Friendship is one of the main condiments which spices up our lives. It helps us to face the harsh slings and arrows of life. Whether formed during our student days, or while pursuing our career goals and even during the sunset years of our lives, we develop relationships based on matching personality traits, common interests, mutual trust and quite a few other factors. Often, the bonds which get forged turn out to be strong and resilient. Bonds which are like underground cable connections – dormant, but in place, ready to be reactivated as and when necessary.
Friendship is a theme which is regularly harvested by our dream merchants to enrich their offerings and evoke emotions amongst their audience. If scenes of goofing around with pals make us happy, misunderstandings act like villains, making us sad.
In the post here, I have attempted to mention some movies which, I believe, have friendship as one of the main planks of their theme. Love and revenge are almost always around, but often occupy a back seat in the overall scheme of things.
However, I have avoided movies where the relationship between friends ends up becoming a love triangle of sorts. So, you may find such movies as Sangam (1964), Muqaddar Ka Sikandar (1978), Saajan (1991), Mujhse Dosti Karoge (2002), Kal Ho Na Ho (2003), and many others missing from the list below. Likewise, I have given a miss to the ones wherein friendships fall in the LGBTQ category, of which there is no dearth these days. Thus, series like Anokhi Daastaans (Episode: Geeli Pucchi: 2021), Modern Love, Mumbai (Episode: Baai: 2022) and movies like Maja Ma(2022) have been given a skip.
Seema (1955)
Director: Amiya Chakrabarty
The chemistry between Nutan and Shubha Khote in the surroundings of an orphanage stood out. Some of you may remember the long cycle ride undertaken by the latter towards the climax of the movie.
Dosti (1964)
Director: Satyen Bose
Circumstances and love for music brings together a blind person and a handicapped one. Trust Rajshri Productions to keep regaling us with family-oriented themes which tug at our heart strings.
Anand (1971)
Director: Hrishikesh Mukherjee
An unusual bond develops between an idealistic doctor and a terminal cancer patient who comes to stay with him during the last few months of his life. The frustration of a doctor at not being able to alleviate the suffering of his new-found friend was etched out so very poignantly.
Victoria No. 203 (1972)
Director: Brij
Two old golden-hearted crooks get released from jail and wish to spend the rest of their lives as good, respected men. The plan is short lived when they willy-nilly find themselves on the trail of some stolen diamonds.
Namak Haraam (1973)
Director: Hrishikesh Mukherjee
An industrialist who does not care much about maintaining harmonious relations with his labour force ends up being confronted by a close friend who empathizes with the travails of the workers and evolves into a trade union leader of sorts.
Sholay (1975)
Director: Ramesh Sippy
Even though the main theme was all about revenge with romantic sub-plots thrown in, the friendship between Jai and Veeru went on to become the stuff of cinematic legends.
Hera Pheri (1976)
Director: Prakash Mehra
Two small-time crooks loot other rich ‘respected’ but criminal-minded people for a living. Misunderstandings arise between them, but eventually get cleared up and the friendship between them gets reestablished.
Chashme Baddoor (1981)
Director: Sai Paranjape
Three friends who live together run into a young lady from the neighbourhood. The studious one ends up winning her heart. Out of jealousy, the other two try to complicate the relationship between the couple. A grandmother ends up clearing the mists, reuniting the couple.
Yaarana (1981)
Director: Raakesh Kumar
If one friend goes out of his way to promote the singing career of a childhood friend, the other, upon becoming famous and rich, reciprocates the gesture by donating the proceeds of his earnings and consequent record deals in order to rid his friend of his many mortgages and to reunite his family. When one gets admitted into a lunatic asylum, the other one manages to sneak in and restore his sanity.
Andaaz Apna Apna (1994)
Director: Rajkumar Santoshi
Two daydreamers come up with a get-rich-quick scheme by pursuing a millionaire’s daughter. Once they meet each other, they form a competitive bond and land up at the daughter’s place under some false pretexts. Diamonds, mafia dons and jealous uncles play a role. Eventually, they play saviours to the daughter, her secretary, and the family, thereby achieving their goals.
Dil Chahta Hai (2001)
Director: Farhan Akhtar
Three close friends pursue a different career path after passing out of college. Love blossoms for each one, though differently. They go on a road trip together. Misunderstandings between them get cleared in the end.
Filhaal (2002)
Director: Meghna Gulzar
One of the rare movies which portrayed a strong bond of friendship between two inseparable friends. During a fencing session, a freak accident leaves one of the friends injured, rendering her unable to conceive later in life. The other one offers to be a surrogate mother for the couple. Complications arise in the relationship, though the story eventually ends up on a positive note.
Rang de Basanti (2006)
Director: Rakeysh Omprakash Mehra
When a British student decides to make a film on pre-independence freedom fighters from India, contemporary reality meets history, forcing the viewers to introspect as to where we are headed as a country. The bond between the friends stood out for its empathic and realistic portrayal.
3 Idiots (2009)
Director: Rajkumar Hirani
The friendship between three classmates withstands the test of time. Ten years down the road, their common antagonist also joins in when they decide to search for one of the missing friends. The central message of the movie was to decide one’s career moves based not on parental or popular expectations but on one’s inner passion.
Zindagi Na Milegi Dobara (2011)
Director: Zoya Akhtar
Three friends undertake a joint trip so as to experience different facets of life. Their plan is that during the road trip each of them will pick a surprise adventure sport in which they all have to participate together. They complete the event successfully, bonding better with each other and gaining a renewed sense of purpose in life.
Kai Po Che (2013)
Director: Abhishek Kapoor
Three friends spot a talented boy who is good at cricket and decide to groom him. A love affair leads to misunderstandings arising between them. The 2001 earthquake in Gujarat and the riots of 2002 also pose many challenges to their bond of friendship.
Dedh Ishquia (2014)
Director: Abhishek Chaubey
Two partners in crime run into a pair of scheming ladies who have ideas of their own. The latter end up cocking a snook at the former by selling a necklace stolen by them, buying a property from the proceeds, and settling down there to start a dance school for young girls – a scheme the two friends had hatched between themselves.
Parched (2015)
Director: Leena Yadav
Four women in a desert village of Gujarat, India, forge a strong bond of friendship between themselves while facing social evils, age-old traditions and practices of patriarchy, child marriage, dowry, marital rapes, and physical and mental abuse.
Double XL (2022)
Director: Satramm Ramani
A common challenge of being overweight results into a bond of friendship developing between two young ladies. They decide to work together and demonstrate the perks of obesity to the world, ridiculing the current craze for Size Zero and unrealistic norms of beauty peddled by fashionistas and the media.
Hush Hush (2022, Series)
Director: Tanuja Chandra
A taut thriller where one of the four close friends dies in mysteriously circumstances. The other three ladies eventually uncover the real reason for the death of their friend, while battling the challenges in their own lives.
Uunchai (2022)
Director: Sooraj Barjatya
When a close friend suddenly dies, three friends decide to honour his last wish – that of visiting the Himalayas. Despite health challenges, they undertake a hiking trip to the Everest base camp. They manage to scatter the ashes of their departed friend there. The perilous journey makes them realize that each one of them has heights within which are waiting to be scaled, bringing home the key message of striving to realize our fullest potential in life.
Why Are Women Short-changed?
There may be many more friendship-based movies which I would have missed out here. However, one thing that strikes is that of a serious shortage of movies on friendships between women. Is it that those hailing from the tribe of the delicately nurtured do not have friends?
The underlying cause could perhaps be that a major chunk of our society thrives on a patriarchal mindset; while males enjoy their friendships for a very long time, females often get a raw deal on this front because family commitments reign supreme, often to the exclusion of all else. With hardly any personal space and a minimal availability of ‘Me Time’, the bonds of female friendship, if any, do not enjoy the kind of continuity that male friendship does.
We need to encourage and empower the women in our lives to keep their own embers of friendship aglow, alive and kicking!
Music is the backbone of Hindi movies and OTT series, whether by way of songs and dances, or in the form of the background variety. However, there are very few offerings dished out by our Dream Merchants which are devoted to the subject of music itself, where the life of most of the characters revolves around the practice of music. Such human emotions as love, hatred, animosity, jealousy, pride, prejudices are all there, but music forms the central theme. The key characters get success after a great deal of practice. In the interim, they often taste heart-breaking failures. But spurred on by their immense talent, ardent passion, and sometimes by either a teacher or a muse, they persevere in their efforts and eventually achieve the recognition they deserve.
The idea here is not to recall and list movies which may be termed as musicals. Nor would I like to mention the ones which have provided uplifting music. In the list that follows, you will not find the ones where either music merely serves the purpose of entertainment or even where the main characters may be music teachers.
Thus, movies such as Dholak (1951), Phagun (1958), Jahan Ara and Chitralekha (1964), Heer Ranjha (1970), Pakeezah (1972), and Umrao Jaan (1981), do not appear here.
I have instead tried to focus here on the movies where music forms a core part of the script. Many of these depict the trials and tribulations of an artist who is enthusiastic about this form of fine arts. Many others capture the gravitational force exerted by music in making a relationship either blossom or wither.
Consider the following movies which are music-based offerings from our dream merchants.
Music: Yashwant Deo, Bhupen Hazarika, Zakir Hussain, Raj Kamal
Sur – The Melody of Life
(2002)
Direction: Tanuja Chandra
Music: M. M. Keeravani
Aaja Nachle
(2007)
Direction: Anil Mehta
Music: Salim–Sulaiman
Rock on!
(2008)
Direction: Abhishek Kapoor
Music: Shankar–Ehsaan–Loy
Rockstar
(2011)
Direction: Imtiaz Ali
Music: A. R. Rahman
Aashiqui 2
(2013)
Direction: Mohit Suri
Songs: Jeet Gannguli, Mithoon, Ankit Tiwari
Music Teacher
(2019)
Direction: Sarthak Dasgupta
Music Original Composition: R.D. Burman
Music Re-created by: Rochak Kohli
Gully Boy
(2019)
Direction: Zoya Akhtar
Music: The 18-song soundtrack, involving an estimated 54 contributors, was supervised by Ankur Tiwari
Bandish Bandits
(2020; Amazon Prime Video)
Direction: Anand Tiwari
Music: Shankar–Ehsaan–Loy,
Qala
(2022)
Direction: Anvita Dutt
Music: Amit Trivedi
I am reasonably certain that there are many more which I might have missed out here. However, as the listing shows, over time, as Hindi cinema has moved away to modern settings, India’s rich cultural heritage is perhaps no longer getting the attention it deserves. That is how, a series like Bandish Bandits and a movie like Qala come like a whiff of fresh air in our turbulent times.
The price one pays for success
Some of these movies, like Saaz and Qala, depict the kind of competitive spirit which prevails in the field of music. A character even ends up jeopardizing the career of another, resulting in overpowering guilt. Such movies also capture the kind of cunning, guile and nerves of chilled steel needed to achieve success in a highly competitive world. Perhaps many of the famous artists we know of might have passed through quite a few such phases in their careers.
Like any other profession, the world of music is also replete with rivalry. It would be naïve to assume that success comes cheap. Often, the price it extracts from an artist’s inner being, especially in terms of a compromise on one’s ethics, beliefs, and values, is heavy.
For us, the audience, music is indeed an enriching food for the soul. However, the soul of an artist may carry a few scars, not known to us. But ignorance is bliss, as they say!
Note:
Inputs from Purva Agarwala, Dileep Raina, Madhulika Liddle, Avantika Nirupama, Sunil Jain, and a few others are gratefully acknowledged.
Never have I had the privilege of being invited to a panel of judges which decides which movies an award goes to. But there are several which leave me, a lay viewer, a bit fogged. Consider the following:
In the year of The Lunchbox, The Good Road represented India at the Oscars.
In the year of Dharm, Eklavya represented India at the Oscars.
In the year of All the President’s Men, Rocky won the best picture award.
In the year of Citizen Kane, How Green Was My Valley won the best picture.
In the year of Saving Private Ryan, Shakespeare in Love won the best picture.
It’s A Wonderful Life flopped when it was released and did not even garner much critical acclaim. And that is how it lay – till a copyright clerical error gave the world a right to screen it freely, making it an annual Christmas staple, and it grew and grew on the masses and the classes and the critics – so much so that today it is considered Frank Capra’s masterpiece.
Shawshank Redemption did not wow the public or the critics much during its original theatrical release. Then came its TV premiere, and then DVD, and finally OTT – where it found phenomenal traction and the world finally fell in love with it.
Sholay received a very lukewarm response upon the week of its release, and in desperation Ramesh Sippy was about to the reshoot the end and keep Amitabh alive. The cast and crew had one final meeting, and it was decided they should wait out the weekend at least. And lo and behold – during the weekend all hell broke loose, and Indian cinema witnessed its biggest phenomenon – the birth of the blockbuster.
Casablanca was a pretty last-minute effort, with Warner Bros trying to cash in on the war situation, and the resultant fervour of patriotism that was spreading across the English-speaking world. An unpublished play, Everybody Comes to Rick’s, was adapted for the movie and Bogart’s agent liked it. But neither Bogart nor Ingrid Bergman was keen on doing it because they did not think it would really turn out to be good. They thought the dialogue was ridiculous and the situations were unbelievable. They were constantly trying to think of ways to get out of the movie. Bergman was then focused on For Whom the Bells Toll which she thought would be a big movie. And Bogart was not enjoying the fact that Bergman at 5’10 was two inches taller than him, and that he was made to stand on top of wooden blocks or sit on extra cushions by director Michael Curtiz because of it. And to top it all, neither the director nor the scriptwriters (the Epstein brothers) knew how the movie will end even while they were shooting it. In fact, Ingrid Bergman did not know how much love she should exhibit for Bogart’s character because she did not know whether they were in love or not (though that ambiguity ultimately gave the performance more stature). And to know now that the movie won multiple Oscars and is on all ‘Best Movies of All Tmies’ lists and is the movie with the maximum all time favourite quotes (7)!
About the Author
Shouquot Hussain is an educator and has been raising the intellect level of young students in India, as also in Kenya and Indonesia, since quite some time. He loves to read books. He dabbles in writing poetry, making the literary critics keep a keen eye on his progress. He is also a keen observer of movies; new OTT platforms keep licking their lips in anticipation of his valuable subscriptions. His son, like the proverbial fruit which does not fall far from its tree, is currently pursuing a BSc in Film Making. He is a self-proclaimed foodie. Like him, his spouse is also in the field of education. The couple infest the environs of Jakarta these days.
Charles Darwin, were he to be around in the exciting times that we live in these days, and if commissioned by a prominent Hollywood studio to study the manner in which Hindi movies have evolved over time, might have come up with some unique insights into the matter!
Perhaps, he might have proposed that movies do change over time, that new movies often pop up from some of the pre-existing ones, and that all movies share two common ancestors – an Adam who keeps providing the producers with healthy returns on their investment and an Eve who keeps nourishing wide-eyed-and-glued-to-their-seats kind of denizens with wholesome entertainment. He might have proposed that the concept of entertainment itself has undergone a major transformation. If the audience in the past used to get entertained by movies based on classical music and dance forms – like Baiju Bawra (1952) and Jhanak Jhanak Payal Baaje (1955), the flavour of the season now is that of item numbers, say, something on the lines of ‘Laila o Laila…’ in Raees (2017), which are meant for momentary gratification only, soon to be forgotten.
Recently, Bandish Bandits (2020) came as a whiff of fresh air.
He might have pointed out that there are indeed movies which try to convey a social message as well, but these belong to a different genre/species. When it comes to caste-based prejudices, we have had Sujata (1959), Masaan (2015) and Article 15 (2019). A movie like Jhund (2022) showcases the everyday struggles of vagabond Dalit youngsters, haunted by the humiliating gaze of society. Speak of the disadvantaged and we are apt to think of Ankur (1974), Akrosh (1980), Chakra (1981) and Nil Battey Sannata (2015). Think of the angst of the educated unemployed and we discover Albert Pinto Ko Gussa Kyoon Aata Hai (1980) and Rang De Basanti (2006). Speak of sex workers and movies like Chandni Bar (2001), Chameli (2003) and Gangubai Kathiawadi (2022) pop up in our minds.
He might have even concluded that there is no universally applicable formula for whipping up a blockbuster, that past success does not guarantee future conquest, that such formulae have a rather short shelf-life, and that one must factor in the then prevailing social mores, the economic condition of the target audience and the impact of disruptive technology which has its own pace of evolution. If a delectable mix of sex and violence worked at a time, and if star power was the magnet which kept the box office aflame, content, acting prowess and slick editing work the magic now.
He might have pointed out that each genre/species has its own unique characteristics, that each one has its own path of evolution, and that the onset of the multiplex phase, followed by the OTT-era, has enabled our dream merchants to climb newer heights of imagination. Those of us who have loved such series as Gullak (2019-2022) and Panchayat (2020 onwards) might concur with this thought.
Specifically, he may have made a few general observations about the evolution of our Hindi movies over time:
Some Tectonic Shifts
In the pre-partition days, the audience lapped up offerings which were based on values, patriotism, mythology, or religious beliefs. Raja Harishchandra (1913), Bhakt Vidur (1921), and Amar Jyoti (1936) can be mentioned in this context. Kismet (1943) was a different cup of tea altogether.
In the years followed by India’s independence, hopes for a new country ran high. Besides romantic ones, idealistic movies steeped in socialistic thinking – like Awara (1951), Boot Polish (1954), Jagte Raho (1956), Do Aankhen Barah Haath (1957), Mother India (1957), Pyaasa (1957), and Phir Subah Hogi (1958) – came up. Mythologicals like Sampoorna Ramayan (1958) and Mahabharat (1965) also kept the audience engaged. A primarily agrarian economy liked such offerings as Do Bigha Zamin (1953).
In the next decade, we loved seeing movies like Mughal-E-Azam (1960), Hum Dono (1961), Sangam (1964), Guide (1965), and Aradhana (1969).
During the 1970s, the angst of the common man was identified by our dream merchants to be a key point of attraction. Movies like Deewaar (1975) and Sholay (1975) came to rule our collective psyche. Thanks to the likes of Shyam Benegal, Govind Nihalani and others, the parallel cinema stream catered to the tastes of the intelligentsia. We also had some Hollywood-style movies with a taut script, such as Ittefaq (1969) and Achanak (1973). The critics loved these, but not the non-discerning audience sold on cheap melodrama.
Thereafter, many of us would remember Tezaab (1988), Chaalbaaz (1989), DDLJ (1995), Lagan (2001), and Bunty aur Babli (2005). Somewhere down the road, cheap, low budget movies aimed at the front benchers also flooded the market. Many of these were South Indian productions made on tight budgets starring the likes of Jeetendra etc. in this phase, the production sources were dubious, and films were tasteless and crass. Over time, the upper classes withdrew from cinema halls and started devouring movies on VCRs.
Thanks to economic liberalization, we started becoming Westernised to an unrecognisable extent. Consumerism started blooming. The joint family system started disintegrating. Individualistic themes gained prominence. Gradually, we found ourselves faced with the reality of living not only in ‘Bharat’ but also in ‘India.’ The former was catered to by single-screen theatres. However, thanks to upward mobility, rising incomes, and ready availability of international merchandise, the culture of shopping malls and multiplexes sprouted. The multiplex phenomenon opened the doors for shorter and crisper flicks, based mostly on urban-centric themes. The cinematic landscape changed, offering ultra-commercial masala fare dished out by the likes of Subhash Ghai and Sanjay Leela Bhasali to the ultra-niche cinema of Vishal Bhardwaj, R Balki, Anurag Kashyap and Madhur Bhandarkar.
Over time, internet became easily available and then OTT followed. We, the audience, exposed as we were to international media offerings, became choosier. Now, our critical eye looks at a wider range of the cinematic offerings – its genre, storyline, acting prowess of the characters, music, camera movements, technical excellence, and so forth.
The Yin and Yang Balance
Most of you who have examined the phenomenon of falling in love would agree that in the earlier days of Bollywood, those belonging to the tribe of the so-called sterner sex happened to be the dashers and the knights in shining armours who could do nothing wrong. All the hero had to do was to flex his muscles, and a coy member of the tribe of the so-called delicately nurtured would swoon and fall in his arms. Most of the times, the females would not be dashers but merely dormice, exerting their soft power occasionally. Only once in a blue moon, when pushed with their backs to a wall, did they strike back.
Cut to the present. The heroes are no longer diffident about shedding their macho image and reveal their softer side on the screen. The heroines have now become far more decisive and assertive. They resist amorous advances. They call the shots. They continue to be as beautiful as ever but have become far bolder. Now, they come into their own out of sheer free will, revealing the inner strength they possess.
Even though the fight against a deeply entrenched patriarchal mindset is far from being over, the Yin-Yang balance has tilted in favour of the females. They rule the roost. On the other hand, the males are no longer shy about showing their vulnerabilities. The male rabbit often gets attracted by a female dasher. He no longer has the luxury of concentrating on some mild, gentle dormouse with whom he could settle down peacefully and nibble lettuce. In the past, we had Arth (1982) where the heroine chooses to lead a life independent of either her well-wisher or her ex-husband. Of late, we have had such movies as Astitva (2000), Aitraaz (2004), Wake-Up Sid (2009), Inkaar (2013), Queen (2013), Dedh Ishqia (2014), Ki and Ka (2016), English Vinglish (2012), Thappad (2020), and Jugg Jugg Jiyo (2022), which speak of women empowerment. On the OTT platforms, we have had Delhi Crime (2019), Bombay Begums (2021), Modern Love Mumbai (2022), and Modern Love Hyderabad (2022).
Not to forget such stand-alone female-centric movies as Kahaani (2012), Gulaab Gang (2014), Mardaani (2014), Parched (2015), Nil Battey Sannata (2015), Jai Gangaajal (2016), Neerja (2015), and Gunjan Saxena (2020), where males play either a supplementary or a villainous role.
Of late, script-backed roles for heroines have gained better traction. The effeminate side of males has garnered better prominence. Heady days are here!
Mamma Mia!
The image of the Indian mother has got a 180-degree makeover.
From a weepy, sacrificing Sulochana (Dil Deke Dekho, 1959) and Nirupa Roy (Do Bigha Zamin, 1953) to a dictatorial Dina Pathak (Khoobsurat, 1980) and Supriya Pathak (Goliyon Ki Rasleela Ram-Leela, 2013), we have seen her role metamorphosing over the decades. Now, we even have a mother who hatches a plan to torture/murder an abusive son-in-law, a la Shefali Shah (Darlings, 2022)!
Yes, we have always had the morally upright mother who goes to an extreme to restrain her errant son, like Nargis (Mother India, 1957) or Reema Lagoo (Vaastav, 1999).
Sex Education
No more flowers swaying in a gentle breeze touching other flowers. We are not only beautiful; we are also bold. Steamy scenes are now an essential part of a movie/series. Several movies use the services of an ‘Intimacy Director’ to manage the delicacy of such scenes, when getting shot. Teenagers no longer need to necessarily depend upon unreliable sources to learn the nuances of love making.
Consider the 1953 version of Parineeta (Ashok Kumar, Meena Kumari) wherein the mere act of garlanding signifies a matrimonial alliance. However, in the 2015 version (Saif Ali Khan, Vidya Balan), the level of intimacy between the couple goes to a different level altogether.
LGBT relationships are out of the closet and no longer make us raise our eyebrows, like Fire (1996) managed to do in the past. Whether it is a series like The Fame Game (2022) or movies like Badhai Do (2022) or Maja Ma (2022), such affairs are now out in the open.
Technology Rules
No more dacoits on real horses. Thanks to our new-found sensitivity towards other species, most scenes depicting animals depend on technology, which has made things easier. Compare the magnificent battle scenes of Mughal-E-Azam (1960) with those of Samrat Prithviraj (2022). In the latter, whole battalions of soldiers can be seen marching ahead in perfect unison, putting our brave soldiers who participate in the Indian Republic Day parade each year to shame. The absurdity and the sheer artificiality of the scene made me laugh out aloud, prompting my multiplex co-viewers look at me with scorn, their shapely highbrows raised more than an inch.
‘Dishoom-dishoom’ scenes have all but vanished. Instead, what we have now are gravity-defying stunts which would be leaving Sir Isaac Newton shaking his head in disbelief and perhaps even squirming in his grave.
The day is not far off when AI-backed tools will be churning out innovative scripts, screenplays, and lyrics, leaving many of the Bollywood writers and lyricists crying all the way to their respective banks.
The Diminishing Returns of Tragedies
One of the side-effects of the arrival of economic liberalization has been the reduction in the audience’s appetite for outright tragedies. When the aspirational upwardly class is obsessed with chasing economic goals, there is a greater need for positive narratives and happy endings. Tragedies like Andaz (1949) and Sahib, Bibi aur Gulam (1962), featuring such actors as Dilip Kumar and Meena Kumari, gradually become passe. While feel-good and revenge-oriented themes continue to be popular, movies like Matto Ki Saikil (2022), which depict the harsh realities of life, receive critical acclaim but meet with open disdain at the box office.
Many Shades of Grey
Gone are the days when we would be shuddering in our seats in a theatre while listening to Amrish Puri saying ‘Mogambo khush hua…’ while drumming his heavily ring-infested fingers on one of the arms of his throne, or Gabbar Singh calling out ‘Arre o Sambha, kitne aadmi they…?’ while prowling around menacingly with a pistol aimed at three of his terrified cronies, or Prem Chora pouncing upon a damsel in distress with clear intentions of outraging her modesty while mouthing such dialogues as ‘Prem naam hai mera, Prem Chopra’.
If Pran was a suave but scheming villain unleashing his vicious plans on a hapless couple, Ajit, duly attired in a white coat and even wearing white-coloured shoes, sent quite a few shivers down our spines. In each story, there was a good guy and a bad guy. When the ‘angry young man’ happened, the hero’s character itself took on an unapologetic black shade.
If Sholay set a new benchmark in the action sequences, directors like Vidhu Rahul Rawail, Vinod Chopra, and Ram Gopal Verma gave us gut-wrenching fights and dreaded villains in such movies as Arjun (1985), Parinda (1989), Satya (1998), Shool (1999), and Shiva (2006). These showcasedraw cycle chain and knuckle duster fights.
The advent of characters with negative shades has further accentuated this transformation; think of Shahrukh Khan in Baazigar (1993) and Darr (1993), Kajol in Gupt (1997), Aishwarya Rai in Khakee (2004), and Aamir Khan in Fanaa (2006), just to name a few.
I am skipping flicks in the horror genre here because I have never watched any of these.
Once liberalization happened, nobody had the nerve to lash out at a rich guy. Wealth ceased to be a liability; instead, it became a desirable goal and a badge to be unabashedly worn on one’s sleeve. Blacks and whites disappeared from our screens, and shades of grey became predominant. Movies moved closer to the real world and ceased to be pure fantasies.
The brain started kicking on all its six cylinders and eventually started ruling over brawn. In the past, cerebral offerings such as Jewel Thief (1967) were few and far between. Now, we have the likes of Kahaani (2012), Andhadhun (2018), Raat Akeli Hai (2020) and Drishyam (2013, 2022) keeping us biting our nails and twiddling our thumbs trying to figure out what will hit us next.
This trend gained further traction owing to a seminal change brought about by OTT. Think of Abhishek Bachchan playing Bob Biswas in Breathe: Into the Shadows (2020) series.
The original script of one of our epics, Ramayana, is still there. But the shades of the hero and the villain have evolved. Achieving the goal has become supreme; means be damned. Just like the characters in Mahabharata, different shades of grey prevail.
Lingua Franca
Given the delightfully rich diversity of Indian languages and dialects, movie makers obviously do a smart thing by resorting to the local dialect when presenting different characters on the screen. For example, Aamir Khan mouthed dialogues in what is alluded to as the tapori dialect of Mumbai (Rangeela, 1995). Tamannah Bhatia aped the Haryanvi dialect in Babli Bouncer (2022).
But when the characters start using cuss words, things go a bit too far, especially in movies which are meant for general viewing. Take the case of Vidya Balan in Ishqia (2010) or Rani Mukherji in No One Killed Jessica (2011).
However, with the plethora of movies and serials which capture the endeavours of northern hinterland warlords inundating our screens of late, this appears to have become a trend. The warlords wait till the end to jump into the fray directly. They let their henchmen do the dirty work, while they enjoy a public life which is as pure as freshly driven snow.
Likewise, urban-themed offerings now ape the American way, routinely using such words as sh*t, fu*k, and the like. This is the new normal.
Consider Gangs of Wasseypur (2012), Jamtara – Sabka Number Ayega (2020), Masaba Masaba (2020), and Hush Hush (2022) for instance.
The Loo Mania
Relieving oneself in open is rather common in India. However, to have it depicted on our screens, is rather nauseating and appalling. By doing so, the message given out is that it is perfectly normal to do so.
Even our top-notch actors have not shied away from performing such acts. Many of us would remember Akshay Kumar gleefully doing it in Singh is Kinng (2008), Madhavan and Sharman Joshi in 3 Idiots (2009), Ranbir Kapoor in Besharam (2013) and Yeh Jawaani Hai Diwaani (2013), Aamir Khan in PK (2014), and Anupam Kher in Baby (2015).
The fact that a tactic of this kind needs to be resorted to merely to improve the Comic Quotient of a movie goes on to show our directors and script writers to be woefully short of imagination at times.
The Sounds of Music
Over the decades, the music in Hindi movies has evolved in more ways than one.
Mother Nature Gets a Short Shrift
Elements of nature (moon, rains, lakes, rivers, seasons, clouds…) have gone missing. High rises, cityscapes, interpersonal relations take the front seat. So do emotions, feelings, and the like.
Songs like ‘‘Ye raat ye chandni phir kahaan…’ (Jaal, 1952), ‘Aaja sanam Madhur chandni mein hum…’ (Chori Chori, 1956), ‘Ye raatein ye mausam…’ (Dilli Ka Thug, 1958), ‘O sajana, barkha bahaar aayi’ (Parakh; 1960) and ‘Chalo dildaar chalo, chaand ke paar chalo…’ (Pakeezah, 1972) have almost vanished from the silver screen. Once in a while, we get treated to such songs as ‘Suraj hua maddham’ (Kabhi Khushi Kabhi Gham; 2001), ‘Barso re…’ (Guru, 2007) and ‘Hawaayein…’ (Jab Harry Met Sejal, 2017).
Visual Appeal Elbows Out Our Ears and Minds
Gradually, the orchestra and the sound have elbowed out the lyrics somewhat. Songs which appealed to the audience not only for their deep layered meaning but also for their soulful music have become part of a rare breed. Philosophical truths of life have got relegated to the background. Thus, we have become used to getting entertained by offerings which accord a higher priority to our ears than to our minds.
Moreover, with the new-found zeal for quick cuts, adroit camera work and the razzle-dazzle of a heightened visual appeal, we have virtually stopped hearing songs and have willy-nilly become reconciled to seeing them. Cinematography rules. Locations keep changing in quick succession. Even before we have had the chance to savour one, the next one pops up. The camera has become obtrusive. Even if a patriotic song like ‘Teri mitti mein mil jaawan…’ (Kesari, 2019) comes up, we are exposed to a visual world which is in the fast forward mode. Since our eyes are constantly being bombarded with visual information, the hapless ear often has no other option but to take the back seat.
Actors no longer need to worry much about their lip-synching abilities. Most songs get relegated to the background.
Cabarets have metamorphosed into ‘item numbers’.
Lullabies Lose Out to Screen Time for Kids!
No longer do we have scripts with room for any lullabies. Remember ‘Aa ja ri aa, nindiya tu aa…’ (Do Bigha Zamin, 1953), ‘Mein gaoon tum so jaao…’ (Brahmachari, 1968) and ‘Pyara sa gaon…’ (Zubeida, 2001)? Of late, the only lullaby we got treated to was ‘Jo tum saath ho…’ (Salaam Venky, 2022).
Kids are smarter these days. They need only their technical gizmos to get to sleep. Parents may rest easy. Inspired by ‘Mere buddy…’ (Bhootnath, 2008), grandparents of all hues, sizes and shapes are busy honing their dancing skills!
Like real-life kids, reel-like kids have also become far more intelligent, often mouthing dialogues which would leave us twiddling our thumbs trying to figure out their real age. Gone are the day of innocence epitomized by Baby Naaz, Daisy Irani and Baby Farida.
Species Which Have Become Extinct
Besides vamps and villains, poor comedians have also become mostly extinct. Though we still have the likes of Raghuvir Yadav and Rajpal Yadav entertaining us, the separate comedy tracks have all but vanished from our screens. Such roles have been usurped by mainstream heroes and heroines.
The comic timing of such talented artists as Sridevi (Chandni, o meri Chandni…Chandni, 1989) and Akshay Kumar (Hera Pheri, 2000 onwards) has consigned the parallel comedy track in which we earlier had such character artists as Johnny Walker, Mehmood, Mukri, Agha, Tuntun, Aruna Irani, Manorama et al, to the dustbins of history. In the past, even some villains had tried their hands at comedy, and successfully, at that. I refer to Amjad Khan in such movies as Qurbani (1980) and Chameli Ki Shaadi (1986).
An interesting phase was that of the Wodehousian comedy of a subtle kind, presented to us by such artists as Om Prakash, Utpal Dutt, and David in such movies as Chupke Chupke (1975), Golmaal (1979) and Baaton Baaton Mein (1979).
Even the golden hearted house help, popularly known as ‘Ramu Kaka’,has all but vanished.
Of Political Headwinds
Our politicos have never shied away from influencing the kind of messages which need to be conveyed to the hoi polloi through the powerful medium of cinema. Our dream merchants have also been sensitive to the political thinking of the day, coming up with movies which are relevant to the theme of the times.
The first Chinese aggression in 1962 prompted Chetan Anand to come up with Haqeeqat (1964) which tugged at our heartstrings.
Naunihal (1967), directed by Raj Marbros, was about Raju, an orphan, who believes that his only surviving relative is Chacha Nehru. The film’s music was composed by Madan Mohan, with lyrics by Kaifi Azmi, including the song ‘Meri Aawaz Suno, Pyar ka Raaz Suno’, sung by Mohammad Rafi. The song captured not only the funeral procession of the first Prime Minister of India, Jawahar Lal Nehru but also his study and his office; a loving tribute, indeed, to a towering personality then.
Much later, in 1988, one of his seminal works, The Discovery of India (1946), was presented by Shyam Benegal in the form of a television serial, labelled as Bharat Ek Khoj.
Rewind back to 1965, when Pakistan attacked India. Mr Lal Bahadur Shastri, the then Prime Minister, came up with the slogan ‘Jai Jawan Jai Kisan’. He is said to have persuaded Manoj Kumar to come up with a movie based on the slogan. That is how we got to see Upkar (1967).
Assassination of Prime Minister Indira Gandhi in 1984 led to riots in Delhi and elsewhere. The same were covered in the recent movie Jogi (2022) and were also briefly touched upon in Laal Singh Chadha (2022).
Mani Ratnam gave us Bombay (1995), based on the riots which took place in the city between December 1992 and January 1993 after the demolition of the Babri Masjid led to religious tensions between Hindu and Muslim communities. Gujarat riots in 2002 led to movies like Parzania (2005) and Firaaq (2008).
In the recent past, many of us have been swayed by the political headwinds and movies with a jingoistic nationalism have caught our imagination. A movie like Kashmir Files (2022) which shows a minority community in a negative light has been openly promoted by the present ruling dispensation. Another one, Samrat Prithviraj (2022), went a step further and highlighted the bravery and sense of nationalism of the majority community. The Accidental Prime Minister (2019) attempted to show the previous Prime Minister in a negative light, and now we wait for Emergency (2023).
Come to think of it, the worlds of movies and politics have several common traits. Dream merchants thrive in both. So does star power. Funding and returns on investment are fundamental concerns. Eventually, the onus of sifting the wheat from the chaff obviously falls on the common public.
A Rich Cultural Heritage Getting Lost?
It may not be out of context to mention here that in the days of yore, the kings used to consciously nurture fine arts and culture by patronizing poets, musicians and dancers. However, the way successive governments are turning a blind eye to the essential task of preserving our cinematic heritage, and even gradually withdrawing support to creative cinema, while continuing to gobble up the revenue generated by this industry, is a travesty of justice and common sense. Remember the outfit known as the National Finance Development Corporation, which gave us a stream of gems in the past – Ankur (1974), Manthan (1976), Mirch Masala (1987), Ek Din Achanak (1989), Train to Pakistan (1998), Mammo (1994), and the like? The future looks bleak on this front.
Acting Prowess and Content: The Ultimate Winners
Even though star-power, presentation and packaging continue to be important, content has now come to rule the roost. Acting is also back on its throne, where it rightfully belongs.
Now, if we root for a blockbuster like Pathaan, we also love an actor-driven movie like Laal Singh Chadha. If we like to see the trials and tribulations of the heroine in Gangubai Kathiawadi, we also empathize with the dilemmas faced by an elderly couple in Vadh, besides appreciating such off-beat offerings as Doctor G and Kantara.
As we sit bleary-eyed in front of our smart TVs, we now have the best of both the worlds – glamour, duly backed by razzmatazz, as well as the depth of genuine art.
(Some inputs from a few members of the Best of Cinema and OTT group on Facebook are gratefully acknowledged.)
There are persons in Bollywood who become a legend in their lifetime itself. Helen is one such actor. Here is an insightful review of a book by Jerry Pinto.
I won’t go so far as to say that Helen was the first Hindi film actress I remember seeing (that would be Shakila, since CID was the first Hindi film I remember watching). But I distinctly remember being about 10 years old, watching Chitrahaar, and being very excited because an old favourite of mine, a song I had till then only heard and never seen, was going to come on (in Chitrahaar, there would always be a sort of intertitle between songs, a single frame in which the name of the next song, the film it was from, and the names of the music director, the lyricist, and the singer(s) would be listed).
This song was Mera naam Chin Chin Choo, and my feet were already tapping when it began. All that frenetic movement, those men in sailor suits dancing about. The energy, so electric that it…
Many of our Bollywood heroines have waltzed into our hearts and minds based not only on their acting prowess but also owing to their knowledge of classical dance forms. The latter skill has enabled them to present some unique dances on the silver screen, with due support from their directors, music composers and choreographers. If some have been accompanied in their performances in the past by such stalwarts as Gopi Krishna, others have had the backing of legendary figures like Pandit Birju Maharaj.
Allow me to share with you some dances which I would label as being unique. Either because these are based on classical or semi classical forms of Indian dances, or simply because the presentation as well as the sheer attention to detail leaves one awestruck. Quite a few are solo performances, backed only by instrumental music. Collectively, these present a vibrant rainbow of various human emotions, ranging from love and passion to a gutsy fury.
The Drum Dance (Nagada dance) here is the grand celebration of a royal marriage. It was well choreographed and presented in an era which did not have access to the kind of technology available these days. The story was about a feud between two brothers over their right to rule their father’s kingdom. Each of the huge drums acted like a Trojan horse, hiding soldiers from the rival’s camp. Apparently, it took six months’ practice to get this dance ready for the silver screen.
Chandralekha (1948)
Lead Dancer: T R Rajakumari
Music: S Rajeshwar Rao
Uday Shankar and Amala Shankar entertained us with quite a few classical dances in another movie released in the same year. It was the first film to present an Indian classical dancer in the leading role and was entirely shot as a dance ballet and a fantasy. Here is one gem of a dance which depicts Lord Shiva and Parvati gyrating to their heart’s content.
Kalpana (1948)
Lead Dancers: Uday Shankar, Amala Shankar
Music: Vishnudas Shirali
V. Shantaram’s offerings were invariably based on classical forms of music. Even the design of the titles was highly innovative, often summarizing the key message of the movie in a poignant manner.
When Lord Shiva flies into a rage, he is believed to break into a special dance form: tandav. Part of this dance depicts the same. Eventually, a timely intervention by the feminine force of the universe – shakti – saves the day.
Jhanak Jhanak Payal Baaje (1955)
Dancers: Gopi Krishna, Sandhya
Music: Vasant Desai
These are two unique dances. One speaks of the extent of imperfection in our lives. Another captures the playful spirit of Holi – the festival of colours – and even features an elephant trying to match the dancing steps of the heroine.
Navrang (1959)
Dancer: Sandhya
Music: C. Ramchandra
Based on the classic play Abhigyan Shakuntalam from Kalidasa, this dance captures the feelings of a woman spurned in love.
Stree (1961)
Dancer: Rajshri
Music: C. Ramchandra
Here is yet another enchanting dance performance.
Chhaya (1961)
Dancers: Baby Farida, Asha Parekh
Music: Salil Chowdhury
Many movies have depicted the folklore of love between Radha and Krishna. Songs like Hamen gop gwala kehte hain…(Navrang, 1955) and Mohe panghat pe…(Mughal-E-Azam, 1960) readily pop up in our minds. Here is another such performance.
Phoolon Ki Sej (1964)
Dancers: Gopi Krishna, Vyjayanthimala
Music: Adi Narayana Rao
What we have here is a classic snake dance. A unique presentation, indeed, superbly crafted and rendered.
Guide (1965)
Dance: Waheeda Rehman
Music: S. D. Burman
Arthashastra of Kautilya mentions the grooming of visha kanyas (Poison Damsels) whose blood and body fluids had poisonous properties. They were used as assassins to eliminate powerful enemies of the state. This dance performance depicts one such case.
Yet another solo dance which leaves one mesmerized.
Chhoti Si Mulaqat (1967)
Dance: Vyjayanthimala
Music: Shankar–Jaikishan
A captivating dance performance by a multi-skilled actress who went on the become a member of the Indian Parliament.
Kinara (1977)
Dance: Hema Malini
Music: R. D. Burman.
Versatile directors like Hrishikesh Mukherjee had a knack of presenting character artists who are otherwise famous for their negative roles in a positive light on the silver screen. In this dance sequence, we find Shashikala joining hands with Rekha.
Khubsoorat (1980)
Dancers: Shashikala, Rekha
Music: R. D. Burman
What happens when an introvert and shy person gets prodded by her well-wishers to showcase her dancing skills at a social gathering?
Chaal Baaz (1989)
Dancer: Sridevi
Music: Laxmikant–Pyarelal
This one is a temple dance by late Sridevi. Unfortunately, I am yet to trace the name of the movie.
Yash Chopra, known as the King of Romance, had a unique way of presenting his heroines at their sensuous best. His name always reminds us of the colour white and of gorgeous heroines draped in plain colour chiffon saris and sleeveless blouses, swaying to rhythmic beats composed by eminent classical musicians.
Chandni (1989)
Dancer: Sridevi
Music: Shiv-Hari
Lamhe (1991)
Dancer: Sridevi
Music: Shiv-Hari
A sophisticated way of telling the ruler to behave himself when it comes to visiting the ‘other woman’.
Lekin (1991)
Dancer: Hema Malini
Music: Hridaynath Mangeshkar
This one captures the inner anguish felt by a woman who is part of a highly patriarchal family which tries to protect the name of a male member who, along with his friends, had gang-raped the maid servant.
Damini (1993)
Dancer: Meenakshi Seshadri
Music: Nadeem-Shravan
Two more captivating dances from the stable of Yash Raj Films.
Dil To Pagal Hai (1997)
Dancer: Madhuri Dixit
Music: Uttam Singh
Dil To Pagal Hai: The Dance of Envy
Dancers: Madhuri Dixit, Karishma Kapoor
Sanjay Leela Bhansali is yet another director whose movies are lavishly produced and mounted on a larger-than-life canvas. Consider this song and dance sequence.
Hum Dil De Chuke Sanam (1999)
Lead Dancer: Aishwarya Rai
Music: Ismail Darbar
Here is yet another offering from Bollywood based on the Radha-Krishna folklore. This version brings in the dancing skills of Madhuri Dixit, duly backed by Birju Maharaj’s choreography, music, and lyrics.
The memories of a distant past come flooding back when the passion for dance resurfaces after the dancer runs into an old love interest.
Dedh Ishqia (2014)
Lead Dancer: Madhuri Dixit
Music: Vishal Bhardwaj
A solo dance, sans lyrics, surely leaves the entire burden of a sparkling performance on the shoulders of the heroine. Our multi-talented divas have never failed us on this count.
It is not that our heroes do not possess outstanding dancing skills. However, these are very few. The names of Kamal Hasan, Hritik Roshan, Ranbir Kapoor, late Sushant Singh Rajput and Tiger Shroff can be mentioned in this context.
Here are two video clips which some of you may relish.
Ek Duuje Ke Liye (1981)
Dancer: Kamal Hasan
Music: Laxmikant–Pyarelal
(Courtesy Aman and Swasti Sharma)
Lakshya (2004)
Dancer: Hritik Roshan
Music: Shankar, Ehsaan & Loy
These days, most male actors can also shake a leg or two, though the trend is towards disco, break-dance, and such newer forms of dances as hip hop, lyrical, freestyle, and fusion.
Gaining proficiency in any form of art needs talent, passion, mentoring, and years of continuous practice. What we get to see for a few minutes on our screens is the culmination of a long-drawn-out effort towards conceptualization, synchronization, persistence, and hard work by all the crew members. One is filled with a feeling of reverence towards all the directors, choreographers, artistes, and technicians who bring such unique offerings to us.
Recently, at a private party, some youngsters had to work assiduously for about two hours to eventually come up with a dance sequence which ran into merely 53 seconds!
One can well imagine the magnitude of effort artists, choreographers and directors put in to come up with unique dance sequences which keep us enchanted. Imagine creating something as elaborate as, say, Pyar kiya to darna kya… (Mughal-E-Azam, 1960), Hothon mein aisi baat… (Jewel Thief, 1967) and Dola re… (Devdas, 2004). The mind boggles!
When we think of gorgeous heroines draped in plain color chiffon saris and sleeveless blouses – swaying to rhythmic beats composed by eminent musicians and lip-synching soulful lyrics penned by proficient poets – with the magnificent Alps as a backdrop, the only name that comes to our minds is that of Yash Chopra!
The producer and director showed us the value of pure romance sans vulgarity in times when the only mantra to box office success appears to be “the lewder and cruder, the better”. He passed away last year. He has left behind a rich legacy of social comment through the wide-ranging themes of movies he produced or directed.
But the king of romance acquired this sobriquet by a very interesting process of evolution, through a long and arduous journey of making socially relevant movies which reflected our society’s challenges of their respective times. Like other popular directors of…
When the brow is furrowed and the pangs of separation from one’s beloved have dethroned reason from its coveted seat, the mood turns a shade of deep blue.
Like all other strands of emotion captured by Bollywood, separation from the beloved has also not escaped the attention of our dream merchants. There are several songs which depict the intense feeling of desolation experienced by someone when the soul mate has gone missing. Whereas some herald the end of doom, so to say, few others are easier on the frayed nerves, laced as they happen to be with uplifting optimism and point to the possibility of a rosier future.
There is a beauty to sad songs which cannot be captured in words. These tug at one’s heart-strings and provide solace to a tormented soul. First off, let us relish a composition which celebrates the genre of sad songs.
Most of the songs in the movies being churned out by Bollywood happen to portray feelings of love. One often wonders as to how the heroine and the hero keep changing their outfits in each of the stanzas, keeping the wardrobe designers and producers laughing all the way to their respective banks. The high walls of manmade borders melt away, as they are seen wandering about on different continents of the world without any visa/immigration hassles, proving the age-old adage of Vasudhaiv Kutumbukam. Not to speak of the bevy of choreographers and a 100-piece orchestra which keeps following them scrupulously, without missing a single beat.
But once in a blue moon, we get treated to a love song which is more spontaneous in its depiction. The lyricist and the music director obviously work harder on creating such songs which appear as if these are getting composed by the couple in real time on the screen.
Consider the following songs which fall in this category.
One of the very few love songs which has an office setting as a background.
Even surreptitious meetings between a couple get overshadowed by the heroine’s wish to return home early!
Achha to hum chalte hain…
Movie: Aan Milo Sajna (1970)
Singers: Kishore Kumar, Lata Mangeshkar
Music Director: Laxmikant-Pyarelal
Lyricist: Anand Bakshi
Strictly speaking, only the first portion of this song happens to be dialogue-driven. Nevertheless, overall, it surely has a dash of spontaneity to it!
Sa re ga ma pa…
Movie: Abhinetri (1970)
Singers: Lata Mangeshkar, Kishore Kumar
Music Director: Laxmikant-Pyarelal
Lyricist: Majrooh Sultanpuri
The subtle art of dodging the police by showcasing a clandestine meet as a lovers’ date.
Couplets (dohas) of such Sufi poets as Rahim and Kabir have regaled generations with pristine wisdom, duly laced with an earthy common sense. Trust Rajshri Productions to string some of these together for our sake.
Bade badaai na karen…
Movie: Ankhiyon Ke Jharokhon Se (1978)
Singers: Hemalata, Jaspal Singh
Music Director: Ravindra Jain
Lyrics: Dohas of Rahim and Kabir
Keep the dialogue on and love will soon follow it its wake!
Suniye, kahiye…
Movie: Baton Baton Mein (1979)
Singers: Kishore Kumar, Asha Bhosle
Music Director: Rajesh Roshan
Lyricist: Amit Khanna
The hero regales a bunch of kids with a juicy story about his encounter with a lion.
Mere paas aao mere doston…
Movie: Mr. Natwarlal (1979)
Singer: Amitabh Bachchan, Master Ravi
Music Director: Rajesh Roshan
Lyricist: Anand Bakshi
The hero and the heroine are cooing to each other like turtle doves. They keep rhyming words and phrases and end up creating an impromptu song!
Kaise ho pagal…
Movie: Chashme Buddoor (1981)
Singers: Raj Kamal, Hemanti Shukla
Music Director: Raj Kamal
Lyricist: Indu Jain
When his six younger brothers fall hopelessly in love, the elder one guides them!
Pyaar tumhen kis mod pe le aaya…
Movie: Satte Pe Satta (1982)
Singers: Kishore Kumar, Bhupinder and others
Music Director: R D Burman
Lyricist: Gulshan Bawra
These are songs which, I believe, showcase a higher level of creativity on the part of our lyricists and music directors. To bring in a spontaneity of this kind is no mean task. Alas, these are very few and far between.
Can you think of any songs which could be added to this list? If so, please leave behind a comment below.
{Note: Inputs from Ms Madhulika Liddle, Mr Sunil Jain and Ms Pooja Agrawal are gratefully acknowledged}.
China’s actions to keep violating its borders with India with impunity continue unabated. So do its endeavours to create a ‘string of pearls’ around India. Time will tell if its plans to become a global superpower fructify, but when it comes to its southern neighbour, it may never be able to win over the hearts of Indians.
Rewind to 1962
India observes National Solidarity Day on the 20th of October every year. This day is observed to honour her Armed Forces. China had begun its assault on India on this date in 1962, giving a good thrashing to Indian forces which were ill-prepared then to meet the challenge.
As a child of around 10 years then, I still remember the kind of patriotic fervour which had sprouted amongst the country’s citizens at the time. Tension in the air. Ears glued to the news bulletins of All India Radio. Blackened windows at home. Stocking of groceries. Half-blackened headlights on all the motorized vehicles. Patriotic songs at school. Movement restrictions. People rushing to train stations to convey their best wishes to departing jawans. Blankets, woollens, medicines, and jewellery being openly donated to strengthen the country’s response.
Not surprisingly, Bollywood had unleashed its soft power to counter the aggression. At trade fairs and other public spaces, a song, Awaaz do hum ek hain, featuring some of the popular heroes of the era, was getting shown.
What followed were visits by popular stars to the frontier, cheering up the jawans. And, of course, the immortal song, Ae mere watan ke logon, rendered by Lata Mangeshkar in the presence of Jawaharlal Nehru, at a function in January 1963.
Movies like Haqeeqat (Chetan Anand, 1964) brought the harsh reality of war to our cinema halls.
Cut to the present
Beginning on the 5th of May 2020, Chinese and Indian troops engaged in aggressive melee, face-offs, and skirmishes at different locations along the Sino-Indian border. In late May, Chinese forces objected to Indian road construction in the Galwan river valley. According to Indian sources, melee fighting on the 15th/16th of June 2020 resulted in the deaths of many Chinese and Indian soldiers. A low-voltage conflict persists till date, with occasional flare-ups across the border having become the norm.
This time round also, Bollywood has not failed us, but in a different way. The patriotic fervour is not getting whipped up. Instead, nationalistic sentiments appear to be already occupying the centre stage. Increasingly, it appears as if the soft power of Bollywood is being deployed to keep our attention away from the predatory tactics of our northern neighbour.
In 2020, the suicide of one of Bollywood’s popular stars, Sushant Singh Rajput, and his alleged girlfriend Rhea Chakraborty, kept us riveted to our television screens, conveniently forgetting the attack on our territorial integrity and even the raging pandemic.
These days, an unsavoury and inane controversy has been whipped up around the colour of the bikini worn by a Bollywood diva in a song of a movie which is scheduled to get released in January 2023. Sure enough, such issues as an aggression on our borders, galloping inflation, increasing unemployment, rising social distrust and polarization, and more people having gone down the poverty line in India have got swept under the carpet. The voyeuristic eyes of the so-called sterner sex of our species are having a field day. As luck would have it, the movie has ended up grabbing our eyeballs much before it would hit the screens.
We appear to be living in an era of strident nationalism, backed by attempts to keep the fire of communal disharmony burning bright, ostensibly with a view to encashing the same for electoral gains for the ruling dispensation. We keep playing the victim card favouring the majority community to the hilt, painting the minor ones in villainous shades. Patriotism appears to have taken a backseat in our mental space.
Of movies and patriotism
Amitabh Bachchan, a doyen of the industry, had made some insightful observations at a public function recently. He had spoken of the way in which the movie industry had always stood up against oppression of any kind, right through the days of British occupation of India in the past. For your ready reference, here is the link to his speech which I refer to:
He bemoaned the jingoism and imaginary historical movies which are in tandem with the current political discourse and even referred to the boycott culture which appears to be making light of the formal system of film censorship which India follows.
In a way, Vijay, the disgruntled hero of the iconic movie Pyaasa (Guru Dutt, 1957) was very much like the Vijay of Deewaar (Yash Chopra, 1975), played by Amitabh Bachchan himself. Both stood up against the traditional norms of society. Ganashatru (Satyajit Ray, 1990), mentioned by the renowned actor in his speech referred to above, gave us hope that howsoever rotten the system may be, the youth stand up to support a fair and just approach to problem solving.
Bollywood deserves to be commended for the staple diet of opium it keeps dishing out for the Indian masses. However, this time around, the support of a pliant media, backed by a motivated use of social media channels, appears to be magnifying its endeavours at keeping us engaged, entertained, and enthused, enveloping us in a kind of selective amnesia, putting some critical issues on the backburner.
A time for some introspection?
In one of his articles, Prof Badri Raina had distinguished between nationalism and patriotism as under:
Nationalism enjoins upon us to believe that our air is the most salubrious, our water magical, our sunsets and sunrises uniquely blessed, our accumulated histories and legends superior to those of all others, our culture the only worthwhile culture, our religious faiths nearest to god, and our stores of knowledge beyond compare.
Patriotism acknowledges that where I live is my beloved space, warts, and all. It makes no claims to exceptionalisms that are thought to be God’s unique gift to us. It recognises that our streets are shabby, our lanes full of clutter, our habits shoddy, our resistance to rationality often grossly debilitating, our defiance of law a routine habit of mind, our male chauvinism shameful and violent, our casteism or racism or communalism deleterious to the most desirable ideals of human rights and human oneness.
While the dragon keeps giving us the chills at the borders, our trade relations continue to show a heart-warming trend. Total merchandise trade between India and China rose 34% to $115.83 billion in the 12 months to March 2022, according to data from the Commerce Ministry released to parliament some time back.
Time for us, the denizens of India, to look within and check if we have lost our innate sense of patriotism; or have we outsourced our thinking prowess and discriminatory powers, thereby losing our ability to sift the wheat from the chaff? Have we got used to getting distracted by inane internal issues and resigning to a relentless bullying by China thus? Can we demolish the narrow walls we have built around ourselves and take a strategic call on meeting external challenges of this kind?
Hopefully, our dynamic government is already working on the same.
ashokbhatia 