Bollywood – Hindi movie songs are the most effective a part of many issues — most frequently higher than the movies themselves, says Sulagana Biswas


Relive the story it got here wrapped in, flip up the creativeness and float away

Sourced by the correspondent

Sulagana Biswas


Revealed 29.05.22, 02:50 AM

This specific model of magic, it will possibly occur anytime. You might be out on a road that could be a tangle of honks, wheels and irritability. Instantly, you search for and above the wires, poles and jagged silhouettes of buildings, the sky is waltzing with orange, gold, pink and a blushing lavender. And also you hum Roz shaam aati thhi, magar aisi na thhi, roz roz ghata chhati thhi, magar aisi na thhi.

You’re in all probability not considering of Laxmikant-Pyarelal, Majrooh Sultanpuri or Lata Mangeshkar. A lot much less of the almost-forgotten 1974 movie, Imtihan, directed by Madan Sinha, which was a free remake of To Sir with Love, or its leads Vinod Khanna and Tanuja. However you’ve hummed on a rare night. 

For me, Hindi movie songs are the most effective a part of many issues — most frequently higher than the movies themselves. They’re maybe the most effective factor about my metropolis, Calcutta’s soundscape. They’re my go-to for nostalgia or ardour or perspective. Generally simply an excuse to soak within the music in all its eclectic range, be it Hindustani classical or Carnatic or folks or jazz. Generally, a aware effort to grasp how advanced poetry will be made so miraculously easy as to be set to music.

A superb Hindi movie track will be so simple as a mood-upper. However it can be many issues. Take listening to Roz shaam aati thhi, as an illustration. It’s a track of wonderment, of the stirrings of affection that make one take a look at the world with new eyes. The inimitable Lata, whose voice captures the ache of spring, makes positive we all know it’s a track of a younger lady’s need. Up to now so good. 

However right here comes the whammy. It was written by a person and composed by two males.   

How did Majrooh Sultanpuri, a person in his 50s at the moment, know the phrases a woman awakening to like and need would possibly use? How did Laxmikant Shantaram Patil Kudalkar and Pyarelal Ramprasad Sharma know the soundscape of her deepest emotions? 

Majrooh writes for the lady — Dagmagati hoon important, deewani hui jati hoon important, deewani, deewani, deewani… deewani hui jati hoon important. Laxmikant-Pyarelal and Lata infuse on this half a breathlessness; it lends the lovers’ sundown outing a dreamlike high quality. The repetition of the phrase deewani, the suave use of the current steady make her ecstasy pressing and fast, the self-realisation of shedding her personal self a poetic oxymoron no much less.

After which comes the chorus — which is a query that reveals her shock, as a result of her emotions are nonetheless very new and younger — Yeh aaj meri zindagi mein kaun aa gaya.

How did Laxmikant and Pyarelal know methods to make her phrases sing? Within the Seventies, Lata’s sweetness and vary made her the apparent playback alternative for a romantic variety of a number one woman in Hindi cinema. However it’s not that straightforward. How did the music administrators know that the elegant French horn and the conga, a slim-hipped drum from Cuba, which they used within the orchestration, would assist Lata’s vocals soar? In distinction, the chorus is sluggish and dramatic, and provides the musical impact of clouds piling on clouds. It echoes throughout the panorama and the track and the cinematography collectively create a haunting synaesthesia that offers the track an extended life than the movie.

This additionally occurs due to an alchemy as superb as that sundown. The track ceases to be Lata’s or Majrooh’s or L-P’s and even that of the character that Tanuja performs within the movie. It turns into mine and yours. It pours out of ramshackle outlets in alleys, it is part of karaoke evenings at upscale weddings, it’s remembered throughout sunsets shared and solitary, it’s dissected in heated addas about who’s higher, Majrooh or Sahir or Kaifi or Shailendra, L-P or Pancham, Lata or Asha. It’s a track for endorphins throughout a tense commute or the nice previous antakshari. Forty-eight years after its beginning, it’s nonetheless heard and hummed.  

It’s only one track, one amongst numerous songs of Hindi cinema the place characters get to sing their most profound or playful or passionate conversations. In a Hindi movie, a track will be something from need to denouement. One can argue it’s an artifice, mediated at so many ranges, and in lots of circumstances harms the cinematic narrative.

All stated and carried out, the Hindi movie track is probably essentially the most acceptable cultural shorthand we have now in our nation in the present day. It bridges all types of divides. You hear the strains of your favorite Hindi movie track and really feel all heat and fuzzy inside. Which is saying loads, given the facility of cancelculture and bigotry in the present day.


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