Desicritics Category: Media: Music - Hindi

Movie Review: Ishqiya - A Cinematic Treat

Ankur Bhatia — Sat, 30 Jan 2010 02:28:07 EST

Out of all the feelings people have in the world, love is easily the most unpredictable. Ishqiya also follows the path of love rather unpredictably. It starts of with Vidya lying on the bed humming 'Ab mujhe koi' sung beautifully by Rekha Bhardwaj, the camera pans to her face and and at that very moment you know you are watching something special.

Arshad and Nasseruddin play small time crooks who are on the run with a loot and end up taking shelter from Vidya Balan who is the wife of one of their friend. What follows is a tale of love, seduction, suspense and thrill driven beautifully by exceptional performances by the three main leads. Nasseruddin Shah as Khaalujaan is sweet, caring and romantic in contrast to Arshad Warsi who is boyish, flirty and cocky. Vidya is one of the unpredictable elments in the film (the other being the story itself). She is vulnerable and seductive yet over powering. She gives another powerhouse performance after Paa and it is easily her finest work.

Abhishek Chaubey shows lot of skill as first time director handling scenes with utmost care. The scene where Khaalu looks through the window to Vidya singing is beautifully done. The camera captures the eyes and the subtle smile on Khaalu's face with perfection. Another scene where Chaubey is superb is the kissing scene between Arshad and Vidya. There is love, seduction and tension in the scene and it is depicted beautifully. Still, the movie bears a clear mark of Chaubey's mentor Vishal Bhardwaj in style and sensibility. Vishal Bhardwaj leaves a big stamp with his witty and rustic dialogue. Dialogues are the life of this film along with the music again composed by Vishal. The timing of the original compositions and old SD Burman and Hemant Kumar classics is just perfect. Vishal uses the music as a way of expressing what the characters are going through and does a top notch job.

On the whole, Ishqiya is a great ride which delivers on almost all fronts. Watch it for the fine performances, quirky dialogues and just as a great piece of cinema. Only a "Sulphate" would want to miss this one.

Rating - 4/5

Music Review: Blue

Lomi — Fri, 13 Nov 2009 08:59:28 EST

I'm reviewing the soundtrack of the Hindi movie Blue after nearly a month of its release because unlike others I believe a musical review needs time and cannot be reviewed in an hour after listening to the songs unlike the movie which could connect to you instantly or if it doesn’t then it means you didn’t like it. Thus there is a delay in the review of this Album.

The Music director of this Album needs no introduction and movie coming from him after nearly six months gap which is long kept everyone interested. AR Rahman had a spurt of movies in a short burst namely Sakkarakatti (Tamil movie), Jaane Tu ya Jaane Na, Yuvvraaj, Ghajini, Slumdog, Delhi-6 in a span of about four months. Of late, he did not have any movies and being a fan of his, I was expecting a bit more from this. The Blue music definitely doesn’t disappoint.

The first song that I liked the most and may be the catchiest song of all is “Chiggy Wiggy”. If you listen to this number the first time, you will be instantly attracted to it than the rest of songs. The English lyrics makes a nice soothing feeling to ears and also the Hindi word coming at the mid of the song adds to its charm. Overall this song is a beautiful one but the Rahman fan always look for his melody and in “Bhoola Tujhe” we have a nice melody song. The song goes very slowly and captivates your heart as you listen to it three or four times. The USP of this song is why the review of this movie comes late as it takes time to both appreciate and enjoy this song. It also has nice visuals when watched in the theatre.

The next two songs are fast paced songs in “Blue Theme” and “Fiqrana”. Both these songs are catchy numbers too and the “Blue theme” song has some amazing video to add to it. These songs are also very catchy and you feel, “Hey we are getting our value for money”. The other song “Yaar Mila tha” is actually very good too, but I do not remember seeing it in the Movie, perhaps it was edited out in the last touch.

The title song “Rehnuma” is little unique in its way as it first starts as a slow paced song and gradually picks speed that you could probably relate to this movie storyline which starts sedately to pick speed in the climax. The last song “Aaj Dil” has the AR Rahman written all over it. It’s a very neat song in its lyrics and keeps you reminding that Rahman rules as far as Indian music industry is concerned. The visuals of this song makes elderly people in your home say “we did not have this much shortage of clothes even in our freedom struggle times”.

Overall the Music of this movie is really good. It’s unique with its new techno instruments that we have not heard of before. Those who are still wavering over whether to buy this album or not, please go fast and grab a copy of this album. It’s Goddamn good!

Nawwab and I: Tu Jo Nahin Hay

temporal — Fri, 4 Sep 2009 08:25:48 EDT

Michael Jackson's siblings, from left, Janet, Randy, Jackie, Tito, Jermaine and Marlon, prepare to say a final goodbye to their brother. (The Jackson Family / Harrison Funk / Associated Press / September 3, 2009)

t: Tu jo nahiN hay tou kuch bhee nahiN hay...
N: S B John.
t: Such pathos.
N: The other day you looked up the Ladies of Calcutta.
t: Somebody mentioned Kal Khan nee Bill Forbes.
N: You are hunting for something?
t: I am looking for triggers. What triggers memory?
N: It is good.
t: What is good?
N: To retrieve things keeps your brain wires active.
t: S B John would be remembered for that one song.
N: Arundati Roy would be remembered for God of Small Things.
t: What a leap Nawwab, She is alive and well.
N: Yes, and until she proves otherwise she would remain a one trick pony.
t: Desani?
N: He wrote other stuff. His writings got lost.
t: Suraiyya Multanikar: BaRay bay murawwat ho tum
N: Goodness Gracious Me
t: Are you smirking?
N: Dogs do not smile, laugh or smirk, you should know.
t: Right, you bark.
N: Woof woof!
t: I am sorry.
N: The other three words
t: I love you?
N: Cliches aside, the kis formula.
t: Keep it simple?
N: You, mentioned Suraiyya Multanikar
T: Here:

N: So who will be the third?
t: Third? hmmmm WTF.
N: You mean WTD - what the duck?
t: I can't find her video - paraishaaan raat tou sari hay sitaro tum tou so jao.
N: Since good things comes in threes I am sure you will come up with something.
t: Ulfat ki nai manzil ko chala.
N: Keep searching, you will find what you are looking for.
t: Achcha, I took your advice, and found this clip.

N: Now you will listen to them a few times and then perhaps write a poem.
t: Am not sure about the writing part, perhaps if the muse strikes.
N: In their teens many write poems. You never gave it up.
t: Hmmmm, are you saying I never grew up?
N: I was giving you a compliment but that is another way of looking at it.
t: Not growing up has its rewards. Look at all the uptight, sad people around.
N They buried MJ today.
t: September 3.
N: September 3.
t: He never grew up.
N: The child in him was nurtured.
t: When the twinkle goes, so goes life.
N: Please! Practice your art on others.
t: Others do not talk.
N: Not good enough reason. Other do not bark, I do not complain.
t: Woof woof.
N: We are the world

Dr.Shah Rukh Khan Gets His Ph.D - Dilwale Doctorate Le Jayenge

Aditi Nadkarni — Wed, 15 Jul 2009 06:20:16 EDT

"Mera beta doctor banega" Hari Prasad Sharma (Munnabhai's father)

I worked my butt off for 5 years to get my doctorate. I drove off into the sunset when I was done and could not attend the convocation ceremony because I was too lazy to drive twelve hours just to recieve my diploma in proper photo-op fashion. My parents missed out on watching me don the black robes and that now gives them something in common with Shah Rukh Khan's children who missed witnessing their father's convocation ceremony.

The University of Bedfordshire conferred an honorary degree upon the King Khan making him Dr.Khan. The reactions among desi public, I notice, range from "Hurray!" to "What the fuck!". In India, we do not have a tradition of meriting talent or achievement with anything at the academic level, leave alone with honorary doctorates. So people are finding it hard to digest that a person who has pranced around trees, done the jhatka-matkas of Bollywood and fueled the escapist cinema that makes some of us cringe in embarrassment, has now been honored with a title that we commonly associate with academic achievement (or at the very least with a pair of thick nerdy glasses). How can Shah Rukh Khan be Dr.Khan?

I am no Shah Rukh Khan fan. I do not watch his every film with star lit eyes nor do I swoon when he appears on screen. I have in the past enjoyed some of his noteworthy performances. I thoroughly enjoyed Chake De and Swades. As a teen, I watched Dilwale Dulhania Le Jayenge twice in the balcony section of the theatre and then again in the god forsaken stall ranks where bed bugs sapped me of blood for three straight hours. At an age when one still had favorite SRK films, mine was Kabhi Haan Kabhi Naa. Here in America, I turned traitor and fell in love with foreign films, art and indie films, short films with stories, gradually drifting away from the bright pink, dreamy arms of commercial Hindi cinema. I still managed to catch glimpses of the Khan in Devdas and Om Shanti Om when we graduate students worn with the sternness of realism craved a Bollywood masala fix. Occassionally, when I watched him speak in interviews and during award ceremonies, he struck me as an intelligent, eloquent, quite humorous and mostly unpretentious person.

But over the years, I have rolled my eyes at him, scoffed at his corny lines and been embarassed when I watched him bust a move not befitting a 40 year old. That being said there is no denying that SRK is now the brand amabassador for our Hindi film industry. In Europe, they may not know our prime miniter but they do know who Shah Rukh Khan is. The completion of a doctoral dissertation is usually marked by a significant body of work, a compilation of orginal contributions made to the relevant field by the candidate. In reviewing Dr.Khan's thesis in the arts and culture field, one realizes that he was probably the first commercial Hindi film hero to risk donning the garb of a villain. He was the murderer, the obsessive lover, the stuttering psychopath who changed how we as the audience viewed Bollywood characters. He brought in gray shades to the hero's character in a genre of popular cinema that until then had only safe, predictable black and whites. He was not your typical macho Hindi film hero or devastatingly handsome when he first arrived on the scene. He wasn't even the chocolate hero with a sweet. likeable face. His dancing skills were adequate at best. And yet he became the sensation, doing everything people say one should not do on their way to filmi success. He went against the tide, starting with television, which among acting circles is known to dent chances of a future in cinema. He acted in not one, but two hit television series. At the peak of his career in cinema, he made his return to television hosting the popular Kaun Banega Crorepati (Who Wants To Be A Millionaire) show.

At the Golden Globes recently, watching him up on stage, humble and restrained, made me smile. I felt like I knew him. Among the smooth Geres, Pitts and Nicholsons of Hollywood, his mocha skin, his endearing accent, his shy manner and crooked eyebrows were such a welcome sight for me, an Indian in America. In spite of not being a devout SRK fan, I hung onto his every word.

The point of my article originally was not to list all of the Khan's accomplishments but to emphasize that in spite of his very obvious and signficant contribution to the arts, to the popular genre of Hindi films, some of us have an issue with his receiving the honorary doctoral degree. And this I find quite interesting. India has an exam based meritocracy; therefore a degree, a credential has to be accompanied by some kind of a measurable score. A box office score, mind you, may not be acceptable because in India education and films don't mix. If one was an aspiring artist, the middle class in Bombay immediately proclaimed him/ her a dud at school. If you scored well in your SSC exams, you took up sciences, commerce being the next best choice. In my time, doleful parents of students who scored low SSC scores, sighed, shrugged and resigned their children's future's to the unreliable, fickle paths of the arts.

"Yes beta I know you are a theatre artist but what do you do for a living" an old uncle would sometimes ask a young struggling actor, "Art will not be feeding you!" the greying man would exclaim bundling up his fingers and thrusting them towards his mouth, a common gesture for "roti". He would walk away shaking his head satisfied at having trampled the young man's aspirations under the bitterness of his own ignored dreams.

"You are not some Bachchan or Kapoor to have Subhash Ghai and Yash Chopra welcome you with garlands" Karnik aunty would tell a young, break-dancing Rahul when he announced that his performances at the Ganesh Chaturthi festival were in preparation for the 70mm screen.

"Have you seen your face in the mirror? You? You want to be a hero!Ha!" now this one we have all heard someone saying unaware of the cruelty of their words.

To all these questions, Shah Rukh Khan has now become the national answer. He wasn't a Bachchan or a Kapoor. In an industry plagued with nepotism, he arrived as a nobody, with no godfathers or mummy-daddies to usher him in. He had no charming good looks to wow the teenage crowds. I am certain that the commercially viable genre of films in which he stars have critics and reviewers frothing at the mouth. I'm also equally sure there are people who would look through my thesis and find critique-worthy sections or flaws in my discussion. There may be some who disagree with my philosphy or the subject I chose for my resarch. What matters in the end is that a committee at an established institute decided it was worth a PhD. So while Bombay University or the many IITs might not confer benevolence upon an artist of any kind, much less an actor, the University Of Bedfordshire has decided to honor a man who represents in current times the largest film industry in the world.

Slumdog Takes Home The Millions And The Oscar!

Seema Dhindaw — Mon, 23 Feb 2009 01:11:29 EST

Slumdog Millionaire took home all the major awards including best director for Danny Boyle and best film at the Oscars tonight. The show was laced with a Slumdog theme from the very beginning. The songs, a performance by A R Rahman and a Bollywood dance routine during the ceremony all built up anticipation of the finale. It was heartening to see the child-actors from Slumdog Millionaire who had been flown in by Fox Searchlight for the ceremony. They were interviewed by CNN and in their adorable voices gave details of the excitement of their first flight. Freida Pinto looked ravishing and she and co-actor Dev Patel graciously pulled cameras and microphone towards the child-actors crediting the little ones with the film's success. This victory will hopefully bring more attention to the cause of street children.

The Oscars for a while have been struggling with translating a good show into great television. A R Rahman's catchy tunes and the drums made me sit up and take notice after watching Hugh Jackman peddle lukewarm comedy and sing a somewhat clumsy medley with Beyonce. The night's obvious favorites were The Curious Case Of Benjamin Button and Slumdog Millionaire and all bets were off once Danny Boyle won for Best Director.

When I watched the film a while ago, I was struck by both, the depiction of extreme poverty and the utter adventure of a street-child's life. Having visited Mumbai, I noticed that Danny Boyle had zoomed in on the slums and left a lot of the city out. This seems purposeful. In my opinion he may have done so simply to underscore the ultimate victory and rise of the underdog in a shorter duration; the harsher the protagonist's beginnings, the greater the altitude of his ultimate success at the film's finale. Plenty Hindi films use similar trends in their escapist success stories but since a Hindi film is longer and has fewer themes within the plot, the transition from the rags to riches is not as speedy or as drastic as in Slumdog Millionaire. This likely makes the initial scenes of Jamal's misfortune in Slumdog Millionaire much too dire for the taste of the Indian audience.

In current times of economic recession and hopelessness the victory of the underdog seems to have translated into a global message that one is thirsty for in every part of the world. Some Indians blogging about the success of Slumdog have commented about how the film may damage Indian tourism and the international image of the nation's commercial capital once foreigners see the slums and grime. As an American, I found it interesting that not many of these writers directed their angst towards the system that allows such dearth to stagnate in the midst of a city that has risen from terrorist attacks and floods in the past few years. I came across only a few bloggers who have documented what Slumdog's success would mean for the numerous charities that aid street children in Mumbai. Every member of the Slumdog Millionaire team who won in tonight's Oscar had the highest commendations for Mumbai. I watched both the film and the Oscar ceremony with fellow-Americans who immediately expressed an interest in wanting to visit Mumbai and in contributing towards organizations involved in the education and rehabilitation of street-kids. Towards the end of the show it was clear that the message of hope showcased in Slumdog Millionaire resounded in Hollywood and seems to have captivated the Academy as well. As a major buff of Hindi films I am hopeful that Slumdog Millionaire's success will open up new avenues for scripts and roles for Indian actors here in Hollywood. Considering the immense talent that the Hindi film industry houses, Hollywood could only benefit from being able to borrow themes of romance and escapism from this colorful and lively film industry across the seas. This shout-out for the largest film industry in the world from Hollywood has been long overdue and may be the beginnings of a fruitful collaborative bridge between the two industries.

A R Rahman was humble as ever in accepting two awards for best soundtrack and best song (with Gulzar) for the foot-tapping Jai Ho. His acceptance speech may very well be the answer to all the Slumdog Millionaire haters out there who weren't able to get over the portrayals of poverty and destitution in the film.

"In life I have always had the choice between hate and love" Rahman said, his face remarkably calm in the face of such achievement, "I always chose love and now I am here" he concluded, victoriously raising his golden statuette.

Bollywood's Coming Of Age

Aditi Nadkarni — Sat, 17 Jan 2009 00:11:43 EST

It all started with my having given up on contemporary Hindi films. I was hopeful after Taare Zameen Par and after watching Race one depressing Sunday afternoon I didn't see the cinematic revolution I had expected. I had also figured out after a Netflixcapade that Chak De India, the last Hindi film I watched with much enthusiasm seemed a lot like the English film called Miracle, except of course Miracle was based on a true story. Having absorbed this, I went into mourning, restricting my Hindi film doses to watching for the second, third or fourth time, classics like Masoom, Katha, Ijazzat and Mandi on YouTube.

And then one day a new name, Nishikanth Kamath, stirred my faith alive with Mumbai Meri Jaan. I laughed and cried and celebrated the filmmaker who finally found Paresh Rawal a role he was worthy of. The very next day, in A Wednesday, Naseeruddhin Shah and Anupam Kher held my attention until the very last scene. I didn't yawn or fast-forward through songs. I sat, eyes glued to the screen, silently applauding two of my favorite actors who thankfully did not settle by spending their greying film years as strict fathers, the perennial villains in desi love stories. The pace was electrifying, the story original and the characters real.

In Welcome To Sajjanpur, Shyam Benegal delighted me further with a simple yet delectable rural comedy that addressed relevant social issues. A modest cast, generous dashes of humor and Shreyas Talpade's acting genius made this film a wholesome and fun watch. Madhur Bhandarkar's style of juxtaposing the real with the glamorous worked in Fashion and I was surprised to find out that the very pretty Priyanka Chopra can, if she tried, act well. More recently, in Dasvidaniya, Vinay Pathak brought a common man character to life. I soaked in this bittersweet and touchingly crafted film, directed by debutante Shashant Shah that has the potential to change how Bombay's middle class views life and relationships. I fell in love with the awkward, bespectacled and podgy protagonist.

Rock On! had me pondering about several things; about what might have happened to Indus Creed, the rock group of the 80s, about what had happened to my dreams of learning to play the guitar some day and most importantly about why I hadn't noticed earlier how very good-looking Farhan Akhtar was! It is always more of a success when one sees new faces in a Hindi film these days and realizes that it is talent being showcased and not merely a family business being passed on cause some star-kid didn't do too well at school.

In EMI, a lighthearted comic plot captured the complicated love-hate relationship between the new and altered Indian middle class and the banks that strive with relentless schemes to catch up with them. Sanjay Dutt is a natural at playing the quintessential bhai and has practically raised the standards for anyone else wanting to play a GGG (gentle-goofy-goonda) character. It was refreshing to see among other things, a more composed and consequently more sexier Urmila Matondkar in a character very different from the over-the-top hysterical damsel that Ram Gopa Verma has had her play in the past.

I saw more. I saw Johnny Gaddar, Manorama Six Feet Under and am browsing sites to see if the seemingly funny Loins Of Punjab is out yet. I am waiting for the likes of Nana Patekar, Atul Kulkarni, Manoj Bajpai to make good while these crazy times of unique plots and talented performances roll.

In the past few weeks I have watched film after film and am wide-eyed at the maverick years of cinema that the Hindi film industry is witnessing. In short, every film was unique and I imagined what the big banners might be doing. Were they scratching their heads wondering what happened to the time when the proclaimed stars and starlets would come out and claim the box office for themselves as the small budget filmmakers took home the consolation prize and maybe a Filmfare Critics' Award? Or maybe they are coming up with a formula to match the present times and create a package that has what today's film buffs need. Maybe they will learn to tap into the free advertising offered by the blogosphere where the new, the creative and the original are spoken about and exalted. Ek Vivaah Aisa Bhi tells us that the Barjatyas stubbornly choose to remain in the past and manufacture wedding videos in place of cinema. Aditya Chopra's Rab Ne Bana Di Jodi did not have a gripping story in with the times and Shahrukh's charm could not make up for the lack of chemistry between the two leading stars. None of the bigger stars have yet ventured into the emerging genre of films which may be a blessing for upcoming actors. Maybe this is their channel into tinseltown.

Finally, there are stories in Bollywood! The Indian film director is acknowledging the growing intellect of the masses and catering to it instead of recycling the girl-meets-boy plots. The mother in Dasvidaniya, the child in Taare Zameen Par and the friend in Rock On! all remind us that the "pyaar" they sing about so much in Bollywood has more faces than the two that will sing, dance, hold hands, kiss and eventually marry.

Recently, in speaking of Slumdog Millionaire, Mr.Bachchan on his blog acknowledged the age-long tryst between the commercial and art film industries in India. Films have always been viewed on those lines. What is artful and realistic was assumed not to be of commercial value since commercialism feeds on escapism. But the movies I have been watching lately have the triumphs and fantasy that escapism offers and the realistic depiction of earthy stories that art films showcase. One could call them crossover films; a genre that brings together the popularity of commercial cinema and the delicate craftsmanship of art films. What was parallel cinema, not too long ago, is now intersecting and becoming one with popular cinema. A new day has dawned in Bollywood!

List : The Definitive Geeta Dutt

Ritu Chandra — Wed, 23 Jul 2008 02:57:31 EDT

20th July 2008 marked the 36th Death Anniversary of Geeta Dutt. A small tribute to the memory of this enchanting songstress.

It is difficult, almost unsettling to think of Geeta Dutt as a shriveled septuagenarian(what she would have been if she were alive). Time stopped aging her voice long before she actually passed away in 1972. Even today her voice represents a youthful joie-de-vivre that can lift anyone out of the bluest of blue moods. Her sad songs have an aching vulnerability that makes one want to weep for her and with her. And her richly-layered bhajans are strangely soothing. No other singer could traverse such a complex range of emotions with the ease and spontaneity that Geeta Dutt did. In addition to the richness in expression, her was voice was rich in tonal quality, robust and sweet quite like a juicy Dasheheri mango!

Despite all these qualities, today she is merely a memory in the history of Indian film music. Slotted early in her career as a 'club song' singer, Geeta unfortunately got stuck in the very mold that she created for herself with such blazing individuality. Couple this with her own battles with the bottle, failing marriage to film-maker Guru Dutt and a lackluster approach to her career, Geeta Dutt faded away, much before her times.

Yet, her small repertoire is dazzling to say the least. This list more than amply strengthens the belief that God sends all good things in limited editions.

Note : Click on the link to view the video of the song

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1. Tadbeer se Bigdi hui Taqdeer Banale (Film : Baazi(1951); Composer: SD Burman; Lyrics : Sahir Ludhianvi) The seductive and persuasive strains of the guitar, SD Burman's path-breaking western treatment of Sahir Ludhianvi's ghazal, Geeta Bali's energetic screen presence and Geeta Dutt's vibrant singing, the dice had no option but to roll in favour of this 'Baazi'. 'Tadbeer se Bigdi' was the greatest attraction of Baazi and the audience went to see the film in repeat mode only to witness the magic of the two Geetas.

2. Thandi Hawa Kali Ghata (Film : Mr and Mrs 55(1955); Composer: OP Nayyer; Lyrics : Majrooh Sultanpuri) Raju Bharatan, the much maligned film music critic, summed up the effect of Geeta Dutt's voice in a rare moment of clarity- "'Geeta Dutt was thandi hawa and kaali ghata rolled into one. The moment she came, you got the refreshing feeling of aa hi gayi jhoom ke. There was a rare swing in her voice. She hit you like a thunderclap"
What more can one say to recommend the freshness in this song other than to say that the effect on yours truly is without fail '....naache jiya ghoom ke' .

3. Aaj Sajan Mohe Ang Lagalo (Film : Pyaasa(1957); Composer: SD Burman; Lyrics : Sahir Ludhianvi) Guru Dutt's innovative idea of using a vaishnav bhajan to depict the purity of the romantic situation in the film, was ably supported by his wife's singing. Geeta brings a very human yearning to her rendition and yet keeps it sublime and other worldly like a true bhajan. Geeta Dutt's interpretation of bhajans was very distinctive. Whether it is 'Tora manwa kyon ghabraaye' or 'Na mein dhan chahun' or our chosen 'Aaj sajan mohe ang lagalo', she blends the sensual with the sublime seamlessly. This is true to the sufi tradition whose texts abound in erotica that couples with spiritual fervour. It can be argued that if Meerabai made a time-travel trip to the 50s and 60s she would have sung in the voice of Geeta Dutt!

4. Ankhiyan Bhool Gayi Hain Sona (Film : Goonj Uthi Shehnai(1959); Composer: Vasant Desai; Lyrics : Bharat Vyas) The classic Geeta chutzpah brims over in this duet with Lata Mangeshkar. The coy and docile heroine being teased mercilessly (or praised to the heavens) by a bunch of giggling sahelis is one the staple daal-roti situations done to death in hindi film songs. Yet, Geeta's sweet and wicked take of the situation makes this song a standout. Note the way she sings 'Sona' in the first line. This song also represents the female-female genre of songs of which Geeta has many memorable examples like Bachpan ke din, Jaanu Jaanu Ri, Thandi Thandi Hawa , under her belt.

5. Koi Chupke Se Aake (Film : Anubhav(1971); Composer: Kanu Roy; Lyrics : Kapil Kumar) The soft, romantic type of songs flowered in Geeta's melodious and expressive voice. Geeta's singing in Anubhav demonstrates how much she still had to offer even at the fag-end of her life. In the chosen song, she is soft, teasing, whimsical, romantic all at once and the ever so slight tinge of pathos in her voice highlights the enigma that was Geeta Dutt.

6. Babuji Dheere Chalna (Film : Aar Paar(1954); Composer: OP Nayyer; Lyrics : Majrooh Sultanpuri) The slow and sensual club song is Geeta's comfort zone. She could sleep-walk through those kind of songs. Yet, this one stands out for hitting all the right notes at once. The measured sensuality, a hint of vibrancy, a slight edge in the voice and a full throated bass-heavy tone all combine to make this OP Nayyer composition into a classic club song. OP Nayyer composed a slew of such songs for Geeta and later Asha Bhosle. Aayie meherban could be considered the successor to his body of work with Geeta.

7. Mera Naam Chin Chin Choo (Film : Howarah Bridge(1958); Composer: OP Nayyer; Lyrics : Qamar Jalalabadi) This irrepressible upper is arguably Geeta's signature song. The swing in her voice can get even the most languid of people out there up and jiving. It is high energy, peppy and brimming with the joie-de-vivre that is the quintessential Geeta Dutt.

8. Nanhi Kali Sone Chali (Film : Sujata(1959); Composer: SD Burman; Lyrics : Majrooh Sultanpuri) From the seductive to the soothing - the transition is as smooth as butter. The synergy of the Majrooh-SD Burman combination and the nurturing vocals of Geeta Dutt make this lullaby from Sujata as one of the most memorable loris created for Hindi films.

9. Waqt Ne Kiya (Film : Kagaz Ke Phool(1959); Composer: SD Burman; Lyrics : Kaifi Azmi)A brooding film-maker, his honey voiced wife, the beautiful actress and the inextricable mess of their liason - Life was a pre-scripted tragedy for the Dutt couple. Kagaz Ke Phool was Guru Dutt's semi-autobiographical magnum opus that immortalised his personal situation. Kaifi Azmi's lyrics are poignant, SD Burman's tune wistful, but it is Geeta's singing that stirs up the storm of emotions. The songs aches with nostalgia. The travesty of time and the indelible stain that it leaves on the soul is universal. Rare is the person who looks back at his life and does not wistfully discover.... 'hum rahe na hum' .

10. Na Jao Saiyan (Film : Sahib Bibi aur Ghulam(1962); Composer: Hemant Kumar; Lyrics : Shakeel Badayuni)
The character of Chhoti Bahu in Sahib Bibi Aur Ghulam is undoubtedly one of the greatest written for mainstream Indian cinema. Meena Kumari immortalised the tragic Chhoti Bahu with a stellar performance. Anguish, devotion, desire, self-disgust, rebellion and a repressed sexuality every little facet that constituted the complex character of Chhoti Bahu comes to life in this song. When Geeta Dutt poignantly mentioned that this song represented her own emotions rather than that of the film's character, Chhoti Bahu, Meena Kumari and she all fused into the same person. This song is a fitting finale to the list.

See Also

Upperstall Profile : Geeta Dutt

Raaga : Geeta Dutt songs

Geeta Dutt : Biography

Note: This is an edited version of a longer article. The complete article along with some pictures can be found here

Concert Review: In Pursuit of Manna Dey, Part 1

Ritu Chandra — Sun, 1 Jun 2008 00:55:51 EDT

EBC, our local NJ radio station announces that Manna Dey is in town for a show in August 2004. I jumped with joy. Finally a concert of singer who sings songs that I actually listen to(and more importantly has not sung any songs that I do not listen to!). I have to go.

But, there was a hitch. August 2004 was a time when my default concert companion Madhura was snowed down with ill-health and was not likely to accompany me. I needed another concert companion. Thus with a heavy heart I went in search of an alternate bakra. A daunting task, given the genre of music that appeals to me. But then yours truly is never say die, so I asked around. I got diverse reactions

"Manna Dey, Hmmmm Tere Naina Talaash Karen Right??… That's a nice song…..but no.. I don't have much of a enthu for him.", said Savita mulling over the prospect.

She sometimes appreciates vintage music, so what if it is in spurts. I have a good chance. I must give it my best shot.

Tere Naina Talash is not the only nice song from Manna Dey, he has many other "nice" songs like Aaja Sanam Madhur chandani mein and Yeh raat bheegi bheegi, I said, trying my best to sell popular fare.

I have to stop here and say that Savita's music taste underlines the word eclectic. Despite her being my 'bestest' friend for the last 15 years, it would be simpler for me to fathom the direction a New york pedestrian would take than it would be to second guess her reaction to a given song.

"Ughhh! Puhlease there is no way I am sitting through those Raj Kapoor songs Manna Dey or no Manna Dey.", she shrieked(as she often does when she is mildly annoyed or pleased). Ah.. well that one backfired. Well look at the positive side, at least she shares my allergy for Raj Kapoor. Good for the 'friend-friend' bonding part of things. That however put an end at any effort to have her savour Manna Dey in concert.

Another music lover friend Shubhu loved the initial idea. He is a Bong after all and Bongs love their 'Manna Babu'. We had all attended the Asha Bhosle show together. So he went back to his wife Alka with the proposal, soon he was back rubbing a bump caused by the belan on the head. Manna Dey certainly did not boot her hard drive. Even the wonderful time we had hearing Asha Bhosle sing 'Kambakht Ishq', 'Sharara Sharara' and other such legendary songs did not help the matter. Well, that thread closed there.

In this process of trying to procure a bakra, one thing was becoming more and more apparent - for a casual music listener Manna Dey does not seem to have much of an appeal or stature. The true irony for Manna Dey however is this.. that even in the connoisseur circuit he sort of misses the bus. He is regularly accused of being mechanical, dry and predictable. Admirers, he has many, but he has never inspired the fanaticsm that a Kishore, Rafi, Hemant or even Talat Mehmood would inspire. Music lovers like Madhura Purohit who nurse a crush for his dynamic intellectual persona and equally flamboyant voice are few and far between.

And so it had to be Madhura Purohit who would come to my rescue. One evening I casually mentioned my lack of success in finding a bakra to her. In a highly emotional flourish that one reserves for the greatest love of their life, she said she would go.

Given her health condition (it was cancer that she was battling in those days) it seemed highly improbable. The cycles of chemotherapy and the ensuing debilitating pain gave her very little breather of relative physical comfort in which she could step out. And now she had a chemo on the Thursday before the Saturday of the concert. She would be in extreme pain on Saturday. But the clarion call of Manny dear was too great for Madhura to resist. Chemo or no chemo, pain or no pain she was going.

So on a very tentative note I bought the tickets for the show with the strong possibility of Madhura backing out.

Come Saturday and Madhura called me in the morning. I received her call in great trepidation. She had not sounded well at all last night and I knew it only got worse for her as the days progressed after the chemo. I had my doubts she would make it even though she had insisted she would. However, I wanted to wholly encourage her attempts at cheerfully and valiantly trying to fight the monster of the big C so I did not dissuade her from the project. Today, to my joy she came through bright and chirpy all geared for her date with her 'chashmewala hero'. To give a background. Madhura loves all bespectacled Bengali singers from her grand-father's generation. That includes Hemant Kumar, SD Burman, Kishore Kumar and ofcourse Manna Dey (See picture above to know why).. Get the drift?

So Madhuraji landed up at my place on Saturday afternoon and in our subsequent leisurely cups of Darjeeling tea and gossip time faded into the background. When finally we did glance up at the clock it was 7:15 PM. The show was to start at 8:30 PM and it takes at least an hour to get there. Back-calculating, we had to be out of the house by 7:30 PM. Even George Bush would know that it is impossible for two women to get ready in 15 minutes . We eventually scrambled out of the house at 7:45 PM. Mind you a feat that only Manna Dey could get us to achieve. Or rather a feat that only Manna Dey would get Madhura to get me to achieve!

With our past experience with IST(Indian Stretchable Time), we were sure that there was a dim chance of the show starting at 8:30 PM sharp. Yet, self-doubt is the bane of human existence. And as we crossed the 8:30 PM time mark, it began to plague us. What if this concert had actually started on time?. We would surely miss some songs. What if Manna Dey started with my favourite Poocho na kaise maine rain bitayi? The concert would be a wash out if I missed that song. By the time it was 8:50 PM we were quadruply(her double and my double together) sure that we must have surely missed a part of the concert. Why did we let Lopchu take precedence over Manny dear? The regret was writ large in our hearts. And 'chidiya chug gayi khet' ringing somewhere in the recess of our conscience.

We finally reached the venue at 8:55 PM. I quickly drew into the parking space, clicked on the lock and hurried towards the theatre as Madhura scurried behind. As soon we entered the venue, I gave Madhura an 'I told you' look and exhaled. There was a huge crowd standing in the foyer. The function had not started. One up for Indian Stretchable Time!

Now that we had all the time, we fell back into our stately pace. We cashed our e-tickets and headed inside. A leisurely halt at the samosa kiosk, a fruitful debate over the best chutney for the occasion and two plates of samosa later we were in the hall. It took us sometime to locate our seats and settle down. In about five minutes there was a whole lot of hooting and clapping. What's the matter? It took us a moment to realise that these were those traitor kind of Indians that migrate to the US and forget their all Indian Values. You know the kind of people that flaunt their un-Indianess by actually coming on time? Yet however much their 'joota' might be 'japani', their 'dil' is after all Hindustani. And a true Hindustani cannot resist the lure of the catcall, whether in pleasure or in pain. So while we sympathised with their pain of waiting for over an hour we revelled in our cent-per-cent swadeshiness and happily tucked away at our samosas.

Another five minutes there was an announcement that we would be starting shortly. This was accompanied with a flurry of activity around the stage. Another few minutes later the curtain went up and the musicians were all on the stage tuning their instruments. One has to admit that the catcalls do have their benefits as infallible catalysts. The instant activity on stage was proof enough for that theory.

The orchestra was a minimal one with a Tabla player, dholak player, keyboard player, guitarist and an electronic drum(forgot what you call it). I liked that. Too much orchestra is distracting in my opinion.

Finally, the MC came on stage. He was a typical fellow from the northern parts of India. Dressed in a bright silk kurta worn fashionably over blue jeans, he regaled us for a while with an introduction speech and then announced Manna Dey with a flourish of great showmanship. As everyone clapped lustily, the man of the moment made a casual entry with a contrasting modesty that I have come to characterise as very Eastern(read Bengali). He wore a formal jacket and trousers along with his trademark cap. My first impression was that he looked quite well-preserved for an 84 year old. And yes, he did look what I always call him….the uncle next door. Needless to say Madhura has never agreed with that observation of mine. (Please see picture above again!)

The first thing Mannada did after getting the microphone was to very humbly apologise for the delay. The driver had lost his way and it took them 1.5 hours to reach the venue...ouch!. (Psst. I am sure the driver was a man). "I understand the importance of punctuality and I apologise on the behalf of the organisers. They are trying their best but sometimes things happen." he said with effortless humility, practicality and simplicity that can only come from someone of the old school.
That won me over there and then and I suspect it was the same with the rest of the audience. Here is an 84 year old man. He has been subjected to a tiring 1.5 hour drive through the chaos of New Jersey traffic that too just before a concert. He is not responsible in anyway for the delay, yet he thinks he owes his audience an apology. I instantly contrasted that with Asha Bhosle and Amit Kumar the two other film artists I have heard in concert(classical concerts somehow always start on time). Both made grossly late entries, kept the audience waiting for over 1.5 hours and did not think even an acknowledgement of the fact was required. The old school theory, I admit goes a little off skelter in the examples I state, for when has Asha Bhosle considered herself old school?!

Coming back to Manna Dey, after apologising for the delay, he proceeded to introduce a singer whom he described as a budding talent based in New York. He praised her greatly and asked the audience to lend her an ear. I gave a sigh of impatience. In all these concerts these side-entries are very trying on the nerves. In the Asha concert there was Megha Naidu, Sudesh Bhosle and Adnan Sami one had to endure before one got to her. In the Amit Kumar concert there was his wife and a couple of other bores. So in this case too we waited for this new artist who went by the name of Zafreen Ani to come take stage and get over with it.

The lady walked onto the stage and very diffidently asked the audience to forgive her mistakes. I suddenly felt scared for her. She looked as if she would be chomped by the audience. I hoped from inside that they would be kind to her. Then she started singing. She first sang Ek pyar ka nagma hai from the Manoj Kumar film Shor. The whole effect sounded horrible. The orchestra was screaming and drowning her out. No for once LP are not to be blamed for that (** see note below). The effect was entirely the creation on the orchestra on stage.

Then suddenly Madhura pointed to a hand on the sidelines motioning the orchestra to tone down. Guess who that hand belonged to…. Yes, Manna Dey! With the orchestra (or shall be say Manna Dey) in control, Zafreen sang Oh mere sona re next. I was pleasantly surprised. And No, RDB does not get credit for that either (*** See note again!). Zafreen had a lovely voice. A voice that reminded me of Geeta Dutt and Meena Kapoor. A husky voice that is full throated yet sweet and mellifluous. She is surely a very good singer. I hope she gets some good breaks. I enjoyed whatever she sang.

So now, all the extras, side-entries and MCs were out of the way. The stage was finally set for Manna Dey to make an appearance.

But wait... I am all done for today. All that comes in the next installment.

See you!

Notes :

** - LP - Popular Hindi film music directors Laxmikant-Pyarelal known for their love for a grand(read screeching orchestra) and creators of the song in question. This song Ek Pyar Ka Nagma Hai however is uncharecteristically minimalist and could count as one of their best efforts.

*** - RDB - Iconic music director RD Burman. Arch rival of LP (atleast in the minds of their fans), known for his 'Stylish' , 'Classy' and 'Avant-Garde' (not my words) use of the orchestra. Creator of Oh Mere Sona re, the second song Zafreen sang.

Links

More about Manna dey
Listen to Manna Dey's songs
Watch Manna Dey Live in Concert

Photos

Madhuraji and Rituji

Movie Review: Bhoothnath & Desi Little Miss Sunshines

Deepti Lamba — Mon, 12 May 2008 12:39:16 EDT

Here is the thing about the much talked about movie - Bhoothnath – Amitabh Bachchan did a great role as the ghost obsessed with his house, Juhi Chawla acted well as the 'much suffering always on the move' wife, Banku was the mischievous imp and Shahrukh Khan overacted as usual, while managing to look suave in his guest appearance but it was watching little tots dressed as hip hoppers and cheerleaders or little Fergies in a song that made me shift uneasily in my seat.

Like any other parent, I am used to seeing my little daughter grab my purse, wear my sandals and act like a grown up, but if she happens to gyrate and shake her hips like Mallika Sherawat or shimmy like the cheerleaders nowadays at the IPL cricket matches, I would hang my head in shame as a parent.

But it seems this Bollywood virus is quite contagious amongst the current breed of parents. There are specific dance instructors who hold workshops where tots are taught Bollywood dance steps, wear skanky clothes and perform for the proud parents.

It seemed the audience found more reason to say Aaeeyo when Anthony, the street bum, took a swig of alcohol but no reason to blink seeing little tots do dance steps that screamed sexuality loud and clear. They seemed more offended by drunken behavior.

There is much reason for us to be disturbed if such trends are allowed to take root. We used to find little girls dressed as little Britneys to be horrific but now it’s being promoted in India as well. Where is our censor board? Where are the women organizations screaming morality and claiming this is against Indian values this time around? Is no one going to protest that we are taking away their childhoods too soon? Are we to have desi ‘Miss Little Sunshines’ soon?

For Christ sakes - eight year olds wearing torn leggings, skanky tube tops and minis that barely cover their bottoms is not okay whether in a kids movie or in adult movies.

While leaving the theater, I wondered why otherwise such a sweet movie left such a bitter taste in my mouth. Take that song out and the movie would be a pleasure to take the tots to.

Autorickshaw!

IdeaSmith — Tue, 4 Mar 2008 09:23:17 EST

Long, bumpy rides in Mumbai's bylanes bring you face to face with some terribly amusing sights.

Pssst....for those of you who can't read in the Mumbai smog, it says,

Mera Road Bheyender

Escelworld

I have always wondered what the names stuck on the back of taxis meant. Would he be offended if I asked him to go elsewhere? Now we see our autorickshaws have abandoned social awareness (Mulgi shikli, pragati zhali) in favour of more practical (if not indecipherable) engravings.

Speaking of which, the Mumbai autorickshawallas and taxiwallas must be the most amourous of all Indian men. I'm thrown to one side while he negotiates a pothole but I land on a poster of a pouty Urmila Matondker. From the other corner Amisha Patel stares balefully at me, as if asking me why I favour her colleague. From the side-mirror dangles a beaded heart with tassles. And Himmesss implores me to show a glimpse of my face. Anybody remember Altaf Raja of Tum to thehere pardesi fame? Alas, a decade later, he has finally been dethroned as the king of rickshawalla gaana!!!

And finally, my piece de resistance:

I rest my case. No one understands my dil ka haal better than this man!!