दीप्ति नवल को हम हमेशा, रैकेट चलाने वाली के रूप में नही, वरन एक बेहद प्रतिभाशाली अभिनेत्री के रूप में याद रखेंगे।
हम आपको हमेशा एक बेहद प्रतिभाशाली अभिनेत्री के रूप में याद रखेंगे।
दीप्ति नवल प्रकरण से मुझे काफी झुंझलाहट हुई। ये समझ में आने लगा है कि मीडिया का स्तर ना सिर्फ रसातल में चला गया है बल्कि ये अब किसी के साफ़ सुथरे दामन में कीचड पोतने का सबसे कारगर तरीका बन गया है। नहीं तो मीडिया को क्या जरुरत थी कि इस बात को प्रचारित करने कि दीप्ति को आख़िरकार “प्रोष्टिट्यूशन डेन” से मुक्ति मिली। जबकि मामला सिर्फ ये था कि उसने अपना पुराना घर कालोनी की सोसिएटी के कर्ता-धर्ता लोगो की बदसलूकी की वजह से छोड़ा जो उसकी निजता का सम्मान नहीं कर रहे थें।
दीप्ति नवल ने शायद बातो ही बातो में अपना दुखड़ा किसी पत्रकार सें क्या शेयर किया कि उसकी बाते तोड़ मरोड़कर मीडिया की सुर्खियाँ बन गयी। आप कह सकते है कि ऐसी बात चश्मे-बद्दूर के दौरान होने का सीधा सा मतलब ये है कि फ़िल्म को प्रमोट करने का ये स्टंट भर था। इस सरलीकरण के पीछे तर्क सिर्फ ये हो सकता है कि पब्लिसिटी कैसी भी हो फलदायी होती है। तो क्या एक समर्थ अदाकारा के इतने बुरे दिन आ गए कि चाहे सही में या झूठ में उसे अपने अस्तित्व के लिए ऐसे खबरों के दम पर निर्भर रहना पड़े?
माना कि ये भी एक कडवी सच्चाई है कि फ़िल्म एक्ट्रेस या एक्टर्स को बुरे दिनों में हर तरह के समझौते करने पड़ते है लेकिन ये स्वीकारने में बेहद तकलीफ है कि नियति ने दीप्ति को भी गलत राहो पर धकेल दिया। दीप्ति की कठोर प्रतिक्रिया मिलने के बाद ये समझ में आ रहा है कि ऐसा कुछ भी नहीं जैसा मीडिया दर्शा रहा है। ये मीडिया का सुर्खिया बटोरने की कला का नमूना भर था। दीप्ति नवल हमेशा साफ़ सुथरी फिल्मो में बहुत शशक्त अभिनय के लिए ही याद रखी जायेंगी। ये वाकई कलियुग है कि कोई किसी के उजले चरित्र से कुछ सीखता तो नहीं लेकिन उसके उजले दामन में कालिख पॊतने के सौ बहाने ढूंढ लेता है। ऐसे पत्रकार जो दूसरों की बदनामी पर पलते है ऐसे लोगो को पत्रकारिता जगत से बाहर कर देना चाहिए। इनसे पत्रकार नाम से उपजने वाले समस्त सरोकारों से कोई सम्बन्ध ना रखने दिया जाए। अगर मार्कंडेय काटजू कि बात माने तो ऐसे लोगो से उनके पत्रकार सम्बन्धी लाइसेंस को खारिज कर देना चहिये। बहरहाल पत्रकारिता के नाम पर जो तमाशे हो रहे है वो दुखद है।
Pic Credit:
Songs For Beloved Moon Embracing Clouds: Hiding, Smiling And Crying
Moon And Romance! It’s Commonplace 
Well, for past few days, I was bit taken aback by some sad developments. I wanted to finish the English version of one of my well read posts in Hindi. However, lack of concentration on my part was delaying it. By dint of fortune, I came to participate in conversation on a prominent Radio Forum, Shrota Biradari,dominated by oldies, which was involved in making of document related with Hindi movie songs based on moon. Moon has always appealed to my senses. I am a night watcher since childhood and to gaze at stars and moon has been my favourite past time. Even now in my village, when I am all alone, surrounded by nothing but stillness of night, penetrated by chirping of cricket etc., I sit hours in open to gaze at the moon. Neil Armstrong had to visit moon to end up as philosophical human being but my passion for moon is deep enough that it does not require a trip to moon to admire its beauty.
Anyway, the forum involved in preparation of songs missed some of my favourite songs. I wanted to add these songs to the document but I thought let’s share the same songs for readers and friends, having taste for refined music, narrating my own personal connection with the songs. Don’t forget that popular numbers already got included in that document and these are the ones which are close to my heart, but, sadly, these did not appear in that document. The silver hairs got trapped in age which produced gems like “O Raat Ke Musafir” (Miss Mary), ”NaYe Chand Hoga” ( Shart) and “Ye Raat Ye Chandni Phir Kaha( Jaal), to name a few. So let me include some of the songs they failed to take note of.
“I’ve tried the new moon tilted in the air
Above a hazy tree-and-farmhouse cluster
As you might try a jewel in your hair.
I’ve tried it fine with little breadth of luster,
Alone, or in one ornament combining
With one first-water start almost shining.
I put it shining anywhere I please.
By walking slowly on some evening later,
I’ve pulled it from a crate of crooked trees,
And brought it over glossy water, greater,
And dropped it in, and seen the image wallow,
The color run, all sorts of wonder follow.”
( The Freedom of the Moon by Robert Frost)
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1. Badalo Me Chup Raha Hai Chaand Kyo
That’s a charming song from movie directed by Mahesh Bhatt’s “Phir Teri Kahani Yaad Aayi”. The best thing about Mahesh Bhatt is that no matter what’s the theme of his movies, he gives brilliant songs. The camera angles employed in his songs make the songs look so terrific. Just remember “Tumhe apana banane ki kasam khayi hai” from Sadak – a well picturized song which depicts the state of mind of woman trapped in world of prostitution, trying to come to terms with new-found freedom. Anyway, this song is also well shot. And like always, the movie involves doomed romance. For me, the songs brings back the memories of 90s and this movie’s almost all the numbers were simply too good. Lyricist Qateel Shifai and musician Annu Malik did a wonderful job. Interestingly, as a student, I had limited access to money, and thus, buying cassettes always meant sacrificing the last few notes found in my pocket. So I had to doubly assure whether or not all the songs were melodious in cassette. That meant taking “panga” (starting a fight) with the shopkeepers as they were often reluctant to make you listen all the numbers in bits and pieces. Anyway, these type of cassettes did full justice to few bucks (paisa vasool) which I managed to save those days.
2. Dhanno Ki Ankhon Mein Raat Ka Surma
Amazing song! No wonder R D Burman is hailed as a true genius. Look at the sound employed in the travel song with folk touch. Talking of this sound effect, he told to Gulzar that when he first played this instrument, flanger, it produced a very harsh noise. The people around him were bit skeptical about its effect in ensuring melody. It was not so easy to make use of it. But watch this superbly picturized train song and you would realize that how well R D Burman used this instrument to create rhythm effect produced by train as it travelled through the valley. Hey, the song talks about Dhanno but this Dhanno is totally different from Basanti’s Dhanno! Like always imagery employed by Gulzar mesmerizes us. The song is visual delight as well. Never before train song produced such a romantic appeal. Above all, it’s “Chand Ka Chumma” (Moon’s Kiss) which kills us!
Again R D Burman and Gulzar come together to produce this great number. I like the song because the moment it refers to stealing of moon and love birds spending time behind some building like church, it brings into my mind the great buildings of British period. Although, this song does not feature Church but images of majestic buildings from previous eras appear before the eyes. By the way, tell me how many times have you seen Church being used as a spot to promote romance? But anything was possible if two souls, always out of their minds, Gulzar and R D Burman sat together to compose songs. These two always hailed themselves as crazy souls. Oh yes, crazy souls alone made some sense in world turned into hell by intelligent souls!
This song from movie “Rog” has two versions. One is sung by M M Kreem, the music director who composed this song. Another one is sung by Udit Narayan. However, Kreem’s version is close to my heart. I need to say few words about Kreem. This techie music composer, hugely underrated in Bollywood, is one of the few music composers, who know how to really compose a song using modern instruments, without copying anything from Western world, in name of inspiration. These are some of the hard working musicians who have kept the dignity of Bollywood music world intact. How sad, people talk about A R Rahman but they fail to take note of gems composed by such lesser heard names. I came to hear him first in my college days, when out of curiosity, I came to buy this cassette, seeing new names on the flap of the cassette as unheard names always fascinated me. Now lend ears to this moving number, which talks about pangs of falling in love with beloved belonging to someone else legally! That’s why the song says ” moon is dotted with rough spots yet one cannot resist its beauty”!
For movie version to notice the picturization one can visit this link.
5. Mera Chand Mujhe Aaaya Hai Nazar
The tragedy with Bollywood is that if movie bombs at the box office, the songs also fail to create impact. I am sure very few movie lovers would have heard the name of this movie released in the middle of the 90s. Mercifully, Jatin Lalit was at its peak in those days. This innovative duo managed to give some beautiful numbers, which managed to find the ears despite movie doing average business. Since this movie is by-product of Bhatt Camp, rest assured that song must be aesthetically shot! I love this song because it takes me to college days, wherein I realized that moon in youth leaves the sky and gets placed in some beautiful face!
6. Chamakte Chand Ko Toota Hua Tara Bana Daala
Whenever Ghulam Ali came to sing for Indian movies, the song turned out to be defining moment in world of Indian movie music. Be it “Dil Ye Pagal Dil” or ” Chupke Chupke Raat Din”, the songs always managed to stay in the hearts and minds for forever. So it was not unexpected that this song became representative song for broken dreams. What stunning lines the verses have! Just listen to it and you would be bound to play it for more time. Anu Malik was not very popular in those days, but with such movies, he managed to build a position for himself. The bold sequences in the this song have the stamp of Mahesh Bhatt’s vision!
This song is departure from the songs I have mentioned in this post. It’s from a classic produced in 1950 “Bawre Nain”, featuring Raj Kapoor and Geetabali. The song would let you know that how simple and innocent gesture have given way to nothing left for imagination gestures of Sunny Leone. Anyway, this song has remarkable innocent gestures of Geetabali, who is trying to please her moon. I am happy that silver hairs failed to mention this good number, dedicated to moon, sung by Rajkumari, and allowed me to talk about this song..ha..ha..ha. This beautiful singer sang few songs but these few songs have become unforgettable numbers.
8. Chanda Dekhe Chanda To Chanda Sharmaayein
This song has a very pleasant tune and some excellent from verses from Maya Govind- a very talented female lyricist from Lucknow. How often we notice female lyricist in Bollywood or elsewhere? My friend Sagar Nahar, who is prominent song collector from Hyderabad, very rightly points out that this Bappi Lahiri’s composition sounds very similar to S D Burman’s composition in Abhiman ” Tere Mere Milan Ki Raina”. Interestingly, both the movies Jhoothi and Abhiman were directed by Hrishikesh Mukherjee. And, above all, it’s picturized on stunningly beautiful Rekha! What else can eyes crave for!
For Rekha lovers, here is a clearer video, but unfortunately, the song is incomplete.
9. Kolaveri Di
Well, I need not to say anything about this song. I have already written a post on it, which you can read here. I have to mention this song for one more time because first it belongs to current period, making you all know the changes that have hit the Indian film music, and secondly, it talks about moon in hilarious way. A song meant for heart broken guys but the approach involved is refreshingly unique. Anyway, for me, it means a greater involvement with moon instead of nurturing hatred for distance moon.
References:
Dealing With A Breakup In Love Relationship Kolaveri Di Way
Pics Credit:
Yash Chopra: A Filmmaker In Love With Illicit Relationships And Flawed Romance
Yash Chopra: The Filmmaker Interested In Flawed Romance
I have never been die hard fan of Yash Chopra’s movies. His romantic angles mired in illicit relationship always left me appalled. He was a noted filmmaker having Midas touch for conceiving interesting themes, hinging around three people in one single relationship, either due to providence or chance. His penchant for such complex relationships, on par with illicit love affairs, could be gauged from the fact that barring his early years of film making when he made gems like Waqt, Dharamputra, Ittefaq, Mashaal, Trishul, Deewar and Kala Patthar, nearly all his movies in later years depicted adultery in one or other form. It can be safely opined that his movies, both explicitly and implicitly, promoted illegal relationships. That’s pretty unfortunate as filmmaker of his caliber should have been more sensible in application of his mind.
He had the brilliant ability to present romance with all its elements in grand style. The grandeur and colourful imagery noticeable in his movies takes away our breath. It’s true that average cine-goer likes to flirt with unfulfilled dreams and wishes as he/she enters inside the theater, and tries to dissolve the harsh realities in the silken world appearing and disappearing on the silver screen. Any average filmmaker is not very much interested in exposing his viewers to shades of realism. Yash Chopra understood this well and so in his movies we have characters, borrowed straight from Mills and Boon novels, flirting with their ladies against scenic backdrop. No wonder Swiss government honoured Yash Chopra for promoting tourism in Switzerland!
To make his romance stories gain some substance, he was but compelled to fall in the arms of “illicit relationship” so as to provide some shock value to his films. However, he lacked the ability to seriously contemplate over any issue, which demanded deep attention, but in the same genre his brother B R Chopra exhibited the art of serious presentation in an effortless manner. That’s why B R Chopra’s “Gumrah”, having adultery as central theme, depicted the conflict emanating out of such relationship quite well. Yash Chopra’s movies based on the same plot stand nowhere to pathos exhibited in Gumrah. Yash was more governed by the desire to emerge as a successful director in the genre of popular cinema despite being person of immense capabilities. He was a pure entertainer, who used “arrival of third person” as perfect masala element to make his movies mint money. That’s why we cannot contrast him with likes of Raj Kapoor. He failed to attain the stature of Raj Kapoor, who was also governed by the desire to emerge as great entertainer but with a difference: Raj’s sensitivity always managed to find a suitable cause, which under his brilliant directorial treatment ripped apart our emotions. In fact, lot is said about depiction of grandeur/ style in his movies but Gulshan Rai and Feroz Khan stand miles ahead of him even in this department.
Now That’s Called Candyfloss Romance!
Let’s take into cognizance “illicit relationship” – a dominant feature of his movies. He should not have roped in this angle unless he had enough reasons to substantiate his viewpoint. For instance, let’s take “Darr” promoted as a violent love story. What was Yash Chopra trying to demonstrate? That Sunny Deol (husband) has to be equally cunning, powerful and mad like Shah Rukh Khan (lover) to save his wife from the shrewd moves. The greatest irony is that evil gets checkmated by good doesn’t sound convincing in the end when evil enjoys the upper hand, dancing with some else’s beloved for most of the time. One of the salient features of movies made by Yash Raj Films has been that one has to be shrewd and street smart to emerge as a winner. Idealism is of little use in world dominated by market-oriented world, wherein end justifies the means. That’s the guiding principle of protagonists appearing in “Trishul” and “Deewar”. Aditya Chopra’s “Dilwale Dulhania Le Jayenge” highlights the same trait. The protagonist even as he is reluctant to run away with his beloved, enters into ridiculousness and pathetic gestures to woo his would be wife. The success of this movie is remark on the declining standards of a viewer’s approach towards cinema.
That’s the aberration which marred the movies churned out by Yash Raj Films. The movies having candyfloss flavour, embedded in synthetic sentiments, depicted a section of society, which barely depicted the real face of India. For instance, Salaam Namaste was entirely shot in Australia, talked about reunion of two lovers, caught in problems born out of “laid-back lifestyle”. Hum Tum, Mohabbatein, Dil To Pagal Hai and etc. turned out be old wine in new bottle. Even patriotic perceptions were effectively used in ”Chak De India” to keep the cash box ringing. The point is that Yash Chopra and his successors have realized this pretty well that market forces and not the theme of the movie, which ensures success or failure. The global world, which made the boundaries meaningless, opened new markets, and, therefore, themes also got focused on people who sustained these markets. Both Bollywood and Hollywood rely on stereotyped emotions to make their movies emerge as blockbuster. So scenic landscape, stunning faces, big cars and pulsating music became the essential ingredients of romantic movies be its made by Yash Chopra or anyone else from Hollywood.
Some might find it unpalatable, and unbearable as well, to treat his movies as promoter of illegal relationships. However, it’s not a misplaced belief when one becomes aware of the fact that cinema, life and society are intimately linked to each other. Chandni, Dhool Ka Phool, Kabhi Kabhi, Silsila, Doosra Aadmi, Darr, Faasle, Lamhe, Daag, Aaina, Yeh Dillagi and Mere Brother Ki Dulhan to name a few, more or less, had controversial themes, wherein secret lover or illicit relationship added a complex twist to the story line. It’s a cliche to state that cinema borrows its concept from society. The ultimate truth is that it borrows the clues from society, exaggerates them, turning them into saleable scripts and, in the process, creates scope for more distorted themes. In a combined research conducted by the ” American Medical Association, the American Psychological Association, the American Academy of Pediatrics, the American Academy of Child and Adolescent Psychiatry and the National Institute of Mental Health” to establish the negative impact of movies on youths in USA, it was clearly established that “just as every cigarette increases the chance that someday you will get lung cancer, every exposure to violence increases the chances that some day a child will behave more violently than they otherwise would.”
The point is when you are genuinely depicting the harsh realities of life, be it centered on illegal relationship, it adds a new dimension in your understanding but when you use such themes to carve unrealistic presentation, merely to ensure commercial success, it’s altogether a different story. Yash Chopra was more conscious of commercial success then ensuring a perfect treatment to a substantial story line. Ironically, Mahesh Bhatt also used illicit relationship as effective plot but he ensured that he remained close to the real life. Anyway, Yash Chopra makes me realize that attaining success is different thing than doing good work which makes difference in lives of people. He got success by promoting flawed romance, which served no greater cause other than ensuring flow of money.
Illicit Relationship Looked More Charming In His Movies
Reference:
Pic Credits:
यश चोपड़ा: अवैध सम्बन्धो को प्रमोट करती इनकी भव्यतापूर्ण सफल रोमांटिक फिल्मे
यश चोपड़ा: गलत “लम्हों” के सौदागर
यश चोपड़ा की फिल्मे मुझे कभी न रास आई।इनको रोमांटिक फिल्मो का बेताज बादशाह माना जाता रहा है। रूमानियत को एक सुनहरे कैनवास पर पूरे तामझाम के साथ उतारना इन्हें खूब आता था।ये सही है कि एक औसत दर्शक सिनेमा में असल जीवन की छाप देखने नहीं जाता बल्कि अपने अधूरे सपनो को परदे पे अवतरित होते हुए देखने जैसा अनुभव बटोरने के लिए जाता है। और दर्शको की इसी कमजोरी को यश चोपड़ा ने अच्छी तरह समझा और उसकी शानदार प्रस्तुति की। लेकिन मुझे लगता है यही पे यश चोपड़ा मात खा गये। इतना समर्थ फ़िल्ममेकर सिर्फ दर्शको की चाह पूरी करने के लिए और वक़्त के साथ चलने की धुन में बेहतरीन सिनेमा बनाने से रह गया। यश चोपड़ा की कुछ एक फिल्मे जैसे वक़्त, धर्मपुत्र, इत्तेफ़ाक, त्रिशूल, दीवार, काला पत्थर, मशाल और एक दो कुछ और फिल्मे छोड़ दे तो उनके सारी फिल्मे प्रेम त्रिकोण या कुछ कुछ अवैध संबंधो जैसे टाइप की थीम पर बनी है। मै यश चोपड़ा के इसी “तीसरा कौन” रूख पर आलोचनात्मक दृष्टि डालना चाहूँगा। “इत्तेफाक ” भी लगभग अवैध संबंधो पर है लेकिन मै इसको एक सुंदर मर्डर मिस्ट्री मानता हूँ। राजेश खन्ना ने जितने शेड्स इस फ़िल्म में दिखायें है सहज रूप से मुझे नहीं लगता कि आगे की फिल्मो में वे वैसा कर पाए। यहाँ तक कि नंदा ने भी नई ऊँचाइयों को छुआ जो कि ज्यादातर ग्लैमरस गर्ल ही रही है।
अब आते है “तीसरा कौन” के थीम पर। मुझे ये एंगल ही बहुत घिनौना लगता है फिर इस पर बनी फिल्मे देखना और इनसे उभरी सोच को आत्मसात करना तो मेरे लिए बहुत दुष्कर कार्य है। खेद की बात है यश चोपड़ा ने ऐसी विकृत एंगल को बढ़ावा दिया। इस प्रोडक्शन हाउस में बनी फिल्मे अधिकतर कही न कही विकृति को ग्लोरिफाय करती मिलेंगी। बात ये है कि यश चोपड़ा के पास किसी मुद्दे की गंभीर समझ नहीं थी जैसी बी आर चोपड़ा के पास थी। इसलिए बी आर चोपड़ा की एक अकेली “गुमराह” यश चोपड़ा की इसी विषय पर बनी दर्जनों बेकार फिल्मो से बेहतर है। यशजी के पास संवेदनशीलता का अभाव था इसीलिए राज कपूर से बहुत पीछे रह गए। भला हो साहिर साहब का कि इनके फिल्मो के लिए इतने दिल को छु लेने वाले गीत लिख गए। इनके फ़िल्म में स्टाईल का बड़ा बोलबाला था पर यहाँ भी ये फिरोज़ खान ने हमको ये बेहतर सिखाया कि स्टाईल एलिमेन्ट का कैसे इस्तेमाल करना चाहिए। यश साहब के पास बस दर्शको को बांधे रखने की कला थी भव्यता और मधुर संगीत का आवरण ओढे बेकार सी विषयवस्तु वाली थीम के साथ।
ये कहना गलत नहीं होगा कि अवैध संबंधो को जस्टिफाय और ग्लोरिफाय या विकृति को बढ़ावा देने में इस प्रोडक्शन हाउस की फिल्मे प्रत्यक्ष या अप्रत्यक्ष रूप से जिम्मेदार है।आप नब्बे के दशक में आई “डर” देखिये। दर्शको को इससें कुछ लेना देना नहीं था कि अंत में सनी दयोल शाहरुख के किरदार पर फाईट सीन में हावी होकर उभरता है। इस फ़िल्म का सन्देश वस्तुत: इस बात को हाईलाइट करता था कि किसी भी सभ्य औरत के ज़िन्दगी में घुस कर उसे परेशान कर सकते है। अब आप सनी दयोल बन कर रोक सकते है तो रोकिये नहीं तो आपका घर तबाह। और बिडम्बना देखिये कि इस विकृति सम्पन्न हीरो को कितना रोमांटिक दिखाया गया है। तो ये थी यश साहब की काबिलियत। आगे यश साहब ने फिल्मे तो नहीं डाइरेक्ट की लेकिन आदित्य चोपड़ा और अन्य नए निर्देशकों ने इनके बैनर तले फूहड़ पर कामयाब फिल्मे बनायी। “दिल वाले दुल्हनिया ले जायेंगे” की अपार सफलता इस बात का प्रमाण है कि दर्शको को घटिया फिल्मो में भी मायने ढूँढने का चस्का लग चुका था। रास्ते कितने भी घटिया हो पर अगर वो मंजिल तक पहुचाते है तो ठीक है। एक आदर्शवादी बाप को चालाक और धूर्त नायक के आगे झुकना पड़ सकता है और कमाल है ये सब उसने प्रेम के लिए किया, ये इसलिए किया कि भगाना उसे पसंद नहीं था और इसलिए झूठ बोलकर घर में नौटंकी करना जरूरी था। दर्शको का टेस्ट और स्तर कितना गिर गया है वो हमे इन फिल्मो की सफलता से पता चलता है।
रास्ते अपवाद स्वरूप गलत हो सकते है लेकिन सिर्फ धूर्तता और मक्कारी से कामयाबी सुनिश्चित होती अगर लोगो ने इस बात को स्वीकार कर लिया है तो निश्चित ही भारतीय समाज पतन के रास्ते पर है। भारतीय समाज इस बात को समझे या न समझे लेकिन इस प्रोडक्शन हाउस ने समय की नब्ज को पकड़ा कि अब मार्केट से फिल्मो का सीधा कनेक्शन है मूल्य या आदर्श गए तेल लेने। इसलिए इस बैनर ने तमाम बौड़म फिल्मे बनायीं ओवरसीज मार्केट को ध्यान में रखकर जैसे “हम तुम” , “सलाम नमस्ते”, तथाकथित राष्ट्रीयता का तड़का लिए “चक दे इंडिया” इत्यादि। कुल मिला के भव्यता और दर्शकोको बांधे रखने की कला ने ऐसी फिल्मो को जन्म दिया जिनका यथार्थ से कुछ लेना देना नहीं। इनकी फिल्मे उस क्लास के लिए ज्यादा थी जिनके दिमाग में लगभग भूसा भरा हो और साथ में पेट से भी टंच हो। इनकी बाद की फिल्मो का सामजिक मूल्य कुछ नहीं सिर्फ आत्मकेंद्रित किरदारों का ये बताना कि “बैटल फॉर सर्वाइवल” में धूर्तता और मक्कारी बहुत जरूरी है। हो सकता है “तीसरा कौन” आपके जीवन का थीम बन जाए पर इस दर्द को जिस जेन्युइन दर्द और एहसास के साथ आप महेश भट्ट की फिल्मो या अन्य कला फिल्मो के निर्देशकों में पाते है उनसे शायद यश साहब की फिल्मे कोसो दूर थी। और साथ में दूर थे यश साहब के फिल्मो के शौक़ीन दर्शक वर्ग जो दूर तक सोचने को गुनाह मानते थे। चलते चलते सिर्फ मै ये कहूँगा कि यश चोपड़ा एक कामयाब फ़िल्म निर्देशक थें पर अच्छे नहीं। यश साहब को देखकर ये समझ में आता है कि कामयाब होना मतलब अच्छा ही हो ऐसा नहीं होता।
घृणा, लहू, और नौटंकी में डूबा रोमांस
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वर्तमान हिंदी फिल्मी गीत यूँ कि जैसे ढेला खाए कुत्ते की चीख पुकार
मुकेश: आत्मा से उठती आवाज
कल सत्ताईस अगस्त को महान गायक मुकेश और ऋषिकेश मुखर्जी दोनों की पुण्यतिथि थी. दोनों ही उस सादगी का प्रतिनिधित्व करते है जो आजकल के दौर में लुप्तप्राय सी हो चली है. मुकेश आत्मा में डूबकर गीत गाते थे तो ऋषिकेश दा आत्मा में डूबकर फिल्मे बनाते थे. जाहिर है इन दोनों के संगम के बाद आनंद की उत्पत्ति होनी ही थी. इस गहरी सोच को जन्म लेना ही था कि जिंदगी कैसी है पहेली. जब ऐसे लोगो कि याद रखकर हम आज के दौर में नज़र डालते है तो आनंद दुःख के सागर में विलीन हो जाता है. आज के गीतों को आप सुनिए तो लगता है जैसे किसी ने कुत्ते को ईंट का ढेला खीच कर मार दिया हो. या कोई कुत्ते का गला दबा रहा हो. या सूअर के बच्चे को बोरी में बंद कर के कही ले जा रहे हो! अजीब सी ध्वनियाँ की बोर्ड और ड्रम बीट्स के मिलन से पैदा की जा रही है जिनका कोई मतलब नहीं सिवाय इसके कि युवा कदमो को नाईट क्लब में झूमने में आसानी हो.
आश्चर्य इस बात पर है कि ये सब तमाशा प्रयोगवाद के नाम पर स्पांसर हो रहा है. इस में बहुत से मूढ़ लोगो को आधुनिकता का सम्मान सा होता दिख रहा है. आप इन गीतों की आलोचना कर के देखिये तो आपको समझाया जाएगा, आप के अन्दर इस बात को जबरदस्ती ठूंसा जायगा कि वक्त बदलता है और बदलते वक्त के साथ कदम मिला के चलना ही अक्लमंदी है. तो बदलते वक्त कि मेहरबानी क्या है देखे तो? ऐसी वाहियात बोल और धुन कि आप लाख सर पटक ले आप बहुत बार सुनने के बाद भी सही सही ना समझ पायेंगे कि गीत में आखिर है क्या. पहले जहां गीत सर दर्द की दवा की आवश्यकता को कम करते थे आज इन दवाओं की बिक्री में सहायक है. एक बात तो तय है कि आज के गीत मार्केट के हिसाब से बन रहे है और मार्केट पे युवा हावी है तो गीत भी इनके टेस्ट के हिसाब से भड़भड़िया हथौड़ाछाप हो गए है. फिर गीत मार्केट में आये नए म्यूजिक सिस्टम के हिसाब से बन रहे है.
ऋषिकेश मुखर्जी: सादगी की अनमोल विरासत
अब ये बताये जब गीत इस प्रकार से जन्म लेंगे तो इनमे आत्मा को छूने की ताकत क्या ख़ाक पैदा होगी? इक्का दुक्का अपवाद गिना देने से कि साहब ये देखिये फला ने कितना बढ़िया काम किया है से काम नहीं चलने वाला. ये बात सही है कि हर युग का अपना अलग रंग ढंग होता है, एक अलग मिजाज़ होता है, अपने प्रतीक होते है इसके बावजूद भी ये साबित नहीं किया जा सकता या ये महसूस करने के बहुत कारण नहीं है कि आज के हिंदी फिल्मी गीत उत्कृष्ट कोटि के है. भाई जस्टिफाय करने वाले तो गालीनुमा शब्दों के समूह को भी गीत साबित कर देंगे तो क्या साबित कर देने से गीत एक अच्छे गीत या सिर्फ गीत की श्रेणि में आ जाएगा? आज के गीतों को सुन के ही समझ में आ जाएगा कि गीत पूंजीवादी संस्कृति के संरक्षक है और मुंबई के मंडी में बैठे दलालनुमा दिमागों की उपज है. तो ऐसे गीतों से तौबा जिनसे दिमाग का दही बनने में जरा भी देर ना लगे.
शाम के धुंधलके में बैठे हुए मुझे तो आनंद का ये गीत “कहीं दूर जब दिन ढल जाए” याद आ रहा है जो मै मुकेश और ऋषिकेश मुखर्जी को श्रद्धांजलि स्वरूप भेंट कर रहा हूँ और ये महसूस कर रहा हूँ कि हम ये कहा आ गए है.
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मर्द तो एक कुत्ता है जिसके गले में औरत ने डाला पट्टा है..
मर्द तो एक कुत्ता है जिसके गले में औरत ने डाला पट्टा है..
अगर ये गीत इतना अश्लील ना होता तो आधुनिक गीतों की माला में शान से चमक रहा होता ..आश्चर्य है कि डेल्ही बेल्ली के गीत पे इतना हंगामा मचा पर अश्लीलता के सर्वोच्च पायदान पर खड़े इस गीत पर किसी की नज़र नहीं गयी..इससें तो यही समझ में आता है कि सेंसर बोर्ड नाम की संस्था को खल्लास कर देना चाहिए.
हा मै इस “कुत्ताप्रधान” गीत की इसलिए तारीफ करना चाहूँगा कि कम से कम इसने इस सच्चाई को सटीक शब्दों में दर्शाया कि कैसे आज की औरते /लड़किया मर्दों के गले में कुत्ते का पट्टा डाल कर कुत्ते की तरह दम हिलाने पे मजबूर कर देती है “इश्क ” नाम के हसीन फरेब में फँसाकर. वैसे आजकल के स्त्रीनुमा मर्द है ही गले में पट्टा डालने लायक.
बंध गया पट्टा, देखो बन गया कुत्ता
बाँध इश्क का पट्टा देखो बन गया कुत्ता
बंध गया पट्टा, देखो बन गया कुत्ता
कुड़ी ने डाली बोटी, दूध भिगोई रोटी
अजी प्यार से पुचकारा
पुचु पुचु बोल पुकारा
अजी प्यार से पुचकारा
पुचु पुचु बोल पुकारा
तुने समझा की लव है
तू इसका अब रब है
कभी बजी जो घंटी
डोंट वारी माय फ्रेंड बंटी
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वैसे गीत के बोल समूचे में आप यहाँ देख और सुन सकते है:
http://www.lyricsmint.com/2011/04/kutta-mika-singh-pyaar-ka-punchnama.html
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गीतकार: लव रंजन
संगीतकार :क्लिंटन सेरेजो, हितेश सोनिक
गायक : मीका सिंह
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Pics Credit: Pic One
Face-To-Face With Kishore Kumar Via His Rare Interviews Including One To Lata Mangeshkar!
Kishore Kumar: A Gandharva In Action
It’s never an easy task to find appropriate words that come to honor the greatness of some people. I always face the shortage of expressions whenever I wish to say something about Kishore Kumar as earthly words, in my eyes, come to limit the achievements. However, the dilemma to miss the opportunity to say few things whenever time allows you to do that always haunts me and I am but just compelled to deal with unique aspects related with this man. This man was not just a mere entertainer -the nachaiyya gavaiyya soul ( mere singer and dancer).
He was a Gandharva in human form or a saint with a musical heart who lived with us to help us release our pains and frustrations and turn into better human beings with the help of notes of music.On his birth anniversary, I wish to take note of unheard aspects related with his life via him! I mean with the help of few recordings that captured him live in conversation with equally legendary figures. I think it would be the best way to shatter many myths associated with this great man.
Like in this rare video wherein I find Shammi Kapoor talking about Kishore Kumar. Though Kishore Kumar does not figure live in this video but Shammi Kapoor was one of the contemporaries who loved him lot. He was quite frustrated on not having any song to his credit in voice of Kishore. He got so identified with voice of Rafi that in his long career he didn’t get a single chance when Kishore could sing for him even as they walked together for decades. And that made Shammi restless as he loved this wonderful person very much. Remembering Kishore’s love for Madhubala he was bit sad. Shammi calls it a tragic affair but he came to shatter the falsehood that Kishore was bit casual towards Madhubala when she was seriously ill.
Shammi tells that this man did all what was humanly possible despite having tight singing schedules. Anyway, Shammi was the happiest person on earth when Kishore finally sang for him. The song turned out to be one of the biggest hits of its times and also one of the most notorious songs in history of Hindi movie songs. Remember “Saat Saheliya Khadi Khadi” from Vidhaata! Yes, this was the first song picturized on Shammi Kapoor in voice of Kishore and what a song it turned out to be!
Can you imagine Kishore in a long conversation with Lata? Yes, that’s true. These two legendary figures entered in a long conversation all in the name of interview. Kishore was so unhappy with media persons that he said if now ever he gave interview it would only be a possibility if Lata approaches him. A generosity on part of Lata made it possible for future generations to see two great people in a very intimate conversation.It was supposed to be an interview but it turned out to be more than an interview. After all, taking interviews was not Lata’s cup of tea! These two souls in name of interview revealed so many touching episodes as they laughed and smiled together. No wonder Lata went into stage of huge depression after death of Kishore Kumar.
In this so-called interview, Kishore remembers how he came to meet her for the first time in a very hilarious way when Lata misunderstood him for a man chasing him! They both went to a same studio in the same train together for two different purposes. Later the confusion got removed when it became clear that Kishore actually had an appointment with Khemchand Prakash and so he was in the studio to meet him. He held Khemchand Prakash in high esteem as this was the man who shaped his music career. Though K L Saigal was source of inspiration for both Lata and Kishore, Kishore finds the contribution of Khemchand Prakash a defining one.It was he who assured Ashok Kumar that this man had great singing talent. Ashok Kumar was bit apprehensive about the singing ability of Kishore in front of Khemchand Prakash telling him that he lacked the art of voice modulation!
In another part of this interview one finds him making candid confession before Lata that he lacked formal training in music and Lata in that regards stood miles ahead of him. One can notice the sense of embarrassment which grips Lata on this disclosure. Anyway, both felt that music has changed its face lot and singing is now no longer that beautiful affair but a strenuous affair. Kishore was really depressed over the badmouthing that portrayed a false image of his in eyes of his well wishers. Kishore made Lata uncomfortable once again when he asked her why do people enter in such loose talk? Though Lata dismissed such rumours associated with Kishore outrightly stating this was all bullshit but logical explanation came from the side of Kishore himself. Hitting the detractors below the belt with he stated that world belongs to mad people devoid of ethics of any sorts! Kishore says that people hail him as a person not in his senses but he feels that world has gone to the dogs!
True, many people accuse him of money oriented but I am pretty confused as the man who had to do so many charity shows to get rid of income tax burdens could never be a money conscious soul. In fact, look at the way he suggests Lata to stop singing and do stage shows for charity’s sake. Can this ever come out from heart of money conscious soul? At least, it’s impossible in my eyes. Anyway, let me discuss his association with a towering figure in the world of Hindi film music S D Burman. A person who played a monumental role in life of Kishore. Kishore reciprocated the kind gestures of this great man by hailing him as mentor and father figure. Nobody saw tears in eyes of lively Kishore lost in laughs all the times but the day S D Burman passed away many noticed tears in his eyes. Recalling the same experience live he says that it appeared to him as he sat near his dead body that this man would just wake up and ask him to sing! One is really touched the way Kishore unfolds his association with S D Burman.
This was the man who was conscious of Kishore the way a father is conscious of a pretty naughty child. In fact, SD Burman was himself a child hearted figure. So both enjoyed a great chemistry.Kishore remembering S D Burman says that he became hugely upset with him when he started doing so many concerts, fearing that it would deteriorate the quality of his vocal chords. He warned Kishore that if he did not stop doing concerts it would be impossible for him to give him singing assignments.
Revealing the innocence of S D Burman he tells us that when he refused to participate in practice sessions, S D Burman invited him to share food with him at his home. After enjoying great food as he was about to leave, S D Burman locked the doors and get him involved in the rigorous practice sessions. S D Burman at odd hours of night used to give rings to Kishore mainly to ensure that all is well with his vocal chords! Once as he was about to leave for important recording, he noticed S D Burman coming towards him and taking him to a long drive to an open area full of greenery. S D Burman asking him to run in open fields along with him made Kishore sing some songs for him at the end of running session!! No wonder he was in tears when S D Burman became part of the stars.
Ending this article with prophetic words he said to Lata. This man did not live for long after he said that. I notice that this great man like all exceptional soul was eager to merge in supreme consciousness. He told Lata that it’s now time to bid adieu to this temporary home as it’s good for artists that they should quit the world once they have achieved all. It’s not good that they should leave the world, when the world starts treating them with disdain! This man I find left the world after this disclosure. However, he lives in our memories in an eternal way. Such people never die.
Some of the popular songs of Kishore Kumara are here: Kishore Kumar Songs
Kishore Kumar : People Like You Never Die
2. Kishore Kumar Talks About S D Burman (Part One)
3. Kishore Kumar Talks About S D Burman (Part Two)
4. Kishore Kumar Talks About S D Burman (Part Three)
5. Shammi Kapoor Remembers Kishore Kumar
6. Kishore Kumar Live ( Pal Pal Dil Ke Paas)
7. Kishore Kumar Live ( Zindagi Ek Safar Hai Suhana)
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Some Popular Kishore Songs Are Here: Popular Songs Of Kishore Kumar
Pics Reference:
Remembering Rafi When Singing Has Been Hijacked By DK Bose!
Mohammed Rafi: Owner Of Perfect Voice
It’s time to remember this great soul who left the planet earth on this very day to be on a different heavenly route. One is really shocked that such melodious days have now given to crass heavy metal songs. A deep soothing effect was created with soft musical notes. None of the instruments involved in making of songs in the bygone eras were used in loud or misplaced manner. In other words, the orchestration was always appropriate and in league with message inherent in the verses. A flawed orchestration is bound to suppress the message echoed by the verses. Now contrast it with heavy metal songs of our days. Forget about instruments, it’s now tough task to decipher the lines of modern day numbers. Most of the time we don’t know what exactly the singers are singing! Such is the impact created by the DK Bose type songs.
Against this backdrop, one is bound to get lost in days when musical landscape was playground of great singers like Rafi, Kishore, Talat, Lata, Noorjehan, Mukesh, Suraiya and Kundan Lal (K.L.) Saigal, to name a few. On death anniversary of Rafi, I wish to take note of some of the great tracks that are close to my heart. These songs sung by Rafi have a rare universal appeal. These very songs reveal that how dedicated the artists were towards the finer elements of music. There were intense rehearsals before the final recordings of the songs despite the fact that technical limitations ruled the roost. Both singers and the musicians faced tough conditions during the making of the songs but that never compelled them to compromise with the quality of the song. The lyricists were hyper conscious about what they are writing. They were in tune with great poetical instincts and had great capability to project realism with verses. So now let’s lend our ears to some of the great numbers in voice of Rafi.
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1. Unke Khayal Aaaye To Aate Chale Gaye
This song highlights how stream of memories hit the mind and heart in isolation. It’s indeed a tough task to maintain a safe distance from the memories of beloved, who has got separated because of the strange twist of the fate.
Music Director: Shankar-Jaikishan
Un Ke Khayal Aae To Aate Chale Gae
Diwana Zindagi Ko Banaate Chale Gae
Betaabiyon Ko Aur Badhaate Chale Gae
Viiraan Meraa Dil Tha Basaate Chale Gae
Masti Bhari Nazar Se Pila Ke Chale Gae
(English subtitles present In The Video)
Sahir has managed to portray the feelings residing in heart of man chased by pains quite well. The song has been sung straight from the heart by Rafi, which makes the listener acknowledge his own frustrations.
Movie: Hum Dono
Lyrics: Sahir
Music: Jaidev
Lyrics:
Kabhi Khud Pe Kabhi Halat Pe Rona Aaya,
Baat Nikli To Har Ik Baat Pe Rona Aaya,
Hum To Samjhe Te Ke Hum Bhol Gaye Hain Un Ko,
Kya Hua Aaj Ye Kis Baat Pe Rona Aaya,
Kis Liye Jeete Hai Hum Kis Ke Liye Marte Hai,
Baarha Aise Sawalaat Pe Rona Aaya,
Kon Rota Hai Kisi Aur Ki Katir Ae Dost,
Sab Ko Apni Hi Kisi Baat Pe Rona Aaya,
Kabhi Khud Pe Kabhi Halat Pe Rona Aaya,
Baat Nikli To Har Ik Baat Pe Rona Aaya.
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3. Tere Mere Sapne Ab Ek Rang Hai
One of the greatest Hindi movie songs which unfolds a brilliant shade of intimacy. A song that talks about commitment and bonds of love. It’s a slap on the face of modern day lovers who avoid commitment in relationships. To talk about commitment is no less than a sin when casual relationships have become so common.
Movie: Guide (1965)
Lyrics: Shailendra
Music: S D Burman
Lyrics with translation:
Jahaan bhi Le Jaayen Raahen
Wherever the paths leads
Hum Sang Hain) x.2
We are together) x.2
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(Mere Tere Dil Ka
(My heart and yours
Tayy Thaa Ek Din Milna
We were fated to meet one day
Jaise Bahaar Aane Par,
As when the spring comes
Tayy Hai Phool Ka Khilna) x.2
Flowers are predestined to bloom) x.2
O’ Mere Jeevan Saathi
Oh my soul mate
Tere Mere Sapne
Your and my dreams
Ab Ek Rang Hain
Are now of the same hues
Jahaan bhi Le Jaayen Raahen
Wherever the paths leads
Hum Sang Hain
We shall be together
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(Tere Dukh Ab Mere,
(Your grief’s are now mine
Mere Sukh Ab Tere
My joys are now yours
Tere Yeh Doh Nainaa
Your these two eyes
Chaand Aur Sooraj Mere) x.2
Now this moon and sun are mine) x.2
O’ Mere Jeevan Saathi
Oh my soul mate
Tere Mere Sapne
Your and my dreams
Ab Ek Rang Hain
Are now of the same hues
Jahaan bhi Le Jaayen Raahen
Wherever the paths leads
Hum Sang Hain
We shall be together
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(Laakh Mana le Yeh Duniya
(Thousand times discourage this world
Saath Na Yeh Chhootega
We won’t drift apart
Aake Mere Haathon Mein
Put your hands in mine
Haath Na Yeh Chootega) x.2
May our hands don’t separate) x.2
O’Mere Jeevan Saathi
Oh my soul mate
Tere Mere Sapne
Your and mine dreams
Ab Ek Rang Hain
Are now of the same hues
Jahaan bhi Le Jaayen Raahen
Wherever the paths leads
Hum Sang Hain
We shall be together
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O’ tere Mere Sapne
Oh your and my dreams
Translation Credit: Hindi Translation Blogspot
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A rare number that tells in such a strong way the futility of building relationships solely in materialistic terms. Money can fulfill some of our needs but to make it a factor in shaping human relationships, especially intimate ones, would only open the gates of sorrow and pain.
Music : Ram Ganguly
Lyrics: Bismil Peshwari
Movie: Paisa ( 1957)
Lyrics with translation:
O~~~O~~~O~~~ O~~~ O~~~
paisa hee rang-roop hai
ONLY MONEY IS THE BLOOMING BEAUTY,
paisa hee maal hai,
ONLY MONEY IS WEALTH,
paisa naa ho toh aadmee charkhe kee maal hai,
IN ABSENCE OF MONEY, MAN IS A WORN-OUT STUFF,
paise kaa hee ameer ke dil me.n Khyaal hai,
‘TIS MONEY THAT THE RICH HAS IN HIS MIND,
paise kaa faqeer bhee kartaa sawaal hai,
EVEN THE FAQIR ASKS FOR MONEY,
paisa hee fauj paisa hee jaah-o-jalaal hai,
MONEY IS FORCE; RANK AND SPLENDOUR IS ONLY MONEY’S!
paise hee kaa tamaam dang-o-dawaal hai,
‘TIS ONLY MONEY THAT HAS ALL THE AMAZING GRANDEUR!
O~~~ O~~~ O~~~ O~~~ O~~~
paisa hee jag bataataa hai insaan kee zaat ko,
MONEY REVEALS THE WORLD TO THE SPECIES OF MAN,
bin paise sagaa bhai bhee poochhe naa baat ko,
WITHOUT MONEY, EVEN OWN BROTHER DOESN’T EVINCE CONCERN,
paisa hee zeb detaa hai byaah aur baraat ko,
‘TIS MONEY THAT LENDS GRACE TO MARRIAGE AND PROCESSION,
paisa ho paas dulhaa banne aadhee raat ko,
WITH MONEY, ONE CAN BE A BRIDGROOM EVEN AT MIDNIGHT!
tegh-o-tabar uThaate hai.n paise ke vaaste,
PEOPLE WEILD SWORD AND AXE FOR MONEY’S SAKE,
teer-o-sanaa lagaate hai.n paise ke vaaste,
ARROWS OF PRAISE ARE SHOT FOR MONEY’S SAKE,
maidaa.n me.n zaKhm khaate hai.n paise ke vaaste,
WOUNDS ARE SUSTAINED IN THE FIELD FOR MONEY’S SAKE,
yaa.n tak ke sar kaTaate hai.n paise ke vaaste,
SO MUCH SO, THAT ONE LOSES ONE’S HEAD FOR MONEY’S SAKE,
O~~~ O~~~ O~~~ O~~~ O~~~
paisa hee ba.Dee cheez hai yeh Khoob kahaa hai,
SOMEONE HAS WELL SAID THAT MONEY IS A GREAT THING,
bismil magar nazeer ne yeh bhee toh likkhaa hai,
BUT O BISMIL! NAZEER HAS WRITTEN THIS TOO:
paise se jo ulfat tujhe ho jaayegee baabaa,
IF YOU NURTURE LOVE FOR THE MONEY, SIRE,
dukh is me.n teree rooh bahot paayegee baabaa,
IN THIS YOUR SOUL WILL FIND LOTS OF GRIEF, SIRE,
O~~~ O~~~ O~~~ O~~~ O~~~
daulat jo teree yaa.n hee naa kaam aayegee baabaa,
WHEN YOUR WEALTH WILL BE OF NO USE EVEN HERE, SIRE,
phir kyaa tujhe Allah se milwaayegee baabaa,
THEN HOW WILL IT TAKE YOU TO MEET ALLAH, SIRE!
bedaar Khabardaar ho is baat pe mat bhoos,
WAKE UP, BE CAREFUL! DON’T LAMENT OVER THIS FACT,
yeh qabar me.n toh saath nahee.n jaayegee baabaa,
IT WON’T ACCOMPANY YOU TO THE GRAVE, SIRE!
bhooko.n ko ghareebo.n ko yateemo.m ko khilaa jaa,
AS YOU DEPART, FEED THE HUNGRY, THE POOR, THE ORPHANS,
warna yeh tujhe god me.n ta.dpaayegee baabaa,
OTHERWISE, IT WILL TORTURE YOU IN ITS LAP,
paise ke pech me.n kabhee aanaa nahee.n baabaa,
NEVER ENTER INTO THE MAZE OF MONEY, SIRE,
insaaniyat pe daaGh lagaanaa nahee.n baabaa,
NEVER DISGRACE THE HUMANITY SIRE,
insaaniyat pe daaGh lagaanaa nahee.n baabaa,
NEVER DISGRACE THE HUMANITY SIRE,
insaaniyat pe daaGh lagaanaa nahee.n baabaa,
NEVER DISGRACE THE HUMANITY SIRE,
insaaniyat pe daaGh lagaanaa nahee.n baabaa,
NEVER DISGRACE THE HUMANITY SIRE,
Translation Credit: Nasir-Eclectic
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5. Shyam Se Neha Lagaye
A beautiful bhajan that talks about a devotee’s intimate bonds with Lord Krishna. One can notice that how well Rafi has conveyed the emotions residing in heart which wishes to unite with Lord Krishna.
Lyricist: Madhukar Rajasthani
Music : Khayyam
Lyrics:
Shyaam se nehaa lagaaye,
(Radha had a crush on Shyaam)
Raadhey neer bahaaye,
(and in separation she is crying.)
Shyaam se neha lagaaye…
Jaakey gun Bansuriya gaati,
(The Flute sings Whose (Shyaam’s) praise)
wo haari likh likh kar paati,
(Radha got wary of sending messages for Him)
Jaakey bin hain shyaam adhuro,
( Shyaam is incomplete without her (Radha))
Wo birhan kehlaaye, haaye,
(That Radha is now called single)
Shyaam se neha lagaaye..
Peeli pad gai kesar kaaya,
(Due to sorrows of separation, saffron coloured Radha turned pale.)
Roop ne apna roop gawaaya,
(Raadha was beauty personified but she lost her beauty being away from shyaam)
Deepak ched rahe hain aansoo,
(The earthen lamps are shedding tears)
Thandi aag lagaaye,Haaye…
(they are raging cold fire)
Shyam se nehaa lagaaye
Translation Credit: sharmakdevendra
Rafi , Lata And Naushad During Rehearsals
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Pics Credit:
Hate Delhi Belly To Make Indian Society Above Negativity!
The street smart Aamir Khan knows the ways and means to cash in on the ills of life! He has the marketing skills to make negativity productive. Globalization has made negative attain a charming dimension. The making of Delhi Belly is based on this principle. The making of Delhi Belly is perfect culmination of trend pattern that started in early 90s: Glorification Of Negativity. The movie that made it a trend was Baazigar, apparently based on Ira Levin’s 1953 novel A Kiss Before Dying, starring Shah Rukh Khan. The movie compelled us to have sympathy for a guy who brutally murdered his girlfriend to settle scores with people who did wrong to him. Ambiguity in characters of the leading protagonists became the order of the day from this movie. It paved way for the characters who gave rise to concept that when it comes to winning principles are the greatest obstacle!
This journey from rise of fair characters to dominance of baddies can be gauged from the fact that protagonist which once sang ” Papa kahte hai bada naam karega“( Papa says his son bring a good name) is now singing ” Daddy Mujhse Bola Tu Galti Hai Meri” ( Papa said you are my mistake). Imagine in Indian society wherein birth of daughter or son is sign of good fortune, the child now becomes the blunder made by the parents. Some over enthusiastic interpreters see it as an evolution of Indian society wherein youths have learnt to call a spade a spade being more in awe of realistic approach. Differing hugely with them, I am not ashamed to call it degradation of Indian society under influence of Western values. Instead of having a healthy fusion of Western values with the Indian belief system, we decided to turn into happy slaves of distorted version of Western thought patterns.
I don’t give much value to this belief that Indian popular cinema when it’s displaying violence and distorted concepts is in actuality displaying the true image of Indian society. To put the records straight, I must say it’s not actual presentation but it’s the exaggerated false reflection to set cash registers ringing at the box office. It’s also a fact that Indian masala movies churned out at regular intervals have always relied on dramatic versions and melodramatic elements in league with loosely written scripts. It would be a huge blunder to treat them as authentic reflection of Indian society.
On the contrary, they have been instrumental in onset of negative ideas, beliefs and concepts. At best it can be stated that these movies have been made keeping in mind commercial factors side-by-side elements which ensure entertainment of society. I take strong exception to makers of movies like Delly Belhi when they suggest that what they are portraying is depiction of happenings in the Indian society. I also rubbish the claims who miss no chance to flaunt the view that we need to come to terms with themes highlighted in the movies as they are reflection of society in which we live. To them I must say types of movie made by us reflect the dull brains of movie makers more and much less the actual state of affairs prevailing in the Indian society.
There is also a deception on the part of new age movie makers when they justify introduction of unpalatable truths stating that they are honouring realism. To be a so- called realist they can introduce songs like DK bose! Is that’s the way to introduce realism in movies? Probably, people comfortable with weird themes in recent movies have not watched quality flicks made by likes of Raj Kapoor, Guru Dutt, Bimal Roy, Gulzar, Hrishikesh Mukherjee and Shekhar Kapoor, to name a few. They also portrayed various real shades of Indian society but I never found them transgressing lines of healthy norms. Raj Kapoor did venture into prohibited zones but then it was always compensated by his deep artistic portrayals.
In fact, Raj Kapoor was humble enough to admit that he shattered unwritten healthy principles. He was not arrogant like our current movie makers to justify their blunders calling them depiction of Indian society. Look at Gulzar. Didn’t he in movies like Hu Tu Tu and Aandhi showed the real face of Indian politics without giving way to crass presentations? Never. Have a look at brilliant movies made by Hrishikesh Da. In his movies we find the real essence of Indian society: Smile always in the face of adversity and just never give up hope. In our times, the only mantra to remain happy is: Goli maar bheje me ki bheja shor karta hai (shoot the brain which is making lots of noises)!! Imagine we are the people, who master the art of controlling the brain and it’s we who are now talking about shooting it!
It’s true that times have changed. Technology has brought new thought patterns along with new vision and new hopes. It’s also true that we have our own set of problems which cannot be dealt with worn out methods of yesteryear. They have to be projected on silver screen with new symbolism from fresh angles. However, changed times cannot be used as a pretext to rope in demoniacal ideas. Have a look at role of Shah Rukh in Darr and Anjaam. It taught one how to create mess in stable married life, being in grip of obsessions of all sorts!!
Then came another movie ‘Rehnaa Hai Terre Dil Mein‘ which made a “fraud and a fake” person guilty of misrepresentation not only managing to marry a good girl but also attain great respect for being a true lover!! Interestingly, the protagonist in this movie was named “Maddy”. I must say the name says it all!!! It shows what happens when Madhav changes to Maddy!!! I don’t know whether this change in name was done consciously or unconsciously but the person who did that needs to be seriously thanked for this classic name change!!! It shows the impact of falling in love with alien culture. You do gain success but the hollow success is devoid of ” यशः”(glory).
I must say that my mind rest in times when fathers use to sing for their sons :
“Tujhe sooraj kahoon ya chanda Tujhe deep kahoon ya taara
Mera naam karega roshan Jag mein mera raaj dulaara”
(Should I call you the Sun, or moon, or should I call you a lamp or the sun.{ you have brought light into my home} Through you my darling child, my name will shine ).
I refuse to take note of newer idea which makes a father treat his child as “blunder”. It’s a reason enough to boycott likes of Aamir Khan and Shah Rukh who have become convenient mediums to introduce flawed ideas all in the name of realism. They are personification of arrogance, who come to not only justify their corrupt behaviour but also engage in celebrations triggered by success of distorted ideas. It’s time to replace DK Bose type songs with mantras and good poetry, isn’t it?
Pics Credit:
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