Ab Ke Baras Bhej

Do we live in a society where isolation and alienation is rife? This in spite of the innumerable ways that one is ‘connected’ ?  I look at the world busily and constantly ‘communicating’ around me and wonder if it really does make people feel connected! Perhaps it is just me, but all this communication rushes over me like water over a duck’s back. I remain untouched. Isolated. At times even alienated.

My thoughts are triggered by a recent message I received from a batch mate from school. He invited me to join a whatsapp chat group that he is forming. I promptly declined. You see, a few years ago I had joined an email group of school mates,  foolishly expecting a meeting of minds. Instead, most of the mails were just re-distribution of junk mail. The communication on most social media sites follows the same pattern. People call themselves ‘friends’ but seem content to remain the most superficial of acquaintances. Is it only me who clings to the old fashioned meaning of a ‘friend’?

What happened to conversations where one talked of everything with mates, from the very personal to the very public? What happened to sharing of real feelings and emotions? What happened to ‘adda’ sessions when one talked of nothing but felt so connected nonetheless? I honestly don’t remember when I last had a conversation which left me intellectually or emotionally stimulated. What happened to me? Why cannot I not connect with anyone anymore?

In comparison, my husband has a much more nourishing circle of friends. His mates from university are not only in touch on a daily basis via various media, but they talk on the phone and even get together every couple of years. This is not as easy a matter as you may think as his friends are spread around the globe. From what I have observed, they have somehow managed to hold on to a connection which goes beyond the superficial. I am envious! So today’s post is in honour of his friends, especially his ‘Pal’ who I hold in great esteem, and who says he misses my features on Hindi film music.

My song choice of today is a perfect little gem from the Hindi film Bandini (1963). Composed by S.D.Burman with lyrics by Shailendra, it is sung by Asha Bhosle. It is a song from another time when women married and left home, sometimes without being able to go back for years. But even in today’s time of facetime calls and whatsapp chats, it strikes a chord. The song talks of the longing for family, of the sadness for innocence lost, of the grief for a time that will come no more, of the need for re-connection. But under it all, it is a song of alienation. It is a song for all who struggle with the changing roles that life throws on them.

Asha is perfection in this song. Listen to the oh so gently done vibrato over the word ‘talE’, the almost abrupt enunciation of ‘chalkE’ in contrast to the wringing of the word ‘kaskE’, the lovely transition to the next phrase in the word ‘churAyI’…what singing! And while you are about it, look at Nutan’s swan neck and perfect profile..a timeless beauty!

(28/4/2015 : Sorry, the video has been removed for copyright seasons; I found an audio only version below)

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Footnote (Lyrics) :

Language : Hindi

अब के बरस भेज भैया को बाबुल सावन में लीजो बुलाय रे
लौटेंगी जब मेरे बचपन की सखियाँ दीजो संदेशा भिजाय रे  ||

अम्बुआ तले फिर से झूले पड़ेंगी रिम-झिम पड़ेंगी फुहारें
लौटेंगी फिर तेरे आंगन में बाबुल सावन की ठंडी बहारें
छलके नयन मोरा कसके रे जियरा बचपन की जब याद आये रे ||

बैरन जवानी ने छीने खिलोने और मेरी गुड़िया चुराई
बाबुल थी मैं तेरे नाजों की पाली फिर क्यों हुई मैं पराई
बीते रे जुग कोई चिट्ठिया ना पाती ना कोई नैहर से आये रे ||

Transliteration

ab kE baras bhEj bhaiyA kO bAbul sAvan mE.n lIjO bulAy rE
lauTE.ngI jab mErE bachpan kI sakhiyA.n dIjO sandEshA bhijAy rE

ambuA talE phir sE jhUlE paDE.ngI rim jhim paDE.ngI phuhArE.n
lauTE.ngI phir tErE A.ngan mE.n bAbul sAvan kI THanDI bahArE.n
chalkE nayan mOrA kaskE rE jiyarA bachpan kI jab yAd AyE rE

bairan javAnI nE chInE khilOnE aur mErI guDiyA churAyI
bAbul thI mai.n tErE nAjO.n kI pAlI phir kyO.n huI mai.n parAyI
bItE rE jug kOI chiTTHiyA nA pAtI nA kOI naihar sE AyE rE

Translation

O Father (bAbul), do send (bhEj) my brother (bhaiyA) to fetch me (lIjO bulAy) this year (ab kE baras) during monsoon (sAvan mE.n) . When (jab) my childhood (bachpan) friends (sakhiyA.n) return (lautE.ngI), do send (dIjO bhijAy) news (sandEshA).

Swings (jhUlE) will be set up under (talE paDE.ngI) the mango trees (ambuA) while light showers (phuhAr) will fall (rim jhim paDE.ngI). The cool (THanDI) breeze (bahArE.n) of monsoon (sAvan) will return (lauTE.ngI) again (phir sE) to your (tErE) courtyard (A.ngan), father (bAbul). My eyes (nayan) spill over (chalkE) by the squeeze (kaskE) of my heart (jiyarA) when (jab) I remember (yAd AyE) my childhood (bachpan).

Youth (javAnI), my enemy (bairan), snatched away (chInE) my toys (khilOnE) and (aur) stole (churAyI) my dolls (guDiyA). Father (bAbul), I was brought up tenderly (nAjO kI pAlI) by you (tErE), why then (phir kyO.n) have I become (huI mai.n) an outsider (parAyI)? Ages (jug) have passed (bItE) without my receiving any letter (chiTTHiyA nA pAtI), nor has anyone (nA kOI) come (AyE) from my natal home (naihar sE).

Listening to: Talash (1969)

Help! Something is seriously wrong with me! My brain has been gobbled up by aliens! I watched Talash last week and although the movie stars Rajendra Kumar for whom I cannot find one complimentary adjective, although the comedy track, which is not in the least comic, seems to have more screen time than the main story, although the story stretched my credulity to its limits, I was riveted by it! I need Help (capital intended)!

Demand On Credulity(DOC) 1: So there is this young man Raju, just out of college, played by Rajendra Kumar who is all of 40 years old in real life! DOC2: His bosom pal and class mate is played by O.P.Ralhan, who is only a few years older at 45! Raju’s stated ambition in life is not just to be rich, but super rich. He takes up a clerical job in Ranjit Rai’s (Balraj Sahni) business and after some hiccups, impresses his boss.

DOC3: On a holiday in…now where was this? I’ve lost my notes..let’s call it a hill station, he is mistaken for a prince. And from where does he get his princely garments pray? This prince thread is quite superfluous to the story, just an add-on to enhance sex-appeal of a star with very little sex-appeal. He meets a village girl Gauri (Sharmila Tagore, who is a nubile young this and an age appropriate 23 years old in real life) with whom he falls in love and thankfully for us, sings some nice songs with. He promises to come back on a particular festival day and marry her. She says if he doesn’t come she will kill herself.  Any sensible person would have been put off  by this statement, googling ‘self destructive psychosis’ to find out what’s wrong with her and how fast he can run away from her, but not our hero. Sounds risky then to leave it until the last day then, wouldn’t you think? And yet, DOC4: we will see that the hero will make no allowances  for transport issues, bad weather, villains and such but leave it all until the very last moment!!

Back at work, he gets invited to a party at his Boss’s home to celebrate the return of his only daughter, Madhu, from abroad. Sharmila and her dimple look delightful in spite of weird hairdos. DOC5: Though she is a dead ringer for Gauri, Raju though confused does not recognize her! But of course, she is none but Gauri. To test his love, she sends out lures (tut-tut!) and is upset when he succumbs finally. Surely this is entrapment? DOC6: Worse still, she gets her father to offer unbelievable amounts of money to lure him to marry Madhu and poor Balraj Sahni has to use his not-to-be-sniffed-at histrionic skills for a most inappropriate action. The ending is obvious enough. DOC7: When Raju realises what Gauri/Madhu has been about, he laughs aloud instead of strangling her!!

O.P.Ralhan, who is both the writer and director of the film, gives himself a most undeserved, meaty role as the sidekick. This secondary plot has more drama than even the main one! Helen has a nice role and the supporting cast do a decent enough job.

Now that I have revealed all, you would think that I sat through it with a supercilious air, sniffing my nose at the odd goings on. Not so. I was riveted to the screen and at times even abandoned my ironing so I could pay better attention to the dialogue!! I have no explanation. It must be the brain-slurping aliens. That’s what it is. And the music by S.D.Burman with lyrics by Majrooh Sultanpuri. You will notice that I have given a big smile to all songs except one! Here are the tracks:

• Meri Duniya Hai Ma – S.D.Burman. I have a great liking for songs sung by S.D. and this is no exception. He has an ethnic and plaintive note to his voice which I love. But honestly, this absurd ‘ma’ devotion! I am a mum and I love my mum too and we are a super-species, absolutely. But this level of dripping sentimentality? Yikes!  And surely its a bit too much for a 40 year-old Rajendra Kumar pretending to be 20 something to say ‘My life is in your aanchal’ to his mum, played by Sulochana who is – hold your breath – only 1 year older to him in real life! But what a song! 
• Kar Le Pyar – Asha Bhonsle. This is Asha singing for Helen’s cabaret number and the combination is fantastic! Who but Asha can flutter down the scale saying ‘haseen’ just so? Asha and Helen at their best. Nice 60’s club-style instrumentals.
• Palkon Ke Peeche – Mohammad Rafi, Lata Mangeshkar. Very unique composition, with rather a staccato feel to it, unusual for Indian music.  Nice sitar & flute interludes. Very well sung.
• Aaj Ko Junli Raat – Mohammad Rafi, Lata Mangeshkar. A memorable duet. I felt though that the sound was a bit sad, not suitable for the celebratory feel that the occasion warranted. It also struck me on seeing poor Rajendra Kumar make his moves that its not often that yesteryear heroes had to actually dance, not just strike poses and look admiringly at the wriggling heroines.
• Tere Naina Talash – Manna Dey. Excellent song. Manna Dey is the king of this genre. S.D. has outdone himself with this song based on Raag Chayanat.
• Khai Hai Re Hamne Kasam – Lata Mangeshkar. S.D. has incorporated some nice folk-sensibilities into this slow and gentle song. Lata’s voice is velveteen.
• Kitni Akeli – Lata Mangeshkar. Another very melodious solo by Lata. The very simplicity of the song is its strong appeal.
• Mera Kya Sanam – Asha Bhonsle, Mahendra Kapoor. Even an album as good as this one needs a black-spot, kahin nazar na lag jaye. This is my least favourite and yet its not too bad.

To listen to the whole album, click here.

My choice for the day is the title song by Manna Dey.

And to admire Asha’s expertise in this genre and Helen’s shaking of her tail feathers, here is Kar Le Pyar by Asha Bhonsle.

Listening to: Kala Pani (1958)

My today’s movie selection is in honour of Dev Anand, who passed away this week. Though I was never fond of his films, I respect anybody who has lasted so long in the cut-throat business that Bollywood is.

The last time I saw Dev on the big screen was in 1978, when I went to see Des Pardes. I was a teenager and I found the thought of a the 55 year old thespian romancing the young Tina Munim very objectionable. I walked out after 30 mins of the film.  Subsequently, I have never been able to see his films without a rather bad taste in my mouth. And also, I absolutely disliked his mannerisms.

Kala Pani was therefore a wonderful surprise! He is young (35) and handsome and thankfully makes minimal use of the mannerisms which annoy me.  The movie starts with Dev discovering that the father he thought was dead was in fact serving a life-sentence for murder. He meets is father, is convinced that he is innocent and decides to find the true killer and clear his father’s name. The beautiful Madhubala is the owner of the guest house where he stays and the gentle take-off of the romance is very convincing -there is neither stalking, nor over-ardent behaviour! Nalini Jayawant is a tawaif, a dancing-girl, who has proof of the real killer. The two ladies look beautiful and add a feminine touch to this semi-dark crime story. In spite of some loose bits (for example, confrontation with the lawyer at gunpoint, the speech making in the court), the script is good, the editing brisk, the black-and-white cinematography is quite beautiful, music is melodious and performances are very good indeed, especially by Dev Anand and Nalini Jayawant. A very stylistic film; a recommended watch. 

The music by S.D.Burman is very melodious and Majrooh Sultanpuri provides some memorable lines. I must bring your attention to the background score as well; it is especially beautiful. Listen to the music when Dev is in the newspaper office, quite lovely.

• Najar Lagi Raja – Asha Bhonsle. A very good Mujra song, Nalini Jayawant adds to the allure of the song with her own beauty. I love the sound of Ghungroo integrated into the music.
• Hum Bekhudi Mein – Mohammad Rafi. SD has produced a masterpiece. Rafi displays a mastery which leaves me in awe! What an interesting mood the song creates! Its not sad, but rather reflective and accepting of lost loves and lost chances.
• Dil Lagake Kadar Gayee – Asha Bhonsle. Another Mujra song but this didn’t please me as much.
• Jab Naam E Mohabbat – Asha Bhonsle. SD has tried a new concept, mixing traditional poetry delivery style of singing with ‘modern’ bits interspersed.  I liked the traditional part which reminded me strongly of the later (1963) song ‘Ham Tere Pyar Mein Sara Alam’ with music by Shankar Jaikishen. But the mix of the two styles, I found very jarring.
• Acchaji Mein Hari Chalo – Asha Bhonsle, Mohammad Rafi. When it comes to expressing emotions with her voice, Asha is just incredible. Listen to her say मान जाओ ना – the modulations in her voice!! Oh!! Add to it Madhubala’s superbly expressive face and you have a winner. The heart is for Asha’s voice. 
• Dilwale Ab Teri Gali – Asha Bhonsle, Mohammad Rafi. A banjara song, quite good.

To listen to the whole album, click here.

My pick for today is Rafi’s Hum Bekhudi Mein, a most well-known and well-loved of songs. Enjoy!

 

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Footnote (Lyrics) :

Set to Raga Chhayanat

हम बेखुदी में तुमको पुकारे चले गये
साग़र में ज़िन्दगी को उतारे चले गये (हम)

देखा किये तुम्हें, हम बनके दीवाना
उतरा जो नशा तो, हमने ये जाना
सारे वो ज़िन्दगी के सहारे चले गये (हम)

तुम तो ना कहो हम, खुद ही से खेले
डूबे नहीं हम ही यूँ, नशे में अकेले
शीशे में आपको भी उतारे चले गये (हम)

Listening to: Paying Guest (1957)

My feelings after seeing this film is ranging between frustration and anger. The music was the draw when I sat down to see it, but surely I had the right to expect some entertainment from the story as well?

In the earlier part of the film there is a debate between Nutan and Shubha Khote, ‘Is love or money  more important in a relationship/marriage?’ I thought then that perhaps that was the theme of the film. Unfortunately the movie did not settle down to any sane theme.

We have Dev who is a lawyer but with no income who comes to live as a paying guest in Nutan’s home. I disliked the character immediately. A ‘hero’ in films of yesteryears got away with a multitude of sins – in this case, criminal fraud (he misrepresents himself, doesn’t pay his dues), molestation (he grabs Nutan’s hand, stalks her on the road), breaking and entering (he enters Nutan’s room without permission), cheating (he pretends to be grievously hurt to win Nutan’s hand), tackiness (his reaction to a cat fight), questionable judgement (goes out to clubs and gets drunk with a married woman) – just to name a few. Tell me again, why is he a ‘hero’ ? I do not like Dev Anand and this film didn’t make me change my mind. 

Nutan on the other hand is quietly brilliant. I am more and more in sympathy with fellow-blogger and Nutan worshipper Yves from Let’s Talk About Bollywood. The industry has more than its share of beauties but Nutan quietly outshines them all. I much prefer her style of warm beauty than the perfect but cold touch-me-not look of some beauty queens. When Nutan smiles, her eyes, her face, why even her hair light up! And what an actress! She makes even ridiculous lines seem good and in an effortless and natural manner. She lip-synchs better than any actress I have seen and carries herself with grace. And truly, she radiates a goodness of heart which permeates all the roles she plays. Even in this poor film, she delivers her part with élan.

The first part of the movie is about Dev ensnaring Nutan. They enjoy a bit of a romance. Maybe it was just the chase for him? For he soon gets distracted by Shubha Khote who, after having found a rich husband she wanted, is now realising that she wants romance after all. There is Nutan’s evil brother-in-law who gets mixed up in this business. Shobha’s rich husband is killed and then the evil brother-in-law for whose death Nutan goes to court. It is upto our hero, who we have so far thought to be a good-for-nothing lawyer suddenly develops brilliant court room tactics and rescues the damsel in distress. PSHAW!!

The music by S.D.Burman is  brilliant and Majrooh Sultanpuri’s lyrics are excellent.

• Mana Janab Ne Pukara Nahin – Kishore Kumar. Lovely ‘stalking’ song. Thank you S.D for a lovely melody – especially like the बंदगी तो दीजिये जनाब  part of the verse. Kishore sounds very good.
• Chod Do Aanchal – Kishore Kumar and Asha Bhonsle. This is a superb example of the fun-conversational-duets that Hindi film music fans have enjoyed over the years. There is an inherent rhythm in the words which is very attractive. Kishore and Asha are outstanding! Asha emotes especially well and her voice is liquid gold…
• O Nigahen Mastana – Kishore Kumar and Asha Bhonsle. Nice song but not very original. It reminds me of many other similar ones.
• Chupke Chupke – Lata Mangeshkar. Not very appealing.
• Hai Hai Yeh Nigahen – Kishore Kumar. The ubiquitous club song, for a change in a male voice. Kishore does a good enough version but I am not charmed.
• Chand Phir Niklaa  – Lata Mangeshkar. Lata shows why she ruled the Hindi film music world for so long. Wonderful melody, lovely mood, great instrumentals and good lyrics.

You can listen to the whole album here.

As I cannot decide between my two favourites, one a happy song and another a sad one, I present you both.

Chod do Aanchal

Chand Phir Niklaa

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Lyrics : Chod Do Anchal

छोड़ दो आँचल ज़माना क्या कहेगा
इन अदाओं का ज़माना भी है दीवाना
दीवाना क्या कहेगा

मैं चली अब खूब छेड़ो प्यार के अफ़साने
कुछ मौसम है दीवाना कुछ तुम भी हो दीवाने
ज़रा सुनना जान-ए-तमन्ना
इतना तो सोचिये मौसम सुहाना क्या कहेगा

यूँ  न देखो जाग जाए प्यार की अंगडाई
ये रस्ता ये तन्हाई लो दिल ने ठोकर खाई
यहीं दिन हैं मस्ती के सिन  हैं
किसको ये होश है अपना बेगाना क्या कहेगा 

ये बहारें ये फुवारें ये बरसता सावन
थर थर काँपे हैं तन मन मेरी बैंयां धर लो साजन
अजी आना दिल में समाना
इक दिल इक जान हैं हम तुम ज़माना क्या कहेगा 

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Lyrics: Chand Phir Niklaa (Raga Shuddha Kalyan)

चाँद फिर निकला मगर तुम न आये
जला फिर मेरा दिल करूँ क्या मैं हाय

ये रात कहती है कि वोह दिन गए तेरे
यह जानता है दिल कि तुम नहीं मेरे
खड़ी हूँ मैं फिर भी निगाहें बिछाये
मैं क्या करूँ हाय कि तुम याद आये

सुलगते सीने से धुंआ सा उठता है
लो अब चले आओ कि दम घुटता है
जला गए तन को बहारों के साए
मैं क्या करूँ हाय कि तुम याद आये

Listening to : Meri Surat Teri Ankhen (1963)

Would anyone reject a child because of its perceived ugliness? I am not convinced. Yes, India is a country where perfect little infant girls have been abandoned or killed in the past. Yes, it is a country where disabled children have also suffered the same treatment. Yes, it is steeped in the racism of skin colour so I am not astonished at the equating of dark with ugly, much as I disagree with it. This has been the cross for the dark skinned Indians to bear from pre-historic times when the light skinned, Causasoid Indo-Aryans migrated into Northern India, displacing the dark-skinned Australoid Dravidian locals. Yet, a first male child of middle-aged parents being rejected just because of skin colour? That wouldn’t happen. Once I accepted that, the rest of the film was easier to digest.

The script is not too bad and has good character development. The climax however is very poorly scripted. The movie’s message आदमी रंग रूप से नहीं, उजले मन से ख़ूबसूरत होता है  (a man is made beautiful not by colour or form but by an enlightened mind) is a good one and the movie is true to this message. At the end, Ashok Kumar says to his mother ‘सच तो यह है की मेरी सूरत को तेरी आँखों से किसीने नहीं देखा’ accounting for the title.

Ashok Kumar is very good at displaying the angst of someone who suffers from low self-esteem and the negative bias of society.   I so love his diction and dialogue delivery! However, at 52, he is much too old to play this part of a 25 year old. In scenes where he addresses his screen parents, he looks older than them!

Asha Parekh is young and glowing in a role which demands little of her.  Pradeep Kumar is adequate as a dissolute (well, not really)  man but I have great resistance in accepting him as the good-looking brother. Again, he is too old at 38 to play a young man. Is that Iftekhar in a non-police-office-or-military-chap role? I can hardly believe my eyes!

The music is by S.D.Burman, with credited support from R.D.Burman. The album is a credit to SD’s genius which is well matched by Shailendra’s lyrics. 

• Poocho Na Kaise – Manna Dey. Based on classical music in Raga Ahir Bhairav, it has become a classic in itself. Manna Dey shines in displaying his roots in classical music in this superb song. See footnote for lyrics. Iconic. 
• Tere Bin Soone – Mohammad Rafi, Lata Mangeshkar. A slow, meditative song sung perfectly by Rafi and Lata who show that they have a talent equal to Manna’s in classical ragas. This one is set to Raga Piloo.
• Tujhse Nazar Milane Mein – Asha Bhonsle. A club song which has some nice instrumentals but the melody didn’t appeal.
• Naache Man Mora – Mohammad Rafi. Another excellent classically based song in Raga Bhairavi. Asha Parekh displays her dancing talents in this good Kathak number. Its a pity we don’t see much of this lovely classical dance form anymore in films.
• Tere Khayalon Mein – Lata Mangeshkar. A not very scintillating solo.
• Yeh Kisne Geet Cheda – Mukesh, Suman Kalyanpur. I really liked this rather old-fashioned duet. A lovely melody!

Click here to listen to the whole album.

My choice for the day is of course Poocho Na Kaise by Manna Dey.

I have included the song below for the Kathak performance by Asha Parekh.

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Footnote (lyrics) :

पूछो ना कैसे मैंने रैन बिताई
इक पल जैसे इक जुग बीता
जुग बीते मोहे नींद न आयी (पूछो)

इक जले दीपक इक मन मेरा
फिर भी न जाये मेरे घर का अँधेरा
तडपत तरसत उमर गंवाई (पूछो)

ना कहीं चंदा ना कहीं तारे
ज्योत के प्यासे मेरे नैन बेचारे
भोर भी आस की किरण ना लाई (पूछो)

pooCHo na kaisE mainE rain bitayI
ik pal jaisE ik yug beeta
yug beetE mohE neend na AyI

ik jalE dIpak ik man mErA
phir BHI na jAyE mErE GHar kA anDHErA
tadpat tarsat umar ganvayI

nA kahIn chandA nA kahIn tArE
jyOt kE pyAsE mErE nain bEcharE
BHor BHI As kI kiraN nA lAyI

Do not ask how the night passed
An eon passed in an instant
But even an eon did not bring me sleep

A lamp burned, so did my mind
still the darkness of my home did not fade
A lifetime passed in suffering, in longing

Nowhere do I see the moon or stars
My poor eyes thirst for light
Even dawn did not bring a ray of hope

Listening to: Ishq Par Zor Nahin (1970)

A few weeks back, with the good intention of ‘attacking’ my mountain of unironed clothes, I dragged the ironing board in front of the telly and channel-surfed to find something to watch while I attempted my Herculean task. I landed on this film; had it not been just when a beautiful song was on, I might not have stayed. I didn’t know how much of the movie I had missed but I stayed anyway.

There is no other word for it – the movie was EXECRABLE! So idiotic that I watched in fascination, wondering what twisted mind made it! The story seems have to be made up as they went along.  Did Hindi films always show girls getting slapped by the ‘heros’ for the slightest things? And still the girls spreading flowers where his feet have passed and laying their heads there? Please!!! Did they actually think that ‘sacrificing’ one’s love and pushing her into another relationship is moral? Did films treat suicide as an honourable out? Did the audience find it funny when women were molested in the name of comedy? Did the hero who didn’t get the girl always have to die in some mish-mash idea of heroism?

In between all this, one has to cope with Dharmendra acting morose and with a false docility that Indian films often give the poor, Biswajit acting manly and macho but oh so badly, Kamini Kaushal pretending to be a Japanese woman and Jagdip an Arab..sorry, all this is not worth talking about. On the whole, just their attitude towards women churned my stomach.  For God’s sake, don’t see this film!

On the positive side, my ironing got done as I transferred my wrath against the film makers to my arm!! Unfortunately the pile has grown again…

Do listen to the music by S.D.Burman set to the lyrics by Anand Bakshi. There are a couple of lovely  tracks here.

• Mehbooba Teri Tasveer – Mohammad Rafi. A dreamy, slow song, it is very well sung by Rafi.
• Yeh Dil Diwana Hai – Lata Mangeshkar & Mohammad Rafi. The music is truly inspired. A slow pace, a beautiful melody and Rafi and Lata’s voice gentling you in all the places you didn’t know existed in your soul. Anand Bakshi has some nice lyrics here – बेचैन रहता है चुपके से कहता है मुझको धड़कने दो शोला भड़कने दो and also यादों में खो जाऊं जल्दी से सो जाऊं क्योंकी सांवरिया को सपनों में आना है ..lovely!!
• Sach Kehti Yeh Duniya – Lata Mangeshkar. The title song could have been better.
• O Mere Bairangi Bhanwara – Lata Mangeshkar. An unsual tune, with an other-world touch, I really liked it. Lata Mangeshkar at her best.
• Mitwa Mere Saathi – Lata Mangeshkar. Shown in the movie as a bhajan, it is totally forgettable.
• Tum Mujhse Door Chale Jana Na – Lata Mangeshkar. Lata’s sad solo has a haunting melody. A well loved song.
• Pyaar Bhari Ek Baat Chali – Asha Bhonsle. Poor Asha got the quite the worst song in the album. Not for re-listening.

Here is my top selection from this album.

Listening to:Chupke Chupke(1975)

Deviating from my norm of choosing a film for its music, I searched out my DVD of Chupke Chupke looking for a good giggle. What an amusing film it is!  Truly, if you haven’t seen it as yet, do – you’ll soon add it to your list of ‘cheer-me-up’ films.

In essence, it is a story about an elaborate practical joke played on an unsuspecting Om Prakash and the ensuing mayhem. It has a nice pace with never a quiet moment. Well scripted, well directed (Hrishikesh Mukherjee) and well acted, its a welcome change from the jaded and boring fare handed out by Bollywood much too often. The dialogue, in particular, is fun throughout. People who like Hindi would enjoy Botany correctly referred to as वनस्पति शास्त्र, a driver as a वाहनचालक , never as कदापि and a train as लोहापथ गामी अग्निवाहन!

Dharmendra in the leading role is excellent and heart-stoppingly handsome – in fact I doubt whether I find any Bollywood actor as handsome as I find him here.  Amitabh is refreshingly different from his normal angry roles; for me, this is a much better display of his acting talent than many of his more famous films. A scene in the latter half of the film in which he shares his frustrations in convoluted sentences with Dharm & Asrani had me giggling helplessly! The ladies are equally good with a mature Sharmila much more natural in her role than she ever was as a young woman and more beautiful too!   In short, a five-star film! Its available on Youtube on the Shemaroo channel for free, so go for it!

The music by S.D.Burman is melodious and if not up to par with his great compositions, there is enough to enjoy. Anand Bakshi’s lyrics are acceptable.

• Sa Re Ga Ma – Mohammad Rafi, Kishore Kumar. Its lovely to hear both these incredibly talented singers come together! Kishore wins this bout hands down – and no I am not biased!
• Baghon Mein Kaise Yeh Phool – Lata Mangeshkar, Mukesh. It’s truly a lovely song, well sung by both singers but I am not too keen on Mukesh’s voice for Dharmendra.
• Ab Ke Sajan Mere Saawan Mein – Lata Mangeshkar. This has a nice melody, nice lyrics and even situational comedy!
• Chupke Chupke – Lata Mangeshkar. A light, uplifting song sung very nicely by Lata. It doesn’t have as much variation as I would like but then it has a lulling quality instead.

I would have chosen Ab Ke Sajan but I have already used it for a post on Sharmila so here’s my second choice, Baghon Mein :

Listening to Chalti Ka Naam Gaadi

What a hoot this film from 1958  is!! During my last trip to India, I picked up a DVD  for a princely sum of $2 – an official copy too! A very well spent $2, if I may say so. I really enjoyed revisiting it with my husband a couple of weeks back.

I’ll recommend however that you pack up your left brain and leave it safely in cold storage while you watch this film, that will make your experience ever more pleasurable. You will then not wonder why Ashok Kumar’s ex can so easily escape to call for help at the end of the movie but couldn’t for, what was it, 10 years? Or why Madhubala doesn’t just tell her dad that this fellow whom he introduces to her is not quite the thing?

But let us pass all that because the film is truly rib tickling!  I haven’t yet seen the follow-on film called Badthi Ka Naam Daadi (the title is intriguingly hairy, to say the least!). The character development for each of the three brothers has been done very well, creating three distinct and interesting personas. I am a Madhubala fan and she is winsome as ever; charming even in men’s clothes when she goes a-adventuring with Kishore! What a charmer! कभी कुछ कहती है,  कभी कुछ कहती है, ज़रा नज़र को संभालना  How apt for a girl whose eyes, her whole face speaks volumes! On that topic, Kishore Kumar has done a fantastic job and his face is equally expressive. I am not sure why he was not more respected as an actor.  I am happy to strongly recommend this film to anyone who wants to cheer themselves up!

The music is pure fun and has a can’t-get-it-off-my-mind quality which helped make it a hit. But more than that, it shows off Kishore’s genius for comic singing, if there is a category such as that. Who can forget him yodelling his demand for पांच रुपैया बारा आना ? Or him strutting to हम थे वोह थीं और समाँ रंगीन समझ गये ना .  S.D.Burman’s music is fantastic. The lyrics by Majrooh Sultanpuri are very good too. I can never forget Anoop Kumar going ओ मन्नू तेरा हुआ अब मेरा क्या होगा  –  that will get a smile out of anyone!

Check out these great songs :

• Babu Samjho Ishare – Kishore Kumar.  Title song, catchy as it should be.
• Ek ladki bheegi bhaagi si – Kishore Kumar. Excellent is the only word for it.
• Haal Kaisa Hai Janaab Ka – Kishore Kumar, Asha Bhonsle. Kishore is out of the world. Asha purrs like a satisfied kitten. Superb. Unforgettable.
• Hum the woh thi – Kishore Kumar.  Interesting, very different composition by SD Burman, with Kishore jumping from scale to scale in effortless ease. A showcase for Kishore’s talent. And he is not a bad dancer either!
• Main Sitaron Ka Tarana – Asha Bhonsle, Kishore Kumar. Very good, will get a smile out of you for sure!
• In haathon se sab ki gaadi – Kishore Kumar. Didn’t make an impression.
• Hum tumhare hain – Asha Bhonsle, Sudha Malhotra. A lovely song for the talented Helen and Cuckoo to do their dance number.
• Ruk jaao na ji – Asha Bhonsle. Ordinary. But Madhubala is great. 

You can find the whole album here. I am going to indulge myself and present two songs to you. The first for the superb singing by Kishore and Asha and the visual delight of the supreme Madhubala. I can’t take my eyes off her face!!! Just listen to Asha’s teasing voice at 3:35, what a singer!

And the song below to showcase Kishore’s mad genius.

A Song for Sharmila’s Dimple

I confess, I am a a dimplophile (if such a word doesn’t exist, it should!!). I was always fascinated by Sharmila’s awesome dip-in-cheek, so today’s post is in honour of the said dip.

Now, how can I do justice to her dimple? Let me trawl through memory for all the happy songs (we need a smile here) which have been picturised on her.  I’ll stick to the early and middle phases of her career when she looked her best.

Kashmir Ki Kali (1964), which was her launch in Mumbai, has fantastic music by O.P.Nayyar. The lilting Isharon Isharon mein showcases a very young Sharmila’s beauty.  Anupama (1965), a memorably poetic film, has her in a totally different avatar in the haunting Kuch Dil Ne Kaha, where one catches but fleeting flashes of the dimple.  It is more in evidence in Duniya mein aisa kahan in Dewar (1966). Sharmila and her dimple look super cute in a blue swimsuit saying Ja ja ja in Aasman se aaya farishta, An Evening in Paris (1966). But what in the world is Shammi doing wearing a striped dressing gown hanging from a helicopter? Hiding the middle-aged middle?

In Yakeen (1969), the dimple is flashed while Lata’s voice lulls us in Ghar Tum Bhula na Doge. But why why is Dharmendra holding a gun? I am intrigued…have to see this film!!. And as Rafi’s voice and Rajesh’s eyes make love with Yeh Raat hai Pyaasi Pyaasi in Choti Bahu (1971), the dimple responds with pleasure.  R.D.Burman’s music is  outstanding in Amar Prem (1972), there aren’t superlatives enough to praise it. Fleeting glimpses of the dimple are evident while Lata sings Raina Beeti Jai. Good lyrics by Anand Bakshi too:  तन मन प्यासा अखियों में पानी (mind and body parched, but the eyes are wet) – well written indeed!! I must mention Rajesh Khanna’s sparkling white Dhoti and Kurta which look great on him. Why have citified Indian men discarded this so elegant an attire?

Dimplophiles will have their money’s worth in Ab Chahe Maa Roothe Ya Baba from Daag (1973), where poor Sharmila prances about in a very unflattering costume. Kishore fans will also enjoy the song for he is in good voice indeed!! Bhupinder’s gravelly voice croons Dil Dhoonta Hai phir wahi in Mausam (1973), but its a bit difficult to catch the dimple at work.

I have chosen today’s song for a number of reasons; the dimple looks enchanting, Sharmila and Dharmendra make a glorious looking pair, just seeing the clip had me giggling in memory of the film which was SO much fun…in short, its a true homage to the dimple! Here is Ab Ke Sajan Saawan Mein from Chupke Chupke (1975), sung impressively by Lata Mangeshkar to S.D.Burman’s music. Enjoy! And if you haven’t seen the film..don’t wait!

Ab Ke Sajan Saawan Mein–Lata Mangeshkar

Safal Hogi Teri Aradhana

Album : Aradhana (1969)

Song : Safal Hogi Teri Aradhana (title song)

Music : S.D.Burman (1 October 1906 – 31 October 1975)

Lyrics : Anand Bakshi

Singer : S.D.Burman

Form : Hindi Film background score

Aradhana came at the age of awareness for me. This film was the first step in my long love story with the Hindi film music industry.  Both the movie and the music were super hits. It was sung out at every street corner.  And I, still a little girl, fell in love with it and spent hours in front of the radio waiting for each song to be played so that I could laboriously copy out the lyrics! My Hindi being quite poor at that time, I wrote it all in English phonetically. I actually thought that ‘Roop tera mastana…..hum sena ho jaye’ meant in some odd way that Rajesh Khanna’s character was going to join the army (Sena 🙂 ). And not being blessed with a Voice, I must have tortured my poor mother as I tried to sing out loud these songs. Yes, I still remember the words 🙂

The album still has great appeal to me, time hasn’t dated the music at all. I have chosen to present the title song here, for I have always loved the gentle hope of the lyrics and the soulful rendering by S.D.Burman.  He won the National Film Award (1970) as a singer for this song.

Enjoy the song !

Safal Hogi Teri Aradhana–S.D.Burman