Saturday, December 16, 2017

आओ कर दें, ख़तम कहानी !



The year is about  to end. And this is the 50th consecutive edition of Random Thinking, your weekly musiblog.  During  the year, the randomness of the highlights of the week was linked to Bollywood for posting songs, anecdotes, trivia and my own thoughts , sewing up all of these in a single write-up.

Though I had been fond of writing and disseminating information about Hindi films, it was my daughter Snigdha  who, in late 2016,  prompted me to publish my written material on Facebook through a blog.

As 2017 draws to a close ( getting into the second half of December signifies that the end is near !), let us walk through the main events of the year 2017, which shaped this blog, as did the feedback from many friends and connoisseurs, enriching the experience.

I have also included a few songs of 2017 relevant to the themes, so that musically too, we travel down memory lane !





I started off hesitantly  in January by expanding a piece written earlier  on elections, just when as the announcement of polls in five states was made.
Then, next week,  Khaadi Board removed Bapu from their calendar , triggering the essay on songs which mentioned Mahatma Gandhi. This effort was very well received, emboldening me further and in the next week, the two judgements,first  one  on Salman Khan and the second on Jallikattu paved the way for songs involving legal issues. 
I wrapped up the month of January by writing about recycled songs ( as Raees and Kaabil, the releases that week had such songs) and recycled artistes.

Here is the latest song on Gandhi , the  2017 patriotic song Gaandheeyam
 




The Budget was the first highlight of February, giving me an idea to write about songs on inflation. Tamil Nadu and its leaders came into focus the next week, shouting their own praises warranted an episode on the change in culture from self-effacing to chest-thumping.
The very next week, the wannabe-CM of Tamil Nadu Sasikala was jailed, prompting me to enumerate  "Songs in captivity" !
February ended with political leaders making abbreviations like SCAM and KASAB, which meant that an episode on Alphabets in songs of Hindi films was imperative.

In 2017, the  film Lucknow Central, based on Jail and its musical band,  was released and had  remarkable music.




March started with ruckus in colleges, reminding us of better times through the episode on college songs.
Then , there were multiple cases of Indian getting the wrong end of stick in foreign lands, which was a trigger for songs which mentioned foreign lands, titled "hum to hain pardes mein".
The results of elections came out in March and we had the article on songs about elected leaders.
Following this,  came the story of formation of Romeo Squads in UP by the new government, which gave birth to the episode "In the name of love", which is by far the most read and liked episode of all. Love conquers , as always !

Let's listen to the latest romantic song, from across the border !


In the first week of April , Supreme Court banned automobiles without proper emission standards, which led to the  piece of automobiles seen in Hindi songs.
In April, too we lost Kishori Amonkar and as a tribute to her, I had rolled out an episode on Classical singers in Hindi films, which was very well received. Similarly, in the last week in April , Vinod Khanna breathed his last and as a tribute, "Singing and Dancing Villains" was posted.
 Also, in  April, UP government announced that English will be taught right from the class I in vernacular schools, so I found out the songs which were wholly in English , as part of Hindi films. The Supreme Court verdict on the long- winded saga of Babri Masjid-Ram Janmbhoomi issue was  used as a ploy to write about films which took the longest to get made !

A delightful film on education was released this year called Hindi Medium


                                       

The month of May brought into focus the meek four-legged animal Cow ( whom Hindus also revere as gau mata ) through demonstrations , which resulted in an episode about Animals in Hindi film songs.
The next week, release of  a blockbuster Bahubali: The Conclusion grabbed all the headlines. A film made in two parts ( something the Showman had dreamt of, years ago, but his Mera Naam Joker's failure put paid to his ambitions) necessitated a waiting time. The blog that week mentioned the films which took too long in the making.
The digital kidnapping of data by Ransomware made it to the front page, next week and I was able to link Stockholm Syndrome in Bollywood, which got many eyeballs.
The last week of May was that of Cannes Film Festival and we explored the Indian films who have got favourable mentions in International film festivals.

This year's entry to Oscar was Newton 





June brought the news of imminent disinvestment of Air India and I followed the story by posting on my blog a recollections of Songs sung air-borne.
Despite the Indo-Pak relations being what they are, a cricket match garners huge patronage , as we saw in the second week of June. Indian artistes who have gone to Pakistan for performing ( not settling down there) was the obvious choice of that week's blog. Cricket continued to remain on centre-stage and therefore, one could not avoid the topic of Cricketers in Bollywood for long, which was named Howzzat.
The very next week, the milestone of 25th Episode was reached, as the half the year was already gone. For this event , I chose songs from Hindi films which were mathematically oriented, displaying my love for maths !

In 2017, the cricket film was Sachin: a million dreams 



In July, we remembered R.D.Burman on his  birth anniversary by retrieving his songs from his most creative period, i.e. the 60s.
The next week PM's trip to Israel made me curious to find out if any Jews contributed to Hindi films, which I documented.
On my birthday ( July 12), I listed my favourite non-films songs which I shared the following weekend.
The red flag of Nepotism in films meant that an episode on Star Kids was spot on , as was the one on Unsung Songs, as Nitish Kumar terminated his attachment to one party and hitched on to another, shelving the people's verdict like an unsung song.

 In 2017, about 40 years later, remakes of R.D.Burman's songs are being made.




The Blue Whale game of suicide, being played by young kids was suddenly the talk of the day in August, so it was practical to have an essay on film artistes whose death was suicide...or close to it. The unceremonious exit of Chairman of CBFC was an indication to talk about the banned films and the very next week another Hindu-Muslim controversy erupted:Love Jihad. Exploring the inter-faith marriages in Bollywood was my way of countering a phenomenon, centred on faiths.
The last week of August was all about Triple Talaq, giving me my subject on a platter: Muslim Socials !
The Hindu-Mulim  controversy, in form of Babri Masjid-Ram Janmbhoomi is back in news, coinciding with the recent release of a film called The Game of Ayodhya.






The beginning of September saw Kamal Hassan turn a politician. It was natural to have a take on actors-turned-politicians in Hindi film industry, through their songs.
Next week, murder of journalist Gauri Lankesh  was reason enough to explore the instances of journalists played by lead actors in Aaj Ki Taaza Khabar.
Two incidents: mention of dynastic politics by Rahul Gandhi and equating of  Mughal rulers with  bandits by a politician led to that week's episode on portrayal of Mughal Dynasty in Hindi films.
In the last week of September, the media blitzkrieg on Honey Preet and her absence made me look for actresses who generally played negative roles.

Here is a song from Noor, a 2017 film based on journalist's life.




Being a railwayman, the October news of Alstom and Siemens, two giants in railway technology coming together caught my eye and I explored the phenomenon of music director duos in Hindi film, an episode very well received.
The next week, the release of Judwaa-2 , an umpteenth instance of sequel saw me documenting the sequel effect ( and its variants) in Hindi films.
 In October, the telecom wars were also intensifying with Airtel taking on Jio head on. I seized the opportunity to enumerate the phone songs in Hindi films ( apart from jalte hain jiske liye , which is the best known song in this sub-genre).
Then, next week,  Taj Mahal shot into headlines for the wrong reasons. I cashed the opportunity to bring forth the songs, many rare ones, mentioning the monument.
 In the final week of October, the laughable comments made by Shivraj Chauhan, the CM of MP, that the roads of his states were better than those of US called for the listing of Road Movies of Bollywood.
Before the year is out, another film has its sequel released: Fukrey Returns !





Come November and Kashmir was again in news ( it has been that way the whole year, though) and so I thought it fit to find out which Hindi films had Kashmir as a central theme.
 If your memory is correct ( and you have suffered enough) ,  you will recall that the anniversary of Notebandi or Demonetisation fell on November 8 and so , the next episode was on Birthday Songs in Bollywood.
The dream-sequence-that-is-not-there in the upcoming ( will it see the light of the day? ) film Padmavati shook the nation like little else does. The next edition was, naturally, on Dream Sequences in Bollywood.
 In the last week of November, the crowning of Manushi Chhillar as Miss World was trigger enough to delve into the history of Bollywood to find out beauty queens, who have been actors, too.

Let's take a look at a great song, composed this year for J & K Tourism by Vibha Saraf.



So, we enter December, the current month when the local elections in UP made Lucknow the cynosure of all media and it was appropriate to pen a tribute to my city in its own language: the Hindi-Urdu hybrid.
The demise of Shashi Kapoor was saddening and his collaborative efforts with his own family members was a matter of research and the product was a tribute to the great actor and producer. This was the penultimate, 49th episode.

And this one, just ended was the final one.
Before I sign off, for a short time at least, I want to assure that I shall be back, in a new, more interactive  format.

Leaving you with another song of 2017, aptly titled "khatam kahani" from the film Qareeb Qareeb Singlle
































Saturday, December 9, 2017

Shashi Kapoor: all in the family !

The demise of Shashi Kapoor brings to an end an era. He was part of the first family of Bollywood, which are still ruling the roost, thanks to charismatic stars of the current generation. Each member of the clan had his own  USP and as far as Shashi is concerned, it was his strikingly handsome appearance. 


There have been so many incidents and anecdotes about  Shashi Kapoor in the last week and mere repetition will not serve any purpose. So, I have decided to pay him a tribute by enumerating the films in which he acted alongside his family members ! 




The first such film was , Aag ( 1948)  in which he played the younger Raj. Aag was the first of 17 films produced by Raj Kapoor, the last being Prem Rog ( 1982). 

In the next RK Film, Awara ( 1951), Shashi again played the young Raj. Incidentally this was the first film to have  three generations of Kapoors ( Kal Aaj aur Kal was the second one !). Awara , in its credits has not only Prithviraj Kapoor and Raj Kapoor, but also the father of Prithviraj, Diwan Basesarnath Kapoor. Though Shashi did not have any scenes with Raj ( not possible due to script !) and was not credited , it is a fact that he did play a role in the film. 



Shashi Kapoor actually got a chance to work with Raj Kapoor in 1983, in the film Vakeel Babu. Paired with Zeenat Aman, the film was one of the many forgettable films, except for the siblings coming together for one and only time. Raj had directed Shashi earlier in Satyam Shivam Sundaram ( 1978) , bowing to the wishes of his family and against his better judgenment. Raj had promised the role to Rajesh Khanna and had to apologise to the Superstar, saying" Kaka, main apne bachchon se haar gaya " 


In fact, for most of the period, Raj Kapoor had been a big supporting brother to Shashi. In the days when Shashi was having lots of work and was shattling to studios, working in three shifts to catch up with the workload, Raj cautioned him to take it easy. He evn told someone, "Shashi is like a taxi, keeps shuttling "

Even with Shammi , Raj was critical when he found the an advertisement on TV ( for Pan Parag_  had Shammi in the frame with Ashok Kumar. When questioned, Shammi said that he never had any film with the great actor, so when the advertisement wa offered, he grabbed it. raj was not amused.

With brother Shammi Kapoor, the " mere paas maa hai" actor collaborated in the film Jabse Tumhein Dekha hai ( 1963) , in which the two had a great qawwali together. It was an "item number" of sorts, the lead pair being Pradeep Kumar and Geeta Bali ( who was actually Shashi's bhabhi !). Incidentally, the two could not act together in many films. In Salaakhein ( 1976), a Shashi kapoor-Sulakshana Pandit starrer had Shammi playing a cameo as a truck driver. Ahsaas ( 1979) had both of them in Special Appearances, but not in a frame. The film Vivekananda ( 1994) also had both of them in brief roles. 


Shashi kapoor was paired with to-be- daughter-in-law Babita ( already dating nephew Randhir)  in to films : Haseena maan Jaayegi and Ek Shriman Ek Shrimati. Both had popular songs and it was not long before babita and Dabboo tied the knot ( early 70s) which put paid to the lead pair's future alliances. 










With the other prospective daughter-in-law Neetu Singh , Shashi acted in many films .However, in only two films did they play  romantically linked characters: Deewaar ( 1975) and Shankar Dada ( 1976). While the Deewar songs were popular ( though the film signalled the death-knell of music, as the LP had dialogues more prominently exhibited), it was the film Shankar Dada in which Shashi kapoor played a drag, in a mujra !








                                                            Shashi Kapoor in Shankar Dada




Shashi Kapoor acted with Randhir kapoor in two films Heeralal Pannalal ( 1978) where they played the conning duo. In the film Shashi was paired with Zeenat and randhir with Neetu ( another case of being all in the family, as Neetu was Dabboo's sister-in-law !)






Shashi Kapoor and nephew Rishi Kapoor acted in 6 films and were generally assigned the roles of father and son. 
In the film Doosra Aadmi, Rakhi is reminded of her dead husband( played by Shashi ), when she sees Rishi, making the latter infatuated with her.However, in the film Duniya Meri Jeb Mein ( 1979), the two played brothers ! 



The film in which Shashi acted alongside Rajiv Kapoor, his younger nephew was Hum To Chale Pardes ( 1998). The visuals indicate that he plays the father-in -law , Mandakini being his daughter and Asha Parekh ( in the photo) as his deceased wife.



With wife Jennifer Kendall, Shashi had acted in many plays under the direction of Geoffrey Kendall for the troupe Shakespearana. Based on this troupe, a film Shakespaearewallah was produced by Ivory Merchant, which had Shashi and Jennifer. In fact, Shashi was one of the earliest Hindi film actor to have crossed over, acting in many English films such as The Householder, Bombay Talkies. and Heat and Dust. The couple also acted in the film Junoon ( 1978), which  had daughter Sanjana and sons Karan and Kunal.  




The father-son combination of Shashi and Kunal gave  strong performances in Vijeta ( 1982), which was probably the earliest film in the "coming-of-age" genre. The conflict and its resolution had been portrayed effectively. In a song in Vijeta, both the father and son are in the frame, but at different parts: father in the beginning and son near the end. An artistic manner of showing the conflict.




 Vijeta   reminds us that Shashi kapoor was not only a serious actor, but a great producer , making meaningful films such as Junoon, Kalyug, Vijeta, 36 Chowringee Lane, Utsav and Ajooba. He  said once,"I may be making money from acting in masala films, but I choose to spend it making artistic films" 



Leaving you with the beautiful song from Vijeta.

















































































Saturday, December 2, 2017

ये लखनऊ की सरज़मीं



पिछले हफ्ते जब उत्तर प्रदेश में निकाय चुनावों के नतीजे आये तो हर राष्ट्रीय टी वी  चैनल पर उत्तर प्रदेश छा गया। लखनऊ में तो इन चुनावों का ज़ोर बहुत अधिक था। लखनऊ ले लोगों में ज़बरदस्त उत्साह और ऊर्जा थी और ऐसा लग रहा था कि ये चुनाव स्थानीय नहीं राष्ट्रीय हैं !  
  वैसे, लखनऊ में वो  बात तो है , जो और शहरों से भिन्न है।  इस बात का अहसास यहाँ  के बाशिंदों को भी  है,  कि लखनऊ की एक भूमिका  है,  देश के  भविष्य को निखारने में.



तो आज मैंने सोचा कि  क्यों न लखनऊ को हिंदी फिल्मों में कैसे दर्शाया गया है और किन गीतों में लखनऊ का नाम आया है, यही देखा जाए. और इसलिए यह लेख भी हिंदी में ही लिखने का फैसला किया। या यूँ  कहें,  हिंदी -उर्दू में जो बहनें है और यह पहली बार है कि  इस ब्लॉग-लेखन में मैं यह प्रयास कर रहा हूँ।

हिंदी फिल्मों  गीतों में लखनऊ का ज़िक्र सबसे पहले उन फिल्मों में  हुआ जो राम चरितमानस  या राम की कहानी पर बनीं. उस समय के हिसाब से यह क्षेत्र अवध के नाम से  था।  तीस और चालीस के दशक में राम -सीता पर अनेक फिल्में बनीं और लगभग सभी में अवध का उल्लेख है।  1939   संत तुलसीदास में पंडित इंद्र चंद्र का लिखा गीत ' बन चले राम रघुराई ' में उन्होंने लिखा अवधपुरी ने नर-नारी ने , आंसू नदी बहाई !

चालीस के दशक में वी  शांताराम ने एक फिल्म बनाई जो हिन्दू-मुस्लिम सौहार्द पर एक उत्कृष्ट प्रयास था. इस फिल्म में हिन्दू पात्र कलाकार मज़हर खान ने और मुस्लिम पात्र गजानन जागीरदार ने निभाया था. इस फिल्म के दो गीतों में अवधपुरी  की बात है ( शायद राम राज्य की कल्पना को साकार करने के लिए पहले अवध का ज़िक्र ज़रूरी है !)

                                                         अवधपुरी  में प्रेम ही छाया !





1949   फिल्म राम विवाह में भी अवधपुरी के बारे में गीतकार मोती ने कहा :

धन्य धन्य है अवधपुरी ,
धन्य वहाँ की फुलवारी
जहां राम ने जन्म लिया है 
धन्य वहाँ के नर - नारी

पचास के  दशक के प्रारम्भ में , लखनऊ को लेकर एक मज़ाहिया ( हास्य -व्यंग्य ) गीत लिखा गया फिल्म संसार ( 1951 ), जिसे फिर पंडित इंद्र ने लिखा। शायद वे   बम्बई ( जिस नाम से मुंबई को उस समय जाना जाता था ) से आजिज़ आ गए थे और जब कहीं लौटने की मंशा हुई  तो वो शहर था..... जी हाँ, लखनऊ !
जे एम् दुर्रानी और गीता दत्त के गाये हुए इस गीत का मज़ा लीजिये... फिर कुछ और गप -शप   होगी

लखनऊ चलो अब रानी, बम्बई का बिगड़ा पानी !




उसी दशक में एक और मज़ेदार गीत बना , फिल्म दिल्ली दरबार ( 1956 ) में, जिसे शैलेन्द्र ने लिखा था. ये था लखनऊ के बांके के बारे में।  शब्दों से स्पष्ट है कि  यह एक इत्र बेचने वाले  की पुकार है.  ज़ाहिर है, लखनऊ के इत्र की खुशबू दूर दूर तक फैली हुई है : देखो लखनऊसे बांका आया रे , ए  जी  ले लो इतर




                                      

सरस्वती कुमार ' दीपक ' ने  1957  में फिल्म 'सती  परीक्षा के लिए "छोड़ अयोध्या का महल, चली राम के साथ "लिखा , जिसमे भारत की नारी का गुणगान किया गया। 


साठ के  दशक   की शुरुआत में गुरु दत्त ने कागज़ के फूल की  आर्थिक असफलता से  जो फिल्म बनाई , वो भी पूरी तरह लखनऊ  पर आधारित थी। लखनऊ के नवाबों के विषय पर बनी ये फिल्म " चौदहवीं का चाँद " 
सुपर हिट हुई ( इस फिल्म का उल्लेख पहले के एक लेख में भी है जो इसी ब्लॉग में मुस्लिम सामाजिक परिवेश पर बानी फिल्मों के बारे में था )  ,  जबकि इसका निर्देशन मोहम्मद  सादिक़ के ज़िम्मे था. इस फिल्म में लखनऊ की तारीफ़ में एक लाजवाब गीत मोहम्मद रफ़ी द्वारा गाया हुआ था   : शकील बदायूनीं का क़लाम  और रवि का संगीत ... 
                                                       ये लखनऊ की सरज़मीं  !





  सरस्वती कुमार 'दीपक' ने 1960  में फिर अयोध्या छोड़ने पर एक गीत लिखा, इस बार राम पर  (" राम अयोध्या छोड़ चले")  जो कि  फिल्म रामायण में दिखाया गया. 

सन चौंसठ की फिल्म 'दूज के चाँद ' में साहिर लुधयानवी ने एक भजन  लिखा था।  ये भी एक कमाल की बात है कि जब जब गीतकारों और शायरों ने राम भजन   लिखे, अवध का वर्णन बरबस आ ही जाता था।  मन्ना डे ने इस फिल्म में दो गीत गाये , एक कॉमेडी वाला ( फुल गेंदवा न मारो ) और दूसरा , गीता दत्त के साथ   भजन. संगीत था रोशन का 

बिनती सुनो मेरी  , अवधपुर के बसिया 






ऐसे ही भजन साठ के   फिल्मों में शामिल किये  गए :रोये अवधपुर वासी -भरत  मिलाप ( 1965 ) और सरयू के नीरे तीरे अवध नगरिया --लव कुश( 1967 ), पर ये धार्मिक विषयों पर बनी फिल्में थीं , तो यह तो अपेक्षित ही था। 

1967  में एक मुस्लिम परिवेश की फिल्म ( जिन्हें आम बोलचाल की भाषा में मुस्लिम सोशल कहा जाता था : आजकल ये बननी   लगभग बंद हो गयी हैं  ) "पालकी " में फिर एक ग़ज़ल आयी लखनऊ को लेकर और इसे भी लिखा था शकील बदायुनी ने, इस बार नौशाद की तर्ज़ पर।  गुलूकार फिर रफ़ी और ज़िक्र फिर इस शहर का जो अपने में  एक अलग शख्सियत  रखता है जैसे 


ऐ शहर -ऐ -लखनऊ तुझे मेरा सलाम







तो आइये ज़रा चर्चा करें लखनऊ की कुछ ख़ास बातों की ...
तहज़ीब, नफासत-नज़ाक़त तो अब शायद इतनी रही नहीं। एक समय था  कहते थे कि लखनऊ  कोई पान की गिलौरी  लेता है तो मुहं में डालने के पहले  देखता है की आस पास कोई ऐसा तो नहीं है जिसे वो पहले पेश की जा सके ! एक बार अपने दोस्त  पर की लखनऊ की क्या खासियत है, मैंने यही बताया।  मेरे मारवाड़ी मित्र  ने कुछ देर सोचने के बाद उसने पूछा "  वाला पान ले  कर लेता है , तो भी क्या उसका पैसा पेश करने वाला देगा ?

"पहले आप - पहले आप" में गाड़ी  क्या सचमुच छूट गयी थी  नवाब साहब की गाड़ी , ये भी किसी ने पूछा था। जब मैं  छोटा था तो  एक बार एक टीचर ने मुझसे कहा की लखनऊ जा रहे हो , क्या लाओगे मेरे लिए, तो मैंने कहा की लखनऊ दशहरी आमों  के लिए और नवाबों के लिए जाना जाता है, आम का तो सीज़न  नहीं है , किसी नवाब को ही ले आऊंगा   !

दोआबे का क्षेत्र और इसकी  गंगा-जमनी तहज़ीब लखनऊ का अभिन्न अंग रहा है , परन्तु -   वक़्त के थपेड़ों ने इसकी आभा को धूमिल कर दिया है. अब बड़ी बड़ी, क्या कहते हैं 'एस यू वी' और उन पर लगे बड़ी अब्दी पार्टियों के झंडे कुछ और की कहानी कहते नज़र आ रहे हैं.

पान की बात हुई है तो बता दें की पान बनारस का ही नहीं, लखनऊ का  मशहूर है , और अगर गीतकार नक़्श लायलपुरी की मानें तो पनवाड़नें   भी जो पान बेचती हैं ,  1972 की फिल्म बाज़ीगर ( जी हाँ , इस नाम की एक फिल्म पहले भी बन चुकी है ) में उन्होंने लिखा था

पनवाड़न हूँ  मैं लखनऊ की !


                              


सत्तर के दशक में बजरंगबली ( १९७६) फिल्म भी बानी जिसमें दारा  सिंह ने प्रमुख भूमिका निभाई. राम बने थे बिस्वजीत और सीता थीं मौषुमी  चटर्जी।  बड़े अभिनेताओं के साथ बनी इस फिल्म में अवध के राजा के नाम से एक गीत तो होना ही था. हालांकि गीत देख कर लगता है कि ये  गीत इस दशक की की भी फिल्म से लिया जा सकता था



                                    

पहले बम्बई छोड़ कर लखनऊ जाने की बात हुई थी और  फिर 1979  में फिल्म 'सरकारी मेहमान ' में यही बात दिल्ली को लेकर होने लगी।  मसला  है की अगर लखनऊ छोड़ कर  तो ज़रूर लुट जाओगे , जैसे की जनाब हसरत जयपुरी साहब कहते हैं , जो ख़ुद जयपुर छोड़ कर  बम्बई जा बसे  !


                                



इसके बाद लगता है , लखनऊ का जलवा कुछ कम हो गया, फिल्मों में और इसके बावजूद कि
 लखनऊ की पृष्ठभूमि पर उमराव जान और शतरंज के खिलाडी जैसी उम्दा फिल्में बनीं, लखनऊ का नाम हिंदी फिल्मों के गीतों में आने से बचता रहा.
 निर्देशक सुधीर मिश्रा की पहली कृति "ये वो मंज़िल तो नहीं " लखनऊ विश्वविद्यालय की याद ताज़ा करती है और अभी हाल में बनी फिल्म " मैं , मेरी पत्नी और वो " में भी इस संस्थान की और लखनऊ के अन्य स्थानों की झलक देखी  जा सकती है।    अक्सर फिल्मों की शूटिंग लखनऊ में यदा कदा  होती रही है ( जैसे जॉली एल एल  बी २ ) और कई चर्चित गाने लखनऊ में फिल्माए गए , पर वो कहानी फिर सही !

एक और चर्चित फिल्म थी   दावत - ए  - इश्क़ जिसमें  लखनऊ और उसके लज़ीज़ खाने को  मद्दे नज़र रखा गया है।

इसी बात पर मुझे अपने लिखे अशआर याद आ गए , सो पेश हैं 

एक दस्तरख्वान गोया ज़िन्दगी है/
खट्टी-मीठी और कसैली सालनों की//
अब तो ईदी और सिवैयां को भी तरसे /
ये मिला है माह भर रोज़ों के बदले //
आज बू-ऐ- ज़ाफ़रान आई कहाँ से ?
मेरे घर में कोई मेहमां तो नहीं है ?
इतना सारा प्यार और मीठी सी झिडकी /
गोया चूरन दे दिया , दावत खिला कर //


लखनऊ प्रायः  फिल्मकारों की दृष्टि से लुप्त हो गया , ऐसा लगा.
हाँ, अयोध्या और राम जन्म भूमि के मामले ने तूल  पकड़ा तो हिंदी फिल्म के गीतफरोशों ने उस पर भी गाने लिख मारे।  1989 में फिल्म 'बड़े घर की बेटी ' में  अयोध्या जैसा होने की कामना की गयी है। 


                                  


इधर पिछले कुछ वर्षों में एक बार फिर यह नाम लौटा   2003 में फिल्म बाग़बान में "होली खेले रघुबीरा , अवध में" ,  से इस राम की नगरी ने वापसी की. इस फिल्म ने कुछ पुराने मूल्यों की भी वापसी कराई और इसीलिए ये सराही गयी थी


                           

2010 की फिल्म राइट या रॉंग में लखनऊ की एक और खासियत का वर्णन है जो अभी तक छूटा हुआ था : जी हाँ, (टुंडे )कबाब , पर  गीतों के तेज़ी से गिरते हुए स्तर  को देखते हुए,  आश्चर्य नहीं कि  "लखनवी कबाब"  की तुलना "कुड़ी  के शबाब"  से की जा रही है. !


तेज़ी से बदलते समय में तकनीक ने रफ़्तार को और भी बढ़ा दिया. यही कारण है कि  बचपन की 'अमर चित्र काठ आज एनीमेशन फिल्मों के रूप में पेश की जा  रही है।  ऐसी ही एक फिल्म आयी 2012 में , नाम था "सन्ज़  ऑफ़ राम" जिसमें अयोध्या को लेकर एक मनभावन गीत भी था।  ये वास्तव में देखने लायक है !


                                                 


एक फिल्म लखनवी इश्क़ ( 2015 ) भी आयी पर उसके  एक गीत में नवाबों के शहर तक आ कर बात रुक गयी.

अब एक और लखनऊ की ख़ास बात है जो अभी तक नहीं बतायी. और वो है चिकन का कुरता।  पर घबराइए नहीं, हिंदी फिल्म वालों ने उसके लिए भी एक गीत रचा है, फिल्म का नाम है लाल दुपट्टा ( 2016 ) !
तो जाते जाते, आपको इसी गीत "लाल दुपट्टा , कुर्ता  चिकन का "  के साथ छोड़े जा रहा हूँ जिसमें हीरोइन कहती है कि  वो लखनऊ से है और लिफ्ट लेने को तैयार है !
धन्य हो !

 

                                         














Saturday, November 25, 2017

And the Beauty Queen is...

The crowning of Manushi Chhillar as Miss World has brought back the memories of 1994, when Sushmita Sen and Aishwarya Rai hit the international scene with Miss World and Miss Universe in the same year. The beautiful ladies inspired a whole generation of young girls to pursue the Beauty Pageant scene seriously.

However, the saga of crowning Beauty Queens internationally dates back to 1951.The oldest such pageant is Miss World which began in that year. It was only in 1966 that an Asian could win the crown and it was Reita Faria, a medical student. She was offered films but declined and pursued her career as a doctor.

There are four major beauty pageants internationally, for women. These are Miss World, Miss Universe, Miss International and Miss Earth.   In the country, too Miss India was being crowned since 1947. Barring a few years , the contest has been held regularly. Traditionally the Miss India Winner was sent to Miss Universe and the runner up was sent to Miss World. However,  since 2013 
 a separate pageant Miss Diva 
 has been held to send delegates to Miss Universe and the Miss India winner will represent India at Miss World annually. Miss Asia pageant started in 1965 and Indian contestants have won this challenge too, apart from the big two.



Many of these beautiful ladies have acted in Hindi films. it will be worthwhile to recount various  Beauty Queens, who made a mark in Bollywood.



The Forties
Pramila ( Esther Victoria Abraham) was the 1947 Miss India who had a film career from 1935  to 1961.She was last seen, at the age of 89, in the Marathi film Thaang in 2006, just before her death. The song presented is from her film Basant ( 1942), which had, incidentally a nine - year old child artiste who grew up to become Madhubala, the uncrowned Beauty Queen of Hindi cinema !



The Fifties

 In 1952, two contests were held and the winners were  Indrani Rehman and Nutan. 
Indrani participated in Miss World , but could not win it. She devoted herself to dance and did not pursue a film career, Nutan excelled at acting and had a great track record and is known to be one of the most expressive actresses, ever. She won the maximum number of Filmfare awards. Her portrayal of complex characters is  unmatched.  This is a song from one of her early films Shabab.




Then in 1953 Peace Kanwal was crowned Miss India , but India's challenge was withdrawn in Miss Universe that year.The very next year Leela Naidu won Miss India, but there was no participation in the international representation. Peace Kanwal acted with talat Mehmood in the film Dil-e-Nadaan , whose songs were very popular.





Fleur Ezekiel was the 1959 winner of Miss India , who was the first one to represent the country in Miss Universe, but could not win. She also did not make hindi films   her career.

The Sixties

 The  contestant representing India in Miss World 1965 was Persis Khambata. Though she was unplaced in the final title, she did win Miss Photogenic.She debuted in K.A.Abbas's Bambai Raat Ki Baahon Mein in 1967 and was featured in the title song.  However, she earned fame in Hollywood as part of the crew in Star Trek: The Motion Picture, for which she went bald. She became one of the early artistes to cross over to Hollywood.




The SeventiesThe first ever Femina Miss India title-holder to win an international pageant  was the 70s icon Zeenat AmanShe was crowned Femina Miss India Asia Pacific and went on to win Miss Asia Pacific 1970 held  in Philippines. She had a resounding film career and was the style icon, a deviation form the usual "sati-savitri"  image of hindi film heroine. 






The organisers of beauty contests are often accused of objectifying women. Probably that's why , they include in their schedule  a segment where the participants answer a question to show that the whole thing is about "beauty with brains". it is difficult to understand how far that is acceptable to discerning audience, but this is the current trend. 

Zeenat Aman proved that she had enough acumen to survive in Hindi films and get popular, acting with big banners for  a long time.

There were other 70s winners, too appearing hindi films, but with far less success than Zeenat Aman. In 1971 Prema Narayan was Miss India and in 1978 Kalpana Iyer won the crown, both getting supporting roles in Hindi films, never to be considered the leading ladies.

The 1976 Miss India, Naina Balsavar did not compete in the Miss World pageant that year due to the presence of South African candidates , in line with the apartheid policy of the country. She acted in a film Raakh, some 13 years later.The runner up Nafisa Ali did act in the films but intermittently.
In 1979, Swaroop Sampat  won the Miss India contest and  was our representative in Miss Universe that year. She subsequently joined hindi films and also did TV serials such as Ye Jo Hai Zindagi on DD. 






The Eighties 


The 80s saw five Miss Indias taking up a film career. Sangeeta Bijlani , in 1980 and Sonu Walia in 1985 had a lukewarm popularity in films ( though she did a lot of films: 20 releases in 1991!) and were known more for off-screen activities. Sangeeta married Azharuddin ( the film-cricket nexus is another theme altogether !).
Sonu Walia won Filmfare Supporting Actress award, too but as a lead heroine , her chances were restricted. Sahila Chaddha , in 1983, was even less successful as an actress.


The 1981 runner up Meenakshi Seshadri, however, had a fairly successful tenure as a mainstream heroine. Her performances have been critically acclaimed, apart from being commercially successfully, too.



The beauty queen to have really hit the jackpot was Juhi Chawla, the Miss India Universe 1984. Though her debut film Sultanat was not remarkable, she made a comeback in the 90s with better roles and made hit pairs with all heroes of 90s. She graduated into supporting roles with ease and is considered an accomplished actress, apart from turning a producer with Shah Rukh Khan.








And so, we come to the Nineties, the happening era of Beauty Queens. Before the duo of Sen & Rai hit the headlines, we had Madhu Sapre ( 1992) and Namrata Shirodhkar ( 1993) being crowned Miss India , but had no  international recognition. Both joined films and had short lived careers, since they were relying solely on the beauty queen charisma but lacking histrionics. Pooja Batra , the 1993 Miss India International also had a brief film career.



Sushmita Sen and Aishwarya Rai were crowned Miss India and first runner up, respectively. That is why Sen went on to Miss Universe and Rai to Miss World. The double whammy of both Indians topping the contest inspired a lot of girls back home to follow the footsteps. Both entered films and Rai was the more popular one, also being chosen for the Pink Panther series in Hollywood.  





The 90s continued to churn out Miss Worlds and Miss Universes who were Indians.
Diana Hayden  won the Femina Miss India contest in 1997 and was crowned Miss World 1997.  
In 1999, India had a double delight again, as Yukta Mookhey won Miss World and Gul Panag was in the top 10 of Miss Universe. Both joined Hindi films and were successful in varying degrees. While Mookhey debuted in Pyaasa ( 2002), Panag had Dhoop ( 2003) as her first film.



The new millennium saw more success for Indians in the beauty pageants. A triple triumph was in store ! 
Lara Dutta got the Miss Universe 2000  tiara becoming only the second woman from India   to be crowned with the title. She has been the last one, too. At the same time Priyanka Chopra was the winner of the Miss World   2000  pageant and Diya Mirza won the Miss Asia -pacific. The only time a country had won all three in the same year was Australia in 1972. Priyanka has been a prolific performer, having acted and sung in films. She has also been part of international series Quantico.




In the last few years there have been fewer beauty queens taking up a film career. Those who took up the challenge found it difficult and had fewer films than earlier aspirants.

Gayatri Joshi, the 2000 Miss India International had a solitary Swades to her name.Miss India 2001 Celina Jaitely was the 4th Runner Up in Miss Universe that year. In 2003, Neha Dhupia was placed in top 10 in Miss Universe. Tanushree Dutta in 2004 was placed top 10 is Miss Universe and Sayali Bhagat, the same year was Miss India World, both getting into films. Puja Gupta, the Miss India in 2007 won Miss Universe that year and Esha Gupta was the Miss India International. Simran Kaur Mundi , the 2008 Miss India also got into films with Jo Hum Chaahein ( 2011).


Interestingly, while the first Indian  to win Miss World was Reita Faria in 1966, the first Indian to win Mister World was  Rohit Khandelwal in 2016, a full 50 years later !

One doesn't know if Manushi Chhillar will become a heroine or not, but if she does, she has a stiff challenge to scale the heights which some of her predecessors have done.

  Leaving you with a song of Urvashi Rautela, the Miss India 2013, from the 2017 film Kaabil, which says it all:

सारा ज़माना , हसीनों का दीवाना
  !



















  

Saturday, November 18, 2017

सपने में मिलती है ...

The recent brouhaha over the yet-to-release film on a Rajput queen over supposedly a dream sequence between the actors who are real-life lovers is threatening to usurp all headlines. Even without the release of the film, its popularity ( or notoriety , perhaps ?) is going north very rapidly. 
Only when and if the film is released, one will know if , indeed , there was a fantasy scene/song or not. 

Till that happens, it is a good time to remember the Dream Sequences picturised in Hindi cinema down the years. There have been umpteen songs in dreams of characters on the screen.The songs are of all genres: romance, comedy and pathos and this has to be seen to be believed , literally !  



It is generally felt that the Awara ( 1954) twin song in a dream sequence was the first one to hit the screens. However, there have been earlier such sequences also, as the research reveals. 

Raj Kapoor and Nargis did have the first dream duet of Hindi film, but it was for the film Jaan Pehchaan ( 1950), sung by Talat Mehmood and Geeta Dutt. The song depicts them in a  glittering, out-of-the-world setting to sing how much they love each other !






Then there was the song from the film  Albela ( 1951). With this film, Bhagwan single-handedly gave established banners producing ambitious projects such as Awara, Baazi and Deedar,  a run for their money, thanks to the foot-tapping music of the film by C.Ramchandra. The song having a dream sequence was picturised on Bhagwan and Geeta Bali fantasising that there is a big room with windows on the position of clock, hence the lyrics.





The Awara picturisation is , obviously, is a masterpiece, a twin song etched forever in the memories of those who have watched it. The song shows why Raj Kapoor  was called The Showman.
The two-song, three act sequence is a depiction of Earth, Hell and Heaven through symbolic representation. Columns joined by a sloping cornice for Earth, a raging monster with pointed ers for Hell and a towering Shiva statue for heaven.  While "tere bina aag ye chandni represents Earth, ' mujhko ye narak na chaahiye...mujhko chaahiye bahaar' indicates Hell and the second song, with its mellifluous notes and the ghar aaya mera pardesi represents Heaven.  The visuals, the choreography and the expressions are all in sync with the "Earth-Hell-Heaven triptych. The sequence is a metaphor of life.
 The song is something to be experienced !






The Fifties had a few other gems too. The slow waltz-like song from Parchhaeen ( 1952), featuring V.Shantaram and Sandhya was a song of this category. The song from Aji Bas Shukriya ( 1958) showed Johny Walker and Geeta bali dreaming of a big house and praying to God to give it to them. Raj Tilak ( 1958) showed  Gemini Ganesan being spell bound by Vyjantimala's dance in a fantasy song.  
The film Durgesh Nandini ( 1956) had this  beautiful 'fantasy' song featuring Pradeep Kumar and Bina rai , Kahaan le chalo ho, bataa do musafir.., remembered to this date.



 One of the most hilarious situations was conceived in the film Jaagte Raho, in which an inebriated Motilal fantasises about a young lady on seeing the impoverished Raj Kapoor and lo and behold...there is  Sumitra Devi dancing and beckoning him, singing and dancing !





The mention of   1950s can not be completed without the Pyaasa ( 1957)  dream sequence which transforms a radical  poet to a suited-booted gentleman with a lovely lady in his arms. Guru Dutt had the knack of picturising songs in a manner that the art component of his work was beautifully complemented with the commercially viable elements.


The Sixties started with a different kind of dream song in the film Pyase Panchhi ( 1961). Mehmood is on stage with a co-actor , but just as he sees her, he dreams of the his lady love Ameeta and the two sing a duet. The audience sees an extra but for Mehmood , it is none other than Ameeta !
Dil Tera Deewana ( 1962) had Shammi Kapoor imagining himself to be with Mala Sinha singing Jaane wafa jaane jahaan, but nothing extra-ordinary. Similarly , in Aao Pyar karein ( 1964), Joy Mukherji dreams he is Romeo and Anthony to saira's Juliet and Cleopetra.
In 1963, Ragini and Shashi Kapoor think of themselves as Queeen and King amidst giant- sized musical instruments to sing Tera naam, mera naam, indicating it to be a fantasy.
Till the early 60s, the directors used to convey the concepts through dream/fantasy sequences and by use of elaborate sets, managed to awe the audience, keeping in mind that the song/dance routine is in sync with the picturisation. 
The song which was an exceptional dream sequence was in Geet Gaya Pattharon Ne ( 1964) , the V.Shantaram magnum opus in which Rajshri and Jeetendra are in an ethereal world. 







One of the most poignant songs was the Dak Ghar ( 1966) song in which a terminally-ill child, confined to his room, played by Master Sachin,  imagines that he is roaming around the world in a dream song !

The comedy angles of dream sequences were taken forward by I.S.Johar in his films Johar Mehmood in Goa ( 1965) and Johar in Bombay ( 1967). While the Teen Bahuraaniyaan ( 1968)  song featuring Rajendranath and Shashikala was of the comedy/romance type.

In 1969, Jeetendra featured in two dream sequences ( probably he has the record of being in most dream sequences, an indication of his acting calibre !), one in the film Anmol Moti, with Babita  and the other in Jigri Dost. The picturisation of the Anmol Moti ( 1969) song was better with a beautiful Asha Bhonsle solo to go with it.

 The Jeetenda-Mumtaz song was more popular, though.
That song was Raat suhaani jaag rahi hai, in which after a nightmarish beginning ,Jeetendra drops to the dreamland to find Mumtaz in a water-logged area ( the director's hint at wet dreams !). The picturisation mars the melody completely, regretfully.


                                  

So, on to the Seventies. The picturisation of the song had started to decline in 60s, as stated earlier.The quality of film makers had changed and conception of dream sequences was not everyone's cup of tea.
Three songs come to mind immediately, as we recollect the songs of early 70s. 

In the film Ishq par Zor Nahin ( 1970) , a beautiful song on Sadhana and Dharmendra was picturised as if they were finding themselves a dream. Apart from studio-made "natural" tress and mountains there was nothing in pictuisation. In fact, the song was much better in audio.


Mehmood and had a catwalk in the heaven, it appeared while singing Jogi O Jogi (a great composition  wasted in the situation, I feel ) in Lakhon Mein Ek, a 1971 release.  The same year, there was a Biswajit-Leena Chandavarkar song in Main Sundar Hoon, the only collaboration of Shankar Jaikishan with Anand Bakshi. The songs were cheesy, yet popular. yes, the public tastes were-a-changing, too.



The unique song was , however, in Dhadkan ( 1972 ) where director Devendra Goel imagined how advertisements could be picturised, by making a medley of such jingles in a visual forms in the dreams of Sanjay Khan. have a look at the  pioneering effort !



  Jeetendra made a comeback in a double power in Bidaii 1974 and Dildaar ( later in 1977). Both songs depicted the lead pair as royalty, ( Knave and Queen of Hearts, if you please) a theme    already done to death. The visuals are out of card board sets and the romedy was firmly entrenched by now: no more soft romantic swaying on clouds. The lyrics and music also took a nosedive and sitting through the dream sequences became a nightmare for the audiences !








The dream sequence which was a delight without having glaring colours and blazing lights was the middle-of-the-road cinema's version of a dream sequence in Chhoti Si Baat ( 1976).  A middle class hero will copy the larger than life star in his fantasy, as was shown in the song featuring Amol Palekar ( as Dharmendra ) and Vidya Sinha ( as Hema Malini ) !







The same year, i.e.1976, Shammi kapoor directed a fantasy film with himself as Genie and Rajesh Khanna and Sulakshana Pandit as the beneficiaries  of his supreme powers. The film had a couple of fantasy songs, none being fantastic. However, the Rafi- Lata song (Naghma hamara  )was a tad better than the Kishore -Lata competing song, Bemausam Bahaar ke. 







Hera Pheri ( 1976) had a dream song Mujhe pyar mein khat  on Sulakshana pandit and Vinod Khanna making it a normal romantic song, just in imagination. Dildaar in 1977 again had Jeetendra, this time with , playing King/Queen  and riding buggy in Main raja tu rani, the lyrics not leaving anything to imagination. Other directors were also contributing in decline of the quality of songs of this genre. Agar ( 1977) shows Amol Palekar imagining his wife Zarina Wahab romancing Vijayendra and this is in form of a song. In Dream Girl, Hema imagines the third-world kids touring Disneyland in their imagination !

However, in the period film Laila Majnu, one year earlier, a beautiful dream sequence was shown with Rishi and Ranjeeta, having good music ( Madan Mohan) and fine visuals 




Golmaal in 1979 had a comic song sapne mein dekha sapna , which was fine as the film was an out and out comedy. Similarly  1980 film Khoobsoorat's Kayda tod ke dekho ek din was acceptable, as it was just a spoof all round. Chashme Baddoor (1981) had comic dream/fantasy songs as Rakesh Bedi gives his own parodies of old songs, with Deepti naval as his lady-love , in his imagination !

The charm of dream sequences was waning off and director were using them for skin show   to entice audiences to the empty halls in 80s. many films had so-called dream sequences which were an excuse for showing anything that could not fit in the storyline. 

Sargam had a number of duets, though the female character was mute and therefore, they have be termed as imagined or dreamt sequences, another manifestation of the category. Saaheb ( 1985)  had a  song in which Anil Kapoor and Amrita Singh discover themselves was refreshing , to an extent. Meenakshi Seshadri and Anil Kapoor had one such song in Meri Jung ( 1985).  Mera Jawab, released  same year,  had Jackie Shroff in a dream sequence, but the sour icing on the rotting cake was the flashback through the eyes  of Jackie Shroff's pet dog in Teri Meharbaaniyaan ( 1986). 







With the fine genre of dream sequences touching its nadir, I shudder to document the sequences which followed these abominable stunts, though there have been many.

I think we'll leave it here !

















































































 




























 

Saturday, November 11, 2017

आज का दिन है तुम्हारे नाम

The last week everyone remembered where they were on November 8, one year ago. That was an eventful day in the history of India due to demonitisation. Just as everyone remembers where they were at the time of Indira Gandhi's death, everyone recollects what they were doing when the PM announced "notebandi".
This year, on many TV channels, the anniversary of the event was mentioned, some berating it and some celebrating !

This birthday of an event is at par with the special annual days that we all celebrate: birthdays and anniversaries. So it is a good time to recollect the Birthday Songs of Bollywood !


One of the earliest song picturised on the occasion of a birthday was, befittingly,  for none other than that of Emperor Akbar ! The 1945 film Humayun had this celebratory song on the birth of Humayun's son. The song was written by Pandit Madhur.

ho chand chamaka andhere me aaj hai
ho mere raaja kaa jangal me raaj hai


Another song of the 40s which comes to mind is the Andaz song. A modern day birthday party for the special "apple of the eye" , with a huge cake,  well-to-do guests and a doting parents : the stuff that birthday parties were made of !
Majrooh Sultanpuri penned the delightful ditty which is so hummable.

da dir dara dir dara da dir dara 
da dir dara dir dara da dir dara 
meri ladali re meri ladali ri bani hai
taaron ki tu raani taaron ki tu raani







The Fifties had their share of birthday songs. One of the more obvious ones was from the film Anand Bhawan ( 1952) which goes Nanhe Munne Raja ki saalgirah aayi re, written by Raja Mehdi Ali Khan. Also, there was the  title song from Ram Janam ( 1951), written by Saraswati Kumar Deepak in the film Hua raam ka janm.
Then there was the Prem Dhawan song in Aasmaan ( 1952),  PomPom baaja bole, which has reportedly given us the signature tune of a radio programme  loved by all of us , the original hit parade Binaca Geetmala ! 

In 1957, there was a song written by  Prem Dhawan for the film Ek Saal. The occasion was the birthday of the character played by Madhubala, who looks stunning , as always. The lyrics of the song were Tum jiyo hazaaron saal gori. The song could not gain much popularity. As you would have guessed, the lyrics had to be tweaked , a couple of years later, to appeal to public.
In the same year there was  an RK Films' production , which did not have Raj Kapoor in it !
This was the film  Ab Dilli Door Nahin was an exception to the rule. It was a childrens' film produced by Raj Kapoor, showing the travails of a kid goes to Delhi to meet Pandit Nehru for his help in having his innocent father out of jail !
The birthday song , picturised in flashback, was written by Hasrat Jaipuri.

jiyo lal mere tum lakhon baras tum pe 
maiyya nisaar kahe baba ka pyar



Writing a birthday song for a situation in a hindi film appears to be a simple task, but it is not. This is so because the repetitive nature of wishes force the lyricist to give something "out-of-the-box" or unique for the listeners to remember it for a long time. That is why , this time the focus is on the wordsmiths who have penned these beautiful, memorable songs.

As mentioned earlier, the song which made history was similar to Ek Saal song. The wishful linking of years ( Thousands)  to the number of days in a year ( 50,000)  made the "mukhda" complete for the song-lovers and this became such a cult song tat it is considered still the best wish  for the birthday person...
This eternal song was from Sujata ( 1959)  with lyrics by Majrooh Sultanpuri.
tum jiyo hazaron saal, saal ke din hon pachaas hazaar ! 




The Sixties had a whole lot of birthday songs. Birthdays of heroines of the films were a natural situation for a song, whether by the hero or the friends of the special one. Also, the celebration of birthdays of children by having a party was the in thing at that time, leading to many such songs. 

The birthday party song in Door Ki Awaz 1964 is one of the most remembered song, more than 50 years later. Shakeel  Badayuni came up with lyrics which became popular with both kids and adults !


ham bhi agar bachche hote
ham bhi agar bachche hote
naam hamara hota gablu bablu
khane ko milte laddu
aur duniya kahti
 happy birthday to you 
happy birthday to you 




 On the more emotional side was the Tumhen aur kya doon main dil ke sivaay, tum ko hamari umar lag jaye solo by in Aayi Milan Ki Bela, also in 1964. Written by Hasrat Jaipuri, this was one of the rare serious birthday songs.   


Every decade has a song which becomes the representative of its genre. If in 40s , it was Andaz song and in the 50s it was the one from Sujata, in the 60s , there was a song which broke all records to become numero uno in this genre for years to come.

The song wishing birthday to Suneeta became a rage because simply replacing Sunita with Sangeeta or even by Sudhir , you can wish the special day to anyone in the style of Indian James Bond aka Jeetendra in Farz ( 1967) . The song ( also including a variant of the phrase  "jiyo hazaaron saal"  phrase )was written by Anand Bakshi, who showed why he is considered the lyricist of a common man ! 


Baar baar din ye aaye, baar baar dil ye gaaye
tu jiye hazaaron saal, ye meri hai aarazu 
happy birthday to you, happy birthday to you    
happy birthday to suneeta, happy birthday to you 



Amongst the host of songs in this period, those which were outstanding  were Qamar Jalalabadi's Badhai ho badhai janamdin ki from Mera Munna ( 1967), Majrooh's   Janam Din aaya from baharon ki manzil ( 1968) and  Munne mere aa from Abhilasha ( 1968), Anand Bakshi's Tumhi se shuru from Mera Dost (1968) and Prem Dhawan's O Nanhe se farishte from Ek Phool Do Maali. (1969).

But the song which really brings out the joy and laughter of a birthday was this Ram aur Shyam ( 1968) song. Incidentally, this Shakeel Badayuni song did not mention the birthday aspect in the lyrics and it was the director who supplemented the birthday situation with this song! 



aayi hain bahaaren mite zulm-o-sitam
pyar ka zamana aaya dur huye gham
raam ki leela rang laayi aha ha
shyam ne bansi bajayi aha ha ha





The Seventies continued the joie de vivre of the 60s with songs like   Mere lal aaj tera from Subah o shaam and taare kitne neel gagan mein taare from Aap Aaye bahaar aayi. The song which had a Rajesh Khanna playing  a cameo as  Gangaram phoolwala was also a birthday song from Anuraag
( 1972) . At the height of his popularity, Rajesh Khanna had a character written for him in this film and even when this was not part of the story, which was about a cancer-stricken young boy, the birthday song by Anand Bakshi justified the cameo. 
raam kare babua hamaar phulwa ko hamri umar lagi jaaye
patajhad aaye, basantritu jaaye
ho jaaye,  champa chameli muskaaye 



Despite the random sad/romantic song like Anand Bakshi's Koi Nazrana lekar aaya  from Aan Milo Sajna , the birthday song continued to be happy songs like Hasrat's happy birthday to you Pinky from Aaj ki taaza khabar, Rajinder Krishan's Teri umar ki phulwari mein from Rakhwala and Ramesh Pant's  Jeena to hai usi ka , a qawwali from Adhikaar on the occasion of a birthday. 


Two more songs in 70s stand out. The first one is a short recitation  in the film Naina ( 1973), written beautifully by Hasrat Jaipuri  and sung on screen by Shashi Kapoor. The cake is there, glasses of liquor are also present and the song ends with the birthday boy extinguishing the candle !

kya jaane kami kis cheez ki mai
har cheez me paata rehta hu
khush hoke banata hu duniya
ghabra ke mitata rehta hoon
har saal janamdin mera to
kuch dost manaya karte hai
har saal mai apne hisse ka 
ek saal ka gawaanta rehta hoon




The second song is the one which celebrates the birthday of mother. 
The Indeevar song was a refreshing change in  the film Sajan Bina Suhagan ( 1978)

apna sab ko roop dikhaun,  jab eeshwar ke man me aaya
tab na usne tujhko banaya,  tujh mein apna roop sajaya
ab tera maan,  janamdin aaya
happy birthday o mamma dear mamma
happy birthday to you



The 80s was a period when the general quality of film music was undergoing a change for the worse and so it was not a surprise that the birthday songs were but a shadow of the earlier ones. There were songs like Majrooh's Chhalkao jhoom ke paimana khushi ka from Phir Wohi Raat ( 1980), M.G.Hashmat's Zor se bajao from Paisa ye Paisa ( 1985), Ravindra Jain's Happy birthday to you from Lallu Ram ( 1985), Ramesh Pant's Aaj apni darling ka aaya janamdin  from Duty ( 1986)  and Anjaan's Baaje badhai more angna from Maa Beti ( 1986).

But the song which relives the childhood was the Anand bakshi's song in which Jeetendra congratulates himself on his birthday, amidst the animals ....Happy Birthday to me from Jyoti ( 1981)

chidiya choon choon  karti hai, tote taali bajate hai
ye sab mere saathi hai, milkar shor machate hai
ki bolche,  bolche ki, 
happy birthday to me




The Nineties was bereft of such songs,  save a couple  of them from Shadyantra  and Ye aag kab bujhegi ( both by Ravindra Jain ) and Prem Deewane ( Anand Bakshi ). The turn of the millenium was also no different. The mood had changed from piano on a birthday party to DJ  and the emotional content has also dwindled. There were songs in various films in the last 25 years  such as Kya Yehi Pyar Hai ( Jalees Rashid) , Bhoot Uncle ( Baba Sehgal) , Dillliwali Zaalim Girlfriend ( Alfaaz) , Kill Dil ( Gulzar) , Kismat Love Paisa Dilli ( Santokh Singh ) and Krantiveer ( Sameer) . However, none of the songs is a patch on the past. 

Leaving you with the latest birthday song from the film Ishq Forever (2016), whose lyricist is Sameer. 






















































































  1.  
  2. Happy Birthday - Bhoot Unkle 2006, Tarannum Malik,
  3. Chhote Tera Birthday Aaya - Krantiveer 2010, Anushka Manchanda, Mika Singh, 
  4. Happy Birthday To You Mr Pedro - Amit Kumar, Udit Narayan, Alka Yagnik,

  5. z
  6. Tujhe Dekh Kar Jeeta -