song, should be pleasant and wholesome.:-))




YashRaj films in recent times have essayed middle class aspirations and dreams in a wholesome entertaining format. Celebrating the cultural chaos, the paradoxes and the complexities in stories that border on bizarre, yet peppered with real life incidents experienced by you and me making their way on to scripts and screens. The craft of storytelling is all that matters ultimately. The extra advantage Yash Raj manages to imbue is great emphasis on aesthetics and saleability.



SAR SE SARKI SARKI CHUNARIYA Yash Chopra movies were an amalgamation of traditions and new ideas. Have a look at this very Indian song written by the inimitable Javed Akhtar and with music by the maestros Shiv-Hari. While these movies showcased Indian ethos, yet there were bold themes explored. Many single/unwed mothers or women having kids out of wedlock. From Rakhee in Daag to Waheeda in Kabhie Kabhie, Jaya in Silsila, Parveen Babi in Deewar and Preity Zinta in Salaam Namaste (produced by Yash Raj films) this was a recurring theme, but one done with such refinement a‎nd dignity that one couldn't help admiring these heroines even when such concepts were taboo in India. Yash Chopra films sure were heavy on the celestial wedding concept, romance being their forte. But then our myth is replete with such instances. Kunti was the original unwed mother. But ofcourse back in those times, these things happened with long distance transmogrification. Imagine worshipping the Sun and ending up with a son.;-)))




Then back in the 70s they portrayed Waheeda in a super dignified role where she happens to have two daughters, one in a conventional marriage and the other out of wedlock from her past affair. The trouble starts when both the kids come face to face and fall for the same guy. The jealousy, the insecurity, the trauma of the mother to side with one while she loves the other equally dearly was masala for a complex story filled with melodrama and mystery. But kudos to Yash Chopra to get away with a rather bold theme with such pizzazz and raise the pertinent issue of the rights of children born out of wedlock back then. Their conflict with their sense of belonging, the re-affirmations they seek all their life in the form of looking for their other parent, their roots was deftly handled and presented and depicted to the T by Neetu Singh. Not only is this song a beautiful tribute to the girl child, but also a study in the complexity of human relationships, conventions and the realities beyond.



They've touched upon topics as complex as live-in relationships and having children out of wedlock. What they manage to do is always display great balance and sense of respect for Indian values. For all our modernity and forwardness, it is obvious that single motherhood is not a cake walk. Parenting is hard work with challenges at each step. Sometimes even with all the support systems you have of India's extended families, one feels inadequate to be a perfect parent today. I am sure the task is multiplied manifold if anyone takes the plunge to take this responsibility alone. The beauty of bringing up a child together, sharing all your joys and sorrows, celebrating each milestone and being there for each other on all important occasions can not be matched by impulsive pursuits of 'freedom' and doing your own thing. I personally feel live-in relationships though considered a sign of liberation and thus emancipation of women end up being quite anti-women where the woman often ends up getting burdened with taking care of a child all alone if in case the relationship goes sour. Thankfully legislations now make it mandatory for the guy to support a live in partner if they part ways and if they have any common liabilities but still it is a grey area. But it was Yash Chopra's vision and life long respect and commitment to women that he chose such issues and always gave them a pro-woman point of view and feel.

I'll leave you with this beautiful tribute released by Yash Raj Films yesterday on his relationship and visualisation of women on screen. One can only say that we are richer in experience, content, empathy and subtlety vis a vis depiction of female characters today thanks to Yash Chopra.

Remembering Yash Chopra

A Yash Chopra heroine was a breed apart. Right from his first directorial venture, Waqt in 1965, in which he introduced the concept of an ensemble cast, his heroines became cult figures. They were elegant, dignified, polished; very Indian but with a mind of their own; very modern yet steeped in the wholesomeness of family and relationships. They crossed the lines of propreity and convention at times for they were free spirits but did so with a remarkable stamp of decency. Starting from Sadhana, who had her own personal charm and charisma, he clothed them in fashions that defined that age and looks that were copied by millions of fans. This song is sung by Asha Bhonsle, a personal favourite with music by Ravi and lyrics by Sahir. But later on Lata was a staple in all Yash Chopra movies.





Yash Chopra's Midas touch metamorphosed many a girl next door into devastating divas. Honed at his easel and crafted on his canvas, they emerged, born anew, sylph like in sylvan surroundings to enchant and haunt cine-goers. So be it a Sridevi or Rekha who were more North-Indianised for a wider audience or a Madhuri who was given a new avataar in muted pastels for a change, fresh from intensive ab work outs! For over 4 decades Yash Chopra heroines, mostly assisted by Lata's voice took our breath away....





If winter's almost here, can spring be too far behind? Life lives on hope and redeeming symbols. Beautiful, positive images...beauty, natural and abundant....love, bonding, celebrations, hearty meals, warm razais. To me winter is all of this and more. Sad songs or happy songs, he did full justice to every situation but first happy ones, since I am essentially a happy person and want you all to be. Noone showed romance on Hindi screen like Yash Chopra. Let's listen to some of Lata-Kishore bests from the Chopra stable. This one's got Shiv Hari's music to boot and lyrics by Javed Akhtar. Need we ask for more? Well, yes, Rekha's flowing tresses and Amitabh's dreamy eyes (not to miss the shair in the beginning in his own voice)....dream on...:-)





How the Southern belles won hands down in Hindi movies was with their chiselled features, doe eyes, lustrous tresses, statuesque figures and impeccable dancing skills. Yash Chopra capitalised on these beauties from South and presented them in a slightly different manner, giving them a Punjabi make-over and the result was often startling. Rekha in this song could easily pass off for a lissome Sardarni from Chandigarh. This was one of the many songs of Yash Chopra movies with a definite Punjabi tadka that went on to become extremely popular. Heroes from North and heroines from South was a success formula for many years. The male singer, Kishore here is a Bengali (East) and female, Lata from Maharashtra(West). Delicious National Integration!!;-)





And when the vivacious and gazelle-like Sridevi was transported into a typical Punjabi wedding by Yash Chopra in Chandni, she took on a new persona. In a decade known for its garish bright coloured fashions, her pristine white Chandni salwar kameezes became a rage. Uff there is an absolutely stunning collection of white suits in that movie accentuated with little colour details. When she danced in abandon to dhol beats in her inimitable style, audiences all over India couldn't help saying Balle balle!





So when Amitabh jilted the other Chandni of Silsila to keep a vow made to his deceased brother of looking after his pregnant fiance-uff! These apocalyptic kasams of Hindi movies-she sank into a kodachromatic depression. Never before had pathoes looked so photogenic as Rekha in this movie. In matinee shows specially screened just for women, ladies sniffled and cried buckets full and went out to quickly buy Silsila lace sarees, extra long lash waterproof mascara and the deepest maroon lipsticks of Rekha's luscious lips. On this beautiful moonlit night,enjoy this melodious and lullaby-like Lata song written by the wordsmith Javed Akhtar and music by Shiv Hari (That's santoor maestro Pandit Shiv Kumar Sharma and flautist par excellence Pt Hari Prasad Chaurasia). Couldn't get better than this.





Gripping tales were told textured with chiffon and fuelled with cognac. Romance reigned supreme and Switzerland was just a 'flight of fantasy' away. Yash Chopra pretty much started the trend of foreign locales and particular looks of a cast in terms of clothes and colours at the same time not letting go of content. Other staples were verdant mustard fields of Punjab seconded only by bonfire picnics and gushing brooks..and stately conifers. Amongst his tall list of accolades is the Swiss Ambassador's Award 2010 for his contribution in promoting 'Brand Switzerland' through his movies!:-)





He will be remembered for his lavish helicopter shots, his surf excel whites, his undying belief in romance and for trying out bold, new stories. Some were accepted, some rejected. This movie for instance showed love that defied age gap. It was the first time a Hindi movie hero was sporting grey at the temples (Anil Kapoor did exceptionally well). They said it was ahead of its times. True, watch it today and it gels. The probability of relating to such stories is directly proportional to the number of grey in your own hair!




He will be remembered for showcasing Indian culture in an entertaining format-not just Punjabi, in this movie it was a wonderful revival and renewed interest in Rajasthan. Also for leading ladies who were traditional yet alive and vibrant, who saw dreams and aspired to have more than what they had, whose eyes sparkled with a million mischiefs and hearts were ablaze with the joy of life and passion. And talking of dealing with complex relationships, he caught the bull by the horns in this movie. He first had a young Anil Kapoor having a crush on a much older Sridevi No 1 and then many years later her daughter Sridevi No 2 falling for the much older Kapoor. But ofcourse all this is interspersed with a lot of song and dance to recochet the shock waves.




Romance being their leitmotif, Yash Chopra movies were the first to show teeny bopper bubble gum romance. Who doesn't remember humming this ditty in their younger days-an antakshari staple for some reason-featuring the gorgeous Chandigarh Cutie Poonam Dhillon with the lithe figure, an enviable mane albiet with two left feet and the sweet and sugary Sachin. Guys you can have a good laugh now, written by Sahir uncle and music is by Khayyam!



But then depicting teenybopper romance is a cakewalk as compared to showing mature romance in India. Maybe it has something to do with the fact that most of us did not really grow up watching our parents getting touchy feely like these goras. I mean we have no qualms watching a 50+ Meryl Streep kissing a 60+ Robert Redford but didn't we all cringe at Dharmendra doing the same with Nafisa Ali in Life in a Metro.Yash Chopra however got it right most of the times, as in this lovely Lata-Yesudas duet enacted just right by two great actors. Simple, balanced and subtle. Aah notice those times when the opening titles of a film would have the name in Urdu too. Gone with the wind? As is old world, older age, mature romance in movies?


To be contd....

REMEMBERING R D

Rahul Dev Burman was nicknamed Tublu by his maternal grandmother although he later came  to be known as Pancham. According to some stories, he was nicknamed so because, as a child, whenever he cried, it sounded in the fifth note (Pa) of the Indian musical scale.  

Pancham Da started his career assisting his illustrious father on films such as Jewel Thief and Prem Pujari. The music of his first movie, Teesri Manzil proved to be runaway success. Of RD Burman's 331 released movie scores, 292 were in Hindi, 31 in Bengali, 3 in Telugu, 2 each in Tamil and Oriya, and 1 in Marathi. RD also composed for 5 TV Serials in Hindi and Marathi. Though Burman laid the foundation for the future of music that was vibrant and youthful, bringing in it many international influences, bold experimentation and energy, he was considered 'not classical enough' and 'not Indian enough' initially. Despite his popularity, he was awarded a total of only three Filmfare Awards, one of which was awarded posthumously (for 1942: A Love Story)

It was after his demise that the coming generations truly appreciated what his music was all about. Like a gentle summer breeze that holds within itself promises of unknown expressions, right from rain to thunder to storms to lightening and the sound of misty waves crashing against the shore,  R D serenaded us effortlessly in five hues of music, each more beautiful than the other. We know his songs by heart, whether we like it or not! Even today if on any given day, you feel jaded, cynical or too loveless, just put on an R D song and you will be 16 again. Here are my favourite 'Sweet 16' by RD!

SONG 1: MERE SAPNON KI RANI

Who is immune to the pulsating charm of this song? Written by Anand Bakshi and credited to S D Burman, it is widely acclaimed that the song was composed by R D Burman while assisting his father. The R D stamp is unmistakable. It has the thrill and adventure of a formula one race, the wide eyed wonder of a toy train, the sing song rhythm of a gushing rail, the shrill exuberance of an echoing mountain whistle, the dependability of a harmonica-playing-cum-meandering-driver buddy, the blossoming beauty of Sharmila(reading Alistair Maclean no less!) and Khanna looking rather dapper in a Nepali cap. Kishore of course is the soul of this song, exhibiting endearing magnetism at its best! During my Chitrahaar childhood, when my best friend and I would actually go to a wishing well and wish for (Lo and behold, nothing out of this world but Dev Anand and Rajesh Khanna songs in the evening!), this lone song could make my whole week like nothing else!!:-)

Song 2: SUNO KAHO KAHA SUNA

The only heroine who came close to Sharmila's chemistry with Khanna and maybe outdid it was Mumu. Rajesh Khanna and Mumu backed by Kishore and Lata singing to R D Burman's music, scorched the screen automatically. Mumtaz running in this yellow sharara is one of those golden screen moments etched in the memory of Hindi movie fans and Khanna just had to be himself, blinking eyes in his trademark style, creating euphoria amidst college girls and their moms equally, and sans any 6 pack abs! Together they made this Q and A natter of 'sweet-nothings' hugely entertaining. So whether it was aimless speculation about their yet to develop relationship or dancing wildly under the influence of bhaang, their fans lapped it all up. RD's music rocked all through and romance reigned supreme!!:-))





Song 3: O MERE DIL KE CHAYN


The lethal combo of Kishore's voice, R D's music ability and Rajesh's acting wooed one leading lady after the other often to exacting standards. These were songs that every giggly girl wanted to be sung to, every demure debutante dreamt of being caressed with, every mysterious married woman revelled in and smiled to, every lonely person longed to break the ice with and probably every grandma related to with fond memories. The beauty of these songs was the seeming effortlessness with which they wove their magic. Perfect synergies were at work - heartfelt lyrics, gimmick free music, genuine even if a little affected acting, the personal charisma of the stars and a voice with character and cadence.

Song 4: TERA MUJH SE HAI PEHLE KA NATA

Being an army officer's kid meant that mostly dad was stationed in a place in the back of beyond and a good school would always be in the nearest decent sized town 50km or more away. Hitching on to olive green,  '3 Ton' fauji trucks with make-shift seats and a stern looking jawan or JCO to mind us on the way, we set out for schools in the wee hours of the morning. In winters it would be almost dark when we left and returned again in the very late afternoon. What made those bumpy rides worthwhile were friends who would keep favourite seats for us, get an extra helping of things in their tiffin we liked(some bookworm type girls even finished their and our HW in the rickety ride yeah!) and bouts of antakshari. It was songs like these that made those loooongish jaunts to school fun and time just flew away. :-)

Song 5: PYAAR DEEWANA HOTA HAI
This one simply for it's gooey freshness. The A B C of loooove and romance, the hope in hopelessness, the wonder in thunder!




Song 6: MERI SONI MERI TAMANNA

It was with R D Burman's music that Asha and Kishore gave some of their most memorable duets. Times were changing, the music was getting more westernised and so were the characterisations. Kishore and Asha paved the way for slightly anglicised phrases or hook lines coming into Hindi songs. Their voices made a carefree college romance more believable(with due respect to Mohd Rafi, hearing him say 'I Love you' would always give a very fatherly love type of feel, I mean have you heard him say 'Happy Burday to You'!!) This was the time when heroines in India too turned more liberated in terms of their attire and mannerisms, spurred by the prevalent International mood of flower power and hippie culture, psychedelic music and social permissiveness.


Song 7: JAANE JAAN DHOONDHTA

At other times Kishore-Asha upped the cool quotient of an insipid lead with brilliant vocals. As far as range and melody goes, I find this duet of theirs wonderful. So even though it starred the podgy non-actor Kapoor-Randhir and Jaya in a saree with a doll( never could figure out this one!), it is simply R D's music and the easy, natural adaptability of these two voices that make this song worth listening to even today.
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Song 8: TUM AA GAYE HO NOOR AA GAYA HAI


To say that all R D excelled at was light, effervescent stuff is so wrong. With Gulzar he morphed into something else. Let's hear some beautiful Kishore songs written by Gulzar and composed by R D. Believe me that's a lethal combo!! Gulzar's metaphor-rich poetry often found the ideal vehicle in R D's sublime music and a conveyor and communicator in Kishore's sensitive and gentle rendition. Sampooran Singh Kalra, better known as Gulzar was born in the Jhelum district of Punjab( now in Pakistan) and I am told that he even worked as a car mechanic in‎ Delhi before he made his foray into commercial writing. Well, all I can say to that is that he was meant to mend a lot more than mere automobiles. He was meant to mend a broken heart, he was meant to give a solution to solitude, he was meant to eradicate ennui and he was meant to remedy desolation and longing. Gulzar's poetry right from his first song in Bandini called 'Mora gora ang layile' reached straight to the innermost cores of our imagination and sensibilities. His songs are like the heartwarming swig of cognac on cold, lonely winter nights and the very solace, the very spring that blooms in a thousand hues across the mindscape of poetry lovers all over India and the world. This one's got the added punch of RD's music as well:-)))



Song 9: ISS MOD SE JAATE HAIN

Gulzar has the uncanny ability to carve out very realistic characters and delve into human emotions and relationships with the precision of a master storyteller. In a career spanning five decades he has gifted us with riveting stories that broke the stereotypes of screen characters in many ways. While many of his characters seemed like someone real we had met, it was also reality at times that inspired some of his stories. This movie for instance was based on the life of you-know-who. And I love the fact that somebody had the cheek to name it Aandhi!! It is high time the Aandhis of the world stopped considering this country as their personal property. Aandhi or no aandhi, the country is definitely poised at the crossroads of change as in this song.
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Song 10: JIS GALI MEIN TERA GHAR NA

This is another song in which R D displays great maturity and depth. And he extracts the best out of Mukesh in terms of an almost spiritual vibe. The sound of water as a boat rows through it is represented so well musically. The lyrics too are the epitome of what love means to our sensibilities. When you truly love someone, it's either all or nothing at all. Your day begins with that person and ends with that person. There is no road or pathway you want to tread that does not take you closer to your love, no garden you want to pluck flowers from, if it has thorns that hurt your beloved. Wow! The song is almost a metaphor for the soul finding its ultimate purpose and becoming one with that. I always get hypnotised (and not hyptonised! )with this one. 





Song 11: KHULLAM KHULLA PYAAR KARENGE

R D set a new trend of refreshing music for teenybopper romances in India and no one could beat Rishi- Neetu at it. They made love look like sooo much fun. They portrayed on screen an all new permissiveness, more cute than hot. They were like two buddies on a roll, two great friends having a rollicking time be it getting drunk and painting the town red or sneaking out of hostels at midnight. BTW notice the music when Roshan is mixing the sinful booze into their orange juice. The best part about these songs is when I tell my daughter that this grooving couple is Ranbir Kapoor's mummy papa. She really laughs as if mummy papas are not supposed to do fun idiotic things. But Kishore and Asha sang these songs with so much conviction and Rishi-Neetu played it best!! :-))




Song 12: KYA YAHI PYAAR HAI

A lovely and calming Kishore-Lata duet set to RD's music. Sanjay Dutt looks particularly gawky and unsure in his debut movie-the choreography is no great shakes either and imagine shooting such a song with your Dad in attendance. Sunil Dutt was the director! But Tina Munim was pretty poised even then and looked lovely in those teeny bopper ensembles. The song describes that unsure stage when you wonder if it's love or if you are just hyperventilating. Look out for some predictable signs and symptoms. As for me, yeah I am in love....with this song hahaha;-))








Song 13: EK MAIN AUR EK TU

Guess I have to return to Rishi-Neetu to round off this one. They pretty much defined sweet, innocent love. Their dance moves looked so not-rehearsed, their look was so right- catch Neetu sporting pigtails and black nailpaint even back then. It's like when I am in a cosmetics shop looking for nailpaints, my daughter comes up to me and says take this green, yellow, black and I am like yeauuuwww!!! And I almost faint when I see some of the short dresses I wore in college especially a blue and white tight lycra number that I wore on my college farewell-yes, preserved it for my daughter! But that is what youth is all about. Experimenting and carrying off most things with cheek and chutzpah. Yes, today one knows what one wants. Or atleast one knows what one doesn't want or what doesn't suit one. I know I am old for black nail paint and skirts soooo short.(Reminds me of that quaint ad- I am too old for mini skirts too young to be a grandma. But i think you're just right for Amul chocolates!!) Or knee high boots, for that matter. Now that's an instant age diffuser. Ummm Don't think i'll ever give up those. It's one thing you'll find me wearing even when I am 50 at least. As it is feeling very young today, waiting for ma and pa who are coming over to stay with me this month, coz i get to behave like a teenager when they are around.:-)))





Song 14 KAHIN NA JA AAJ KAHIN MAT JA

Aah the charm of holding on to a loved one who is setting out on an adventurous sojourn. While people have to do what they have to do and be on their own at times, no harm in letting a loved one know that he will be missed dearly. I for one have never had qualms in accepting the obvious. There should be no ego in these things. Better to have said it than live in that maybe 'distance makes the hearts grow fonder' suspense. If you truly love someone, wanting to be with them should be the natural progression, isn't it?

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Song 15: KARVATEIN BADALTE RAHE

And if still you have to stay away for whatever reason, meeting a loved one again is so fulfilling. All that wait, that anxiousness is worth it, when you're finally together and can tell each other how difficult it was to spend each moment. Mumu and Rajesh simply sizzle in this song. It is also a fine example of how Lata too gelled so perfectly with Kishore especially when composed by RD. A classic indeed.



Song 16: AISE NA MUJHE TUM DEKHO



Considering Kishore's countless romantic songs, I'll always rate this one pretty high. It has a zany lilt and a catchy beat to it. It's a timeless song, a weightless song, a sensuous and daring song. When I checked out the video it was not half as fun even though it has the legendary Dev and Zeenie baby but is filmed in one of those cliched Hindi movie plots that at times do no justice to awesome songs. So I certainly feel its a great song to listen to. It's a typical RD song who added so many indefinable touches to each song in terms of musical variations, though the lyrics are typical Anand Bakshi who epitomised commercial, workable, doable, viable writing for Hindi movies. Kishore has again given that soft and silky texture at places with some yodelling too. Talk of a song killing me softly....

100 YEARS OF INDIAN CINEMA-2 SONGS THAT SAY IT ALL

100 Years of Indian Cinema. What a momentous occasion! The magic of Indian movies has endured ten decades with diverse changes, it has spanned cultures,regions, languages, styles of film making. These movies have created moments of beautiful fantasy and festivity. These movies have narrated stories of courage and conflicts, of audacity and hope, love and longing, relationships and rifts, of remorse and retribution. 

No colour of life remains untouched by the silver screen. Myriad moods, scenic settings, exquisite aesthetics, trends, fashions, idioms, attitudes-our movies may have influenced us more than we can imagine. I for one, draw a lot of inspiration and entertainment from the classic songs. Oh yes the music too is unique. All our movies are musicals at the end of the day. There is a song for every possible situation on Earth. 

And long after the movie is forgotten or story blurred in the memory, the songs remain as little kernels of truth, tiny capsules of captive attention. Bringing you two of the most beautiful songs ever, from the same movie, the same actress, and the same singer-Madhubala and Lata who arguably define the best there ever was-but two different moods and cultures shown, two different settings and premises. That was after all the whole idea of movies. Same people, same faces, more or less the same stories but ever changing styles of depicting them, different nuances, quicksilver, fluid emotions, dotted forever on the sands of time.

This first song, for me is the most beautiful song of all times on Indian screen. Madhubala's porcelain beauty, her fire and ice, red and pale blue costume(a rather unusual combination) but so befitting. She looks like an ice maiden and dances as if skating on ice but one look at those eyes and they flash rebellion, audacity, recklessness all rolled into one tight knot of fire within. More than any other books or tutorials, perhaps it was songs such as these that sparked the first little ignitions of imagination, that fueled our passions and urged us to dare, to dream and to defy.

The second song though completely contrasting to the first one, has a special charm of it's own. For one it shows a typical Krishna-raas leela song in a Mughal Emperor's court. This song did not come out of the blue. It showcases the rich and tolerant culture of our land. Such mingling of cultures was a common tradition especially during Emperor Akbar's time who even married a Hindu queen called Jodha.

The lyrics of the song are beautifully Indian, inspired from so much folklore that revolves Krishna and Radha. Krishna after all was the naughtiest and most vibrant of all Gods. He was surrounded by women whose hearts he won by mischief and pranks but Radha was his eternal partner. What a beautiful simile then for Anarkali to see Krishna in her Emperor, who'd come humour her a bit, throw a pebble and there her whole pitcher would break and leave her in a mess, drenched in his love. His mere glance was enough to undo her veil and all she was left with was the magic of his mischievous eyes. Now the the song entrenched in Hindu traditions is performed by Madhubala, a Muslim, the music is by Naushad, the film maker was Kamal Amrohi, the lyricist was Shakeel Badayuni. This industry has been exemplary in it's secular values and beliefs. The fact is that I haven't seen a better Krishna Raas leela song till date. For anyone who has problems understanding India, just watch this song and go figure.

BEST TRAIN SONGS

16 April 1853 was the historic date when India's first passenger train journey took place between Bori Bunder in Mumbai and Thane. Covering a distance of 34 kilometres, it was hauled by three locomotives, Sahib, Sindh, and Sultan. Train journeys have a romance of their own.The sing song rhythm, the rumbling, the whistles, the temporary home away from home feeling, interesting co-passengers and countless stations. Yeah, and not to miss the meals.

Remembering the romance of those great train journeys that temporarily took one to seventh heaven on wheels, I bring my 7 favourite train songs:


TRAIN SONG 1: MAIN CHALI MAIN CHALI

The original rebel without a cause of Indian screen. Spontaneous like a wild fire, fun like an adorable buffoon, quicksilver expressions, blazing eyes, the James Dean puff, unmatched sense of rhythm and natural dancing ability, personal style and good looks to boot. He was a live wire, an icon and the most enjoyable and frolicsome face of Hindi movies. Most of his songs had the uncanny knack of transporting us to a better, livelier, happier world. His vibrance crackled on the screen and made movies such fun. There is Kalpana, cute as a button but was a few film wonder and was forgotten. But this is one of her best songs. Perhaps it's just the ambience in the song, the toy train perhaps is from Darjeeling hills. There is a similar train that goes from Kalka to Shimla that also offers a spectacular journey through the hills, quaint tunnels and sleepy little railway stations you want to stop and paint on a canvas or at least capture on camera, as you pass through! I almost get left behind at every station! Absolutely looooove this song written by Shailendra and composed by Shankar Jaikishan.

SONG 2: MERE SAPNON KI RANI

And who is immune to the pulsating charm of this song, written by Anand Bakshi and composed by S D Burman? It has the thrill and adventure of a formula one race, the wide eyed wonder of a toy train, the sing song rhythm of a gushing rail, the shrill exuberance of an echoing mountain whistle, the dependability of a harmonica-playing-cum-meandering-driver buddy, the blossoming beauty of Sharmila(reading Alistair Maclean no less!) and Khanna looking rather dapper in a Nepali cap. Kishore of course is the soul of this song, exhibiting endearing magnetism at its best! During my Chitrahaar childhood, when my best friend and I would actually go to a wishing well and wish for (Lo and behold, nothing out of this world but Dev Anand and Rajesh Khanna songs in the evening!), this lone song could make my whole week like nothing else!!:-)

SONG 3: KASTO MAZZA HAI RAILAIMA

It was almost like history repeating itself when so many years later Parineeta cashed in on that same train magic by placing Sharmila's son Saif Ali Khan on the same train, this time dreamily thinking of his lady love Vidya Balan, who in this movie played the typical Bengali wife in red and white saree, red bindi and the works. This is one of Saif's best roles ever that brought out a very humane, vulnerable and sensitive side of him to the fore. Simply loved his chemistry with Vidya in this. I have somehow lost all his performances ever since as I end up comparing them to this one.

The music by Shantanu Moitra is racy yet traditional. Sonu Nigam( oh what's his latest spelling?) who was at the pinnacle of his career that time, pumps lot of soul into the song. The cute kids on the bus and their chirpy chorus is in Nepali and adds to the appeal and authenticity of the song. Well, come July and I have a trip planned to the Eastern region of India. I am just aching to get onto this train and sing a few songs of my own!





SONG 4: APNI TO HAR AAH IK TOOFAN HAI

Though not one of Rafi's best songs, but what makes this song fun to watch is the situation created and conceptualised. Dev Anand's histrionics too add to the charm. He is obviously fascinated by a beautiful co-passenger such as Waheeda Rehman (Who wouldn't be?) but she is accompanied by her parents. Dev very comically pretends to be singing a prayer addressing God as 'Uparwala' while the sleeping beauty lies peacefully on the top birth! Go ahead enjoy and savour romance, old fashioned style where the hundred impediments to meeting someone were indeed part of the whole charm, I seriously believe that it was the impediments that made people more romantic once upon a time.

And these are different times. We would be ill advised to try singing such songs in moving trains anymore. You could be arrested for sexual harrassment!

 




SONG 5: SUNIYE KAHIYE

This song though not a typical train song, has some scenes unfolding in a Mumbai local train. Infact the whole story unfolds in these trains. This is one movie I must have watched 50 times and can still catch it if it is coming on TV. Very soft, smooth and comical romance with no starry airs. Amol Palekar, well I loved him for his simplicity and normal-ness. Tina Munim is dewy fresh and oh so innocent. Wonderful character actors in the form of Pearl Padamsee and David, typical Bombay catholic community, their easy going and charming life, makes this movie, 'Baaton Baaton Mein', a real treat.  This song by Kishore and Asha sums up the gentle mood of the movie.
 

SONG 6: MUJHE TUM YAAD KARNA AUR MUJHKO

Again not a conventional train song but set on a train track and some empty train coaches. But what an original setting. A very tapori looking Anil Kapoor and a radiant Rati Agnihotri look so much at ease romancing here than any remote hill in Switzerland. And imagine it was a Yash Chopra movie! So the maestro knew what he was doing. He did try his hand at realistic settings and it can't get more real than this. Lata and Kishore's vocals and the infectious charm of the two actors as if did not require any more props and the song still resonates with a lot of real love-shove for me. For what is more loving than bidding adieau so fondly and then waiting anxiously for someone to come back. This song is the real deal! 

SONG 7: CHAIYYAN CHAIYYAN


Enough said. I guess this is a recent song and everyone knows why it became popular, but why I love it is simply because of Gulzar's lyrics. It was from this song that he carved out a new image for himself, changing with the times, adapting a new idiom, relating to young audiences and yet not letting go of good poetry. So salute to Gulzar Saheb for that. If some of you want to salute Malaika Arora's waist, well totally upto you!! :-)

ASHA GEETA-FACE OFF

Song 8, ZINDAGI ITTEFAQ HAI version II: 21 Mar 2013

Asha Bhosle sings the same song this time as a duet with Mahendra Kapoor, that clarion call of a voice we remember from our childhood Mahabharat days when every Sunday all streets would be totally empty and traffic would come to a standstill as Mahendra Kapoor bellowed, " MAAAHAAAABHAAAAARAT" and woke us up. His voice is definitely the voice of a farmer from Punjab or a soldier making merry with peers on some frontier with a drink in his white enamel ware mug!

But Asha balances his rustic timbre with her infectious charm. The mood is somewhat sombre here. This time there is another pretty, mysterious damsel who graces the scene-of course there has to be. The club crooner is sporting enough to not even ask the hunk as to who is she, where is she, what the plot is at the other end. She is expected to give explanations for every alliance-fake or real- of hers but she gracefully accepts that the hero might after all have a love of his life too, a love that nurtures him or one that bothers him. The club crooner selflessly lends him a shoulder to cry on, sympathising, counselling, offering succour and advice as to how to make it work. Even if it breaks her own heart completely to know that he belongs to someone else, she smiles through the evening, spreading sunshine and cheer. The tears of course would be for a private moment alone, far from the limelight of glitzy events and sparkling champagne moments.....









Song 8: 20 Mar 2013

The club crooner was a fun girl. She was the life of the party and knew how to raise a storm on the floor. She could double up as a stunning bar-tender without worrying about the Manu Sharmas of the world. She had two gorgeous hunks for company, chivalrous and chic. She cavorted and cajoled, oozing oomph and schmoozing big time. One of Asha Bhonsle's most memorable songs, her voice is almost lightening sharp in places and full of mirth and mischief. After all these were the siren songs, not the staid, sedate Pacific Ocean charm of a Lata, but a river in spate, a waterfall unbound and unleashed. Music by Ravi and lyrics by Sahir,  a luscious Mumtaz, in a timeless LBD(Little Black Dress) that one would love wearing even today and two of the most handsome hunks to ever grace Hindi film screen- the most suave and dashing Khan ever, Feroz and the devastatingly delicious Desi  Dharmendra. I am sure Mumu had a tough call there. Yet I would grant it to the Khan, for not only was he a stylish and naturally charming actor, but also the producer of some memorable movies and therefore a more complete entertainer and showman. The song I would say was pretty ahead of it's times. These avant garde touches by Yash and B R Chopra make this club crooner song a classic!

 

Song 7: 17 Mar 2013


At other times she could enthrall dancing gazelle like, mesmerising with that pixie like grin and crinkly eyes. She was exotica served in a sarong, a ditty from faraway places that had miraculously fallen in your kitty, a thrill to take the chill pill with, a steamy dream boat with delicious mysterious dimsums to discover. Geeta Dutt's rendition of this song triggered the imagination like never before, exposing Indian audiences to pleasures beyond the seven seas, of dangerous silk routes and the delectable treasures beyond. The name "Chin Chin Chu" is probably taken from Chu Chin Chow, a popular British musical comedy from 1916. This song by O P Nayyar and Qamar Jalalabadi became a raging hit, paving way for many songs with phoren flavours. Helen who was a such an incredible talent, one of Burma’s best imports into India took Indian movies by a veritable storm with her stunning dance performances. She morphed into many seductive avatars later, bringing costumes right from Lido to Moulin Rouge into Indian movies. Here though she is simply a boost of forbidden flavours, fresh, youthful and lively. The effect, to say the least was addictive!:-))

Song 6: 16 Mar 2013

So even if her own face could launch a thousand ships, it was a mere glance of his face that made the club crooner go into raptures. It was in his presence that her song developed a heart and mind and a character of its own. She danced the night away with an ensemble team but one look from him made her heart dance to his tunes. She had a captive audience but she was captivated by his silent charms. This lesser known song from Howrah Bridge by Asha is yet again composed by O P Nayyar- turns out this is becoming an O P Nayyar tribute more than anything else, but yes this was the man who gave us such lively tunes much before R D had even surfaced anywhere. And who else but Madhubala to perform, a heroine O P Nayyar confessed did the maximum justice to his songs!:-)

Song 5: 10 Mar 2013

They even gave sound business advice, these curvy crooners.They made the hero aware of his inner strengths and goaded him on to make the right moves. Their own life had made them street smart and they used that know-how to let the hero know when was the time to be a bull or a bear. They wished them luck with their ensuing deals and ventures. Too bad that many Indian men did not like being advised by their lady love, at least not on money or business matters. Or they did not like mixing business with pleasure. However that did not deter the club crooners. They belted out sound advice with solid guitar strumming and elegant eye rolling. The result, they were both an enviable team both on and off the smoky casinos. I simply adore Geeta Bali. Just see how she says 'daav lagale' everytime. A true natural talent, just like Geeta Dutt's singing was, and S D Burman's music and Sahir's lyrics. And Dev Anand, well he is simply being Dev Anand. There will be no other. No wonder this is one of my all time favourite club crooner songs!!

Song 4: 8 Mar 2013

Yet another O P Nayyar number to showcase the seductive charm of Asha's voice and who better to compliment it on screen but Mumu herself. Now Mumtaz was a cutie and hottie rolled into one and yet seemed totally unaware of her own charisma. I also admire the way Asha had perfected the art of those champagne laughs and giggles in between which I am sure are not that easy to record impromptu. The lyrics written by Majrooh went with the norm those days where even a night club dancer used very formal and refined expressions such as aaiye, dikhlaiye, farmaiye. Too bad these so called bad girls never got the guy in the end but usually would get eliminated half way through so that he could go back to his sati savitri heroine. Infact I marvel at these guys too who had perfected the art of looking totally detached, no-nonsense and sullen through all the heave- hoing the poor club dancer was upto with a lot of effort and sincerity!!!;-))










Song 3: 7 Mar 2013

It was the dancing girl/club crooner after all who loved the hero rather selflessly, could be a buddy and a tease at the same time. She could stop him when he was going wayward and really miss him when he was gone. She could shake a leg like noone's business and could even pull his leg and smirk and taunt. She could strut her stuff and flaunt. She could disappear at times and haunt. But she was his need and want. So sizzling were some of these dancing girls that they often had to be censored and thought not fit for public consumption. This song with Arabic inspired interludes, for example was picturised on Waheeda Rehman but the rushes were too hot to handle and consequently it was deleted from the original movie. A pity that video or even stills are not available anywhere. Can just imagine Waheeda doing full justice to it. So listen to this song and visualise this song for yourself. Out of sight is not always out of mind!:-))

Song 3: 7 Mar 2013

 

Song 2 : 6 Mar 2013


If Geeta Dutt had that delicious Bengali lilt, Asha Bhosle had an inborn sizzle. These were the voices of the quintessential club crooner. Between the two of them, they belted out quite a few kick-ass club crooner numbers. So how about an Asha-Geeta face-off, what say? I will give you one dazzling song after the other alternately and you decide who was the hotter voice. It is indeed difficult to decide. To start with Asha Bhonsle club crooner/dancing diva songs, what better song to kick start the process than this whopper of a number. I am sure there isn't any person who hasn't been stirred by this one ever. Madhubala at her vivacious, sultry best. And Asha Bhonsle was just the voice for those sirens, those with the satiny sensuality, come hither smiles and darting glances. The music is by O P Nayyar who was responsible for giving Asha that individuality in terms of singing style, and lyrics are by Qamar Jalalabadi. We see a lot of pretty young girls vie for the numero uno position but must say rare to see this grace and charm anywhere today....