Desicritics Category: Media: Music - Hindi

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!!

Music Review: U Me Aur Hum

Amrita Rajan — Tue, 4 Mar 2008 04:53:08 EST

If you'd asked me to guess, I wouldn't have picked U Me Aur Hum for Ajay Devgan's directorial venture. The odd Hum Dil De Chuke Sanam apart, Devgan's real success lies in movies where he's been able to portray angst ridden characters with something to prove. With U Me Aur Hum, he's either hoping for a safe bet at the box office or wants to try his hand at something different (for him). Written by Robin Bhatt, Sutanu Gupta and Devgan himself, according to the syrupy synopsis it is:

A love story, that begins at sea. Ajay is on a cruise with his friends Nikhil and Reena, unhappily married, and Vicky and Natasha, happily unmarried. Ajay is having a wonderful time dealing with martial strife, lots of bad language and huge hangovers, when he finds Pia, and time stands still.

So they battle all odds, and dance, and sometimes they fall. But every time they fall, they fall in love. And that's what a successful marriage requires. Falling in love many times, always with the same person.

This is the special love story of Ajay and Pia. There may be no monuments dedicated to them and perhaps their names will soon be forgotten. But in one respect they succeed as gloriously as anyone who's ever lived: They've loved each other with all their heart and soul; and in life and marriage, this has always been enough.

Hmm. Personally, with a set up like that, the only thing that makes me in the slightest bit interested in this movie is the fact that it stars Kajol and has music by Vishal Bhardwaj. And while Kajol has let me down from time to time (hey there, Raju Chacha), Bhardwaj has always been awesome. Will the U Me Aur Hum album, with lyrics by Munna Dhiman, be his Waterloo? Let's see:

Jee Le - This is why I love Vishal Bhardwaj: even when he churns out a ho hum song, he does it with more class than just about anybody else. If you’re a fan of Latin rhythms (and it’s hard not to be) then this is a very pleasant song. The obligatory amore, baila and te quiero stuff manages not to grate the way others of this ilk so often do. Of course, I don’t speak Spanish so maybe people who actually understand the lyrics might disagree. I can only hope they're better than the Hindi ones penned, which are strictly pedestrian. Shreya Ghoshal and Adnan Sami croon their way affably through it and it all pretty much sounds like a cruise ship band putting on a good performance. I don’t know if that’s what Bhardwaj and Co. were going for, but that’s what it is.

U Me Aur Hum (Part I) - Remember how Shreya Ghoshal was so absolutely lovely and perfect in Jism? Now imagine her being almost lovely and perfect. That’s what this song is. Again, it’s not godawful or hurting my teeth but five minutes from now I wouldn’t remember a thing about it. Actually, no, I lie - I’d remember that little hip-hop-in-the-land-of-boyband riff (”Love gives you the power / to open up and flower / covering every hour with its refrain”) that comes up now and again. The male singer is uncredited and he ought to thank his stars for small mercies. Dhiman wades in rather late to try and save the day by injecting a little meaning into the song, but it's no go.

Saiyaan - You lost me at first line: “But I asked for a lover who’d be like a girlfriend,” Sunidhi Chauhan complains. So Kajol’s a lesbian then? The rest of the song is about how she finds her hubby such a mystery - he likes to watch TV, doesn’t pay her much attention, is a workaholic, not a morning person, kind of chubby, (”like a haveli“)… I’m sorry, what’s the mystery here? Adding to the confusion, the song stopped all of a sudden, like they’d just given it up as a bad job. Sunidhi really needs to pay attention to the crap she’s being fed these days if she wants to keep her A-list career.

Phatte - I have no idea what this horror is but it has Adnan Sami battling a severe case of constipation and it makes Sunidhi Chauhan angry. I don’t blame her. Its stated ambition is to make all the “the birds like parrots fly”. I decided to join them in their escape. Tell me when it’s safe to come back.

Dil Dhakda Hai - Oh goody, Adnan Sami’s back to mumble some more. If this is what gastric bypass surgery does to your vocal chords, then it’s time to bring back the fat. This time around he keeps Shreya Ghoshal company. And she sounds terrified as she well should, singing a song about under-seasoned food. Or maybe it’s about oral sex. Or cannibalism. Or something. If I could get over the crappy beats I’d know more. Except, do I really want to find out more about stuff like this:

Tu hai meri shayri
Chori ki hai Dairy
Sher tagde tadge hai
Chidiya Ghar se pakde hai

Translation:

You are my poetry
From a stolen diary
But the lines are solid
And caught from the zoo

Ooh, the last two lines are really clever, see? Because sher means verse as well as lion and you can see lions in the zoo... By the time the half-hearted rap shows up, I really don’t give a shit. It’s like kicking someone with a head injury - I can’t even feel it.

U Me Aur Hum (Part II) - Just when I’m wondering when this torture will end, Vishal Bhardwaj breaks out his guitar and sings this song. Suddenly, all those hokey words make sense and the world is lovely again. What the hell just happened?

I have no clue. But I can only hope the movie will be better. Just so it’s, you know, watchable. My eyes are on you, Kajol. Also I’m really happy the internet exists so I could listen online and didn’t have to pay for this crap. The End.

Offensive Ads - The Cad Fad

IdeaSmith — Tue, 19 Feb 2008 00:34:09 EST

I'm quite offended by this new Sprite ad. A lot of ads seem to be offending me these days. No, it isn't because ads have suddenly become offensive, it's because I'm watching more TV, and being increasingly appalled by what popular culture is shoving down our gullets.

To come back to the baki-sab-bakwaas drink, the ad features a guy telling his lady love that he must leave. When she asks Juliet-like why he has to go so early, he replies,

I've a date with my other girlfriend.

*Giggle giggle at boyfriend's mischieviousness*

Cut to boyfriend sliding into seat facing girlfriend no.2 who inquires pettishly, why he's late. And he drawls,

Had a date with my other girlfriend.

*Giggle giggle at boyfriend's mischieviousness*

Underline the "At least I'm honest!!" line along with the standard all-else-is-crap funda. Ting tong.

Tell me again why it's cool to be a cad? Of course I'm peeved by the sexism in that played up by popular culture. Anybody remember an Indipop song a few years ago featuring Lara Dutta double-dating two guys? The song was quite tellingly titled,

Tu chaalu hai re...

Then let me tell you what pisses you off the most. Having to have the following conversation with a close girlfriend:

She: Why on earth do we fall for men like this??
Me: Simple. Lousy taste.

It's not a crime to be a cad, but it should be. Just recently I was called on to testify in one such case (if we may look at things in that light). It's hard to tell whether my testimony would have swayed the verdict but the evidence certainly was damning. And yet, the culprit walked off scot-free. Damn him, damn his ilk. Don't bother telling me that men aren't all the same, please. One rotten creep is enough to ruin the entire barrel of trust. So, how you ask, did I speak? I didn't. Like I said, I doubt my testimony would have changed much.

Lousy taste is something we're all guilty of and I suppose we should be in handcuffs for it, in the same moment that the cads hang.

Baabul Moraa - The Original Inheritance of Loss

Shantanu Dutta — Thu, 14 Feb 2008 00:25:24 EST

“Baabul Moraa, Naihar Chhuuto Hii Jaae
Baabul Moraa, Naihar Chhuuto Hii Jaae
Chaar Kahaar Mil, Morii Doliyaa Sajaave.
Moraa Apanaa Begaanaa Chhuto Jaae.”

O father, I depart forcibly from my home
Four men gathered to lift my palanquin
My loved ones will become strangers
The innermost portals of my home will be unreachable

Generations of Indians must have grown up on this haunting thumri in Raag Bhairavi since K.L.Saigal immortalized it in the 1938 film, “Street Singer”. Not many may know its history and source; typically it has become exemplified as a folk melody associated with Vidai rituals when a bride leaves her father’s home for her husband’s home.

I thought the same too; till a stray paragraph in a book I recently read and reviewed by the name of “Those Days” indicated that the truth might lie some where else and that the lingering melody is actually a song of lament – a dirge, if you will at being hounded of home and hearth, never to return again. The lament is that of the last Nawab of Awadh, Wajid Ali Shah, whose life and times have been immortalized by Satyajit Ray in Shatranj ke Khilari. The origins of this composition and its composer - the epicure Wajid Ali Shah - are not as well known.

Wajid Ali Shah wasn’t probably much of a king but he was surely an artiste and a connoisseur and his lament at being exiled out of his beloved Lucknow, was the first modern original inheritance of loss that is recorded. In fact the annexation of Awadh or Audhas the British spelt was one of the events that led to the first war of independence in 1857. That he was popular enough in his own way is evidenced by the fact that when his royal caravan left Lucknow, the poets of his court lamented the exile of the Nawab as follows:

“Lucknow bekas huwa Hazrat jo-gaye,
Fazle gul kab ayegi, kab honge aakar naghma sanjh,
Ek muddat ho gayi murgaane gulshan ko gaye”

One’s roots and ancestry is a strange thing. Whether it is a forced migration as it was in the case of Wajid Ali Shah or a voluntary exiling of one self for the sale of a better life as it is often the case today, there is an inner lament that may never find proper expression in words unless one is a writer of some kind. it is possible that Saigal’s song found the enduring popularity it did with just a tabla and a harmonium as an accompaniment because its heart tugging words pulled a chord in the heart of every body who has felt alienated and the strange foreboding that one is bidding farewell to a familiar territory.

There is an anecdote about the song composed by Wajid Ali Shah got into a Hindi movie. After the British annexed Awadh, they exiled him to the Metiaburz suburb of Kolkata, where he established a mini court with some pomp but no glory. There he tried to recreate the fabled charm of his legendary Lucknow and his mehfils were the favored destination of the Kolkata aristocracy.

The Nawab’s dirge was often sung there and though much of the pomp of the court vanished after Wajid Ali Shah died in 1887, the song remained on the repertoire of the musicians lamenting their own fall from grace. It continued to be sung in the progressively decaying music concerts of Kolkata, till Rai Chand Boral, the producer of Street Singer chanced to hear it in one of them and decided that it was just fitting for K.L.Saigal and the film. History has of course proved him right.

Finally of course, those who have read the biography of the Last Mughal by William Dalyrymple will know that Wajid Ali Shah wasn’t the last to die mourning the inheritance of his loss. Bahadur Shah Zafar, one of whose honorifics was jahanpanah (the shelter of the world) was exiled out of Delhi’s Red Fort to distant Rangoon and die lamenting that the one who once provided shelter to the world did not have luxury of being certain of a few meters of ground for his burial and a few yards of cloth for his shroud. If you have read the first few chapters of Dalyrmple’s book will know how the emperor was eventually buried. Loss is a strange phenomenon. It spares nobody. May be those boarding those crowded trains to get out of Maharashtra will not know but the eviction game has happened before. And will keep happening again and again.

TV Review: Idea Dhoom Macha De - Not A Bad Attempt

Sakshi Juneja — Wed, 6 Feb 2008 07:02:25 EST

Most Indian Entertainment Channels are busy these days unleashing one reality show after another. NDTV Imagine is out with its second attempt Idea Dhoom Macha De.

The concept of the show is pretty clear-cut; eleven of India’s most popular and professional singers competing against one another for the title of the country’s Best Live Performer. The contestant list goes something like this - Anaida, Baba Sehgal, Babul Supriyo, Devang Patel, Jaspinder Nirula, Jassi, Kamaal Khan, Richa Sharma, Sapna Awasthi, Suneeta Rao and Taz. And Shankar Mahadevan, Prasoon Joshi and yesteryears superstar, Sharmila Tagore, are judging the show.

The hatke factor as stated by the channel and other concerned parties is that this musical reality show is not a hunt for musical talent but an electrifying live performer from the lot of already established singers. All fair and square, me thinks. However I am not very convinced with their version of an “established singer”, I mean come on - Devang Patel, Baba Sehgal, Suneeta Rao, Taz, Anaida, etc - most of these guys are what we call “one-hit wonders”. Given the fact that their respective careers never really took off, using words such as “superstars” and “popular” is nothing but misleading the television junta.

Anyway giving them the benefit of doubt, I did force myself to watch Idea Dhoom Macha De’s Republic Day episode and this is what I thought.

Malaika Khan Arora – You know, I am bloody hell surprised that the members of the so-called “moral brigade” till date haven’t sued this woman. Agreed she has some sexy styling taste and equally sexy figure to go along with it but when did “bosom exposure” become so much necessary on Prime Time Television? Looking at what the anchor was wearing, my aunt immediately commented, “Utte da thalle gir raha hai aur thalle da utte”, meaning her top was coming down and her skirt was way up. I sincerely do believe that Mrs. Khan excels in her anchoring skills however toning down of the wardrobe is the need of the hour. It is a family show after all and not some Bollywood item number.

Sharmila Tagore – Just as Shilpa Shetty was in JDJ 1, Maliaka Khan was in NB 1 & 2 and Sonu Nigam was in Indian Idol 1, Sharmilaji is the “nice” judge on IDMD. Always encouraging and applauding even the crappiest of performances – it’s her first time at full on judging a reality show so won’t be too nasty. But seriously the woman should try not to mix Hindi in English and vice versa because the ending result is simply awful. For instance, this is what she said to pop singer Taz – “In your singing there is mitti ki kushboo”. I mean I can understand one needs to be different from another in their judging remarks but this is way off-track re.

Babul Supriyo – Boy! Now did this man apply make-up or did he apply make-up. His cheeks hands-down toped the scale of rosiness surely being the envy of all female participants. On a serious note though, I believe Babul Supriyo is most likely to win this show considering - he has had a decent playback singing career, done tons of Live-stage performances, known acquaintances with two of the judges and is quite popular among the masses. Somehow to me his inclusion seems slightly un-fair towards other participating singers.

Baba Seghal – Okay, I know he doesn’t even qualify as a “talented singer” however his performance was one of the few I really liked. I found myself still grooving to his one-time hit “Thanda Thanda Pani” and it did bring back many fond memories.

Anaida – Undoubtly the worst of the lot and mostly likely to the first to be bumped off. Coming to think of it, was she even singing?

A look at others - Devang Patel, the less said about him, the better. Sunita Rao, Taz, Kamaal Khan and Jassi were bearable. Richa Sharma, Sapna Awasthi and Jaspinder Nirula were impressive, not surprising though looking at their playback singing experience.

Overall I would say Idea Dhoom Macha De makes a decent watch; nothing out of the ordinary but much better than most reality show on air at the moment. And definitely far superior than their first attempt.

Movie Review: Khoya Khoya Chand

Aditi Nadkarni — Thu, 31 Jan 2008 02:15:22 EST

The glamor of films and the mystical lives of the stars when they weren't shining on the silver screen have always been intriguing to me. The current media glare scrutinizing Bollywood leaves nothing to the imagination. The yesteryear's secret affairs, romances and tragedies, however, were hushed, making them seem even more clandestine than they really were. At a time when affairs of the heart were a forbidden fruit, those who boldly bit into it while still in the limelight became the subject of biographies and cinematic gossip history.

In Khoya Khoya Chanda (KKC), writer-director Sudhir Mishra, in his own words, draws inspiration from his years of experience within the Hindi film industry to paint a picture of Bollywood as it was in the late 50s and 60s.

Nikhat (Soha Ali Khan) arrives in the 50s film industry as an ambitious, dreamy eyed side dancer. During the course of the film the audience can never quite fathom whether it is her naivety, her lofty aspirations or her fickle sexuality, that lands her in the cozy, manipulative arms of the established filmstar, Prem Kumar (Rajat Kapoor). This uncertainty about Nikhat's character, I think, adds to her curious character, her enigma. While the actress in her revels in Prem Kumar's attentions, her heart finds an unlikley mate in Zaffar, a pensive, struggling writer who has just begun to make his presence known in Bollywood circles (Shiney Ahuja). This triangle is not the focus of the film but does ultimately provide the flame of chemistry and sensuality under the simmering plot.

Soha Ali Khan, though not the first and most certainly not the best choice to play Nikhat, manages to embody a 50s Hindi film heroine with some minor inadequacies that probably should be credited to a fundamental error in casting. One cannot help but imagine Vidya Balan as the perfect Nikhat. Shiney Ahuja on the other hand, despite his chocolate hero good looks, has consistently managed to steer clear of mediocre roles and in this film owns and delivers the character of Zaffar with complete honesty.

In recent years the character artist has become the director's channel for creative exploration. Directors have begun to use this mouldable persona to reveal what they cannot with the protagonists who are expected to cater to commercial appeal.

Right from Machiavellian "Langda Tyagi" of "Omkara" to the naughty "Bahurupiya" of "Dor", this character lends the audience a multi-dimensional persona to love, hate or identify with. While director, Sudhir Mishra, has never been one to bow down to box office trends, in KKC, he too uses the characters of Shyamol (Vinay Pathak) and Sharda (Sushmita Mukherjee) to add a sense of practicality and old world glamor respectively to the film. Both artists manage to carry off these personas with ease and much flair. Sushmita Mukherjee brings to life a Devika Rani-like character. But the real fire-cracker to watch out for in this film is newcomer, Soniya Jehan, the grand-daughter of none other than Mallika-e-Tarannum, Noor Jehan. Not only is the young debutante as beautiful as her celebrated grandmother but also does justice to the spicy character of Ratanmala, a possesive and temperamental actress.

Sudhir Mishra borrows from some of the poignant love affairs and tragedies of Bollywood's past. Shades from the ill-fated Madhubala-Dillip Kumar love affair and the tragic life of Meena Kumari are used to make up parts of Nikhat's story. Zaffar as the brooding writer turned director reminds one of Guru Dutt's eccentric vision and the long list of commercial flops that it brought inspite of his creative genius. Some parts of the story seem like they could be a slideshow plucked from the lives of any of the big stars of the 50s Hindi filmdom.

The graphics and the authenticity of the sets could have been better but are completely excusable for a low budget film attempting to do something differnt with its unique plot and genre. Sachin Kumar Krishnan's cinematography stays true to the dark plot using shadows and sepia shades to evoke a weighty combination of nostalgia and mystery. Quite interestingly, this film abandons the ariel or pan angle shots that are so characteristic of today's films where a lot has to be crammed into three hours and instead chooses film-noir style low or oblique angle shots and close-ups which were characteristic of those times.

However, it is ultimately Shantanu Moitra's tunes that transport us to a different time. His songs set the scene and the mood for a film facing the challenging task of bringing the past to life. Moitra repeats his "Parineeta" feat by composing rare and original tunes that seem like they belongs to a different period and yet could easily fit into any of today's genres, be it qawwali or a catchy dance number. "Yeh Nigahein" and "Thirak Thirak" are the foot-tapping, dance numbers picturized on a 50s film set. My personal favorite though, was the title song, an off-beat qawwali, "Khoya Khoya Chaand" rendered in the equally off-beat vocals of Swanand Kirkire (of the "Hazaron Khwahishen Aisi" fame).

All in all, this "Lost Moon" is a film that only once in a blue moon, captures an original plot and brings for the classes, the haunting quality of a classic.

Akshardham and Sonu Niigaam Symbolize Unity in Diversity

Kavita Chhibber — Wed, 28 Nov 2007 00:58:48 EST

Its beauty and majesty inspires an awed silence, the serenity and good vibrations that emanate in its interiors make the few hours that you spend there truly an experience unlike any other you may have had at an edifice of this stature. I have always felt that when commercialism rears its ugly head, divine structures become devoid of celestial vibrations. Mercifully Akshardham so far seems to belie that observation.

On a beautiful morning in September when I stood outside this majestic edifice in Delhi, I thought to myself that Akshardham must be the most beautiful divine dream anyone could have dreamed.

Today, the majestic Akshardham temple stands on a 100 acre property symbolizing how the diversity of Indian culture, its architecture, its knowledge, and the bhakti bhava-this deep desire to give and to serve, within its portal can become a unifying force.

He is perhaps the most outstanding young singer to emerge out of India in recent times, and when Sonu Niigaam walked onto the stage to perform his fresh new interpretation of Mahatma Gandhi’s favorite hymn Vaishnav Janato, as part of the inauguration ceremonies to honor Drew Faust, the first woman to be installed as the 28th President of Harvard University in 371 years, it was the first time in the 371 years of Harvard history that any Indian artist had been invited to perform at the installation ceremonies.

I had written separate pieces on Akshardham and the historic event at Harvard, but in a strange way they feel interconnected-the beauty and grandeur of Akshardham and the beauty of the moment when Sonu Niigaam stepped on the Harvard stage and sang Vaishnav Janato, it became a surreal moment not just for him perhaps but also for all South Asians world over. Sonu Niigaam is a brilliant singer and while off and on he gets negative press, the more I get to know him the more I discover a very genuine, warm hearted, extremely bright man. There are very few singers with either his versatility or range of voice in his age group, and when he stepped on the Harvard stage, he became a symbol of a transnational world, that Drew Faust talked about in her inaugural speech.

There has always been a group of people who are critical of millions of dollars spent on building yet another temple, and I have been among them. Like many others, I feel that the same money could have been used to help the poor, living in the slum areas in India, and for better purpose for the thousands of underprivileged South Asians here in the US than building the umpteenth temple.

So I went to Akshardham with a skeptical mind. I thought it would be yet another commercialized tourist spot that Tirupathi in the south had become. It was the grandeur of the place that first strikes you obviously and pretty much takes your breath away. Millions and millions of man hours were devoted to building Akshardham, which is a modern miracle not just because of its splendor but also the record time in which it was built.

You walk in and very soon you start feeling the vibrations, and a sense of peace just embraces you. In a discussion with the founder of Isha Foundation Sadhguru Jaggi Vasudev, I had been told about the scientific way ancient temples were built and what the vibrations emanating from the temple did for meditators who went there. Akshardham is one such temple. The grandeur of all temples erected by the Swaminarayan organization is submerged by the amazing love and volunteerism that seems to pour from the million devotees world wide. The organization does outstanding work in so many areas.

Akshardham has become a symbol of the united diversity of humanity, as people from all over the world visit and mingle lovingly there. Artisans from all regions of India have donated their services and their craftsmanship to create this modern wonder. I wish we could be as loving and inclusive outside such serenity invoking monuments, in a world that seems to be filled with hatred and fear.

A full-length feature on Akshardham, including exclusive video footage: CLICK HERE