Parties, Sarees and Melodies

Kalyanji Anandji: Upkar (1967)

2009-04-07T01:05:00.006-04:00

Even though I do not admire Manoj Kumar as an actor, I appreciate the films he has directed. Upkar as a film, is very evident in theme yet it’s experimental in its photo direction. And this is particularly evident in the song sequences with even make the music more notable (and sadly not the other way around).

The story is that of a young man played by Manoj Kumar, who is forced to sacrifice his education for his brother's played by Prem Chopra (looking quite handsome indeed!). Chopra’s character goes away to study and later returns as a young westernized and selfish man. Many of the themes in the film; East vs. West, Country vs. City and Rich vs. Poor are reflected in the brothers’ relationship.

On the side of the Indian simpleton with superior moral values is the patriotic song "Mere Desh Ki Dharati". It reminds me of the “we proudly work our land” type of patriotism found in Mother India (1957). The cover of the album also shows Manoj’s character admiring Nehru while holding a plow as in THE song of the album.

You don't need fancy lounges or glamorous city clubs, just check and see how much "Punjabi style" fun you can have with the village song "Aaye Jhoomke Basant". I dare you not to dance!

The next song "Gulabi Raat Gulabi" is associated with the "EVIL" West! (you know, Wizard of Oz's Wicked Witch of the West type of West or the Pardes (Sharukh Khan version) type of West). But it's one of the best songs on the album, sung by the one and only Vamp Queen Asha Bhosle. The song is divided into two parts. Asha sings to the consumerist westernized party goers and the second part is sung by Mohd. Rafi as images of hungry and miserable street goers are shown as they try and survive in the slums.

No sharabi (alcohol) for you mister!

Also, lend an ear to "Kasme Wade Pyar Wafa" and "Diwano Se Mat Puchho".

It's a classic film and soundtrack, but not one of my personal favourites. I absolutely recommend watching the film, Kamini Kaushal and Pran are amazing!

Take that Slumdog Millionaire!

Tracks:

Side 1

1. Mahendra Kapoor & Chorus: Mere Desh Ki Dharati

2. Asha Bhosle, Manna Dey, Mahendra Kapoor, Shamshad, Sunder & Chorus: Aaye Jhoomke Basant
3. Manna Dey: Kasme Wade Pyar Wafa

Side 2

4. Mukesh: Diwano Se Mat Puchho
5. Lata Mangeshkar: Har Khushi Ho Wahan
6. Asha Bhosle & Mohd. Rafi: Gulabi Raat Gulabi

7. Mahendra Kapoor & Chorus: Mere Desh Ki Dharati

Lyrics: Gulshan Bawra, Prem Dhawan, Qamar Jalalabadi and Indiwar

Stella_1's score: 3/5

Get the music now: Kalyandi Anandji Upkar (link to Music From the Third Floor, because my computer is STILL broken.)

Who I was in a previous life!

2009-03-25T22:45:00.012-04:00

There are strong chances that I am Margaret Thompson's reincarnation or bizarrely related to her. This is the Kannada (maybe a link- I live in Canada) Bili Hendthi from 1971. It's somewhat weird but a little funny as well. Just have a look for yourselves!

S. D. Burman: Aradhana (1969)

2009-02-23T16:24:00.000-05:00

Aradhana is a very pleasant soundtrack! But, just when I was going to admit to finally really liking a S. D. Burman soundtrack, I found out about S. D. Burman, who was ill during the recording, who let R. D. Burman record some songs himself. The two hits "Roop Tera Mastana" and "Mere Sapnon Ki Rani" are all Burman junior, hip and young, yet all the credit "officially" goes to S. D. Burman.

Raju Bharatan, writer for the Hindustan Times, explains why this is: "That was the norm in our films then. That, first, two songs of a production had to be recorded -- as the launching-pad. Plus the news of such a recording had to appear as a published item in an industry-respected paper like the weekly Screen. Only after that would finance for a film flow. So it was as finance for Aradhana was set to flow that SD fell ill." excerpt from The Aradhana Syndrome by Raju Bharatan (click on the title to read full article)

The first two songs, and the only ones recorded by Burman senior, were two duets "Gun Guna Rahe Hain" and "Baghon Mein Bahar Hai", who's male vocals were both sung by Mohd. Rafi. But the two hits which were also picturised on Rajesh Khanna were the memorable and my favourite songs, "Roop Tera Mastana" and "Mere Sapnon Ki Rani" sung by Kishore Kumar.

Besides this being a good record, Aradhana is also an important marker in showing the shifting of popular style in Hindi film music. This soundtrack is an exception as it includes the hit making team of Mohd. Rafi and S. D. Burman, and the future hit makers Kishore Kumar and R. D. Burman. The second who had already defined his style composing for Teesri Manzil in 1966 would surpass the firsts popularity with legendary albums as Kati Patang, Caravan and Hare Rama Hare Krishna about a year after the release of this album.

But one track I enjoy is the trademark S. D. Burman solo "Saphal Hogi Teri Aradhana" Other ones are also found in classics like Guide in 1965 and Amar Prem in 1971 (although the last was composed by R. D. Burman). These songs bring a very earthy or organic feel that, takes us from the filmi illusion of life to a more and more down to earth emotional connection. I think one of S. D. Burman's fortes.

A remix of "Roop Tera Mastana" from the 90's and 2008's "Phir Milenge Chalte Chalte" from Rab Ne Bana Di Jodi starring Sharukh Khan has the intro of "Mere Sapno Ki Rani" in Priety Zinta sequence.

Tracks:

Side1

1. Kishore Kumar: Roop Tera Mastana

2. Mohd. Rafi & Asha Bhosle: Gun Guna Rahe Hain

3. Kishore Kumar: Mere Sapnon Ki Rani

4. Mohd. Rafi & Lata Mangeshkar: Baghon Mein Bahar Hai

Side 2

5. Kishore Kumar & Lata Mangeshkar: Kora Kagaz Tha Yeh Man Mera

6. Lata Mangeshkar: Chanda Hai Tu Mera Suraj Hai Tu

7. S. D. Burman: Saphal Hogi Teri Aradhana

Lyrics: Anand Bakshi

Stella_1 score: 3.5/5

Get the music now: S. D. Burman Aradhana (link to Music From the Third Floor, because my computer is broken.)

My Lucky Chance?

2009-02-03T01:24:00.016-05:00

I know, I know, but I couldn’t resist, my obsession is growing up and this really feels like a turning point in the history of the Hindi film industry. And I could not resist in partaking in this glorious moment. I will only occasionally post film reviews, only when I can’t deny the temptation.

After a mentally challenging Hindi class (I started Chapter 3 in Snell) and a spontaneous solo birthday (I’m 22 today) celebration....um....I mean a reason to “enrich my Hindi vocabulary”, I decided to head to the theatre and check out Luck by Chance directed by Farhan Akhtar’s sister Zoya Akhtar. Even after spending 26 $ just for the ticket, a medium popcorn and drink, I didn’t waste my money and I was really really glad that I went. Luck by Chance is part of a new breed or cinematic genre that I feel will one day define this new age in Indian Cinema. It will not be called Bollywood, Masala or Parallel Cinema but rather, the term, Hindi Film (made in the Hindi Film Industry as Dimple Kapadia’s character so strongly insists). This film deserves some recognition for raising the bar by offering more than simple entertainment while still keeping people entertained. A great thing about this film is how it interestingly pair’s top Bollywood entertainers (Hrithik Roshan, Rishi Kapoor, Juhi Chalwa, Etc) and actors (Farhan Akhtar, Konkona Sen Sharma etc) in the same movie. The characters become more complex and interesting as the line between the two categories (entertainers and actors) delightfully shifts and blurs throughout the film. One of my favourite examples of this is the short Zaffar Khan (Hrithik Roshan) sequence when street children run up to the film stars car and he rolls up the window. The glass separates or rather isolates him from the real world. A traveling shot into the inside of his car shows him looking out of the window, we see his reflection in it and both the person and the image are in the frame. Ah! It’s so symbolic. Love it.

The main character Vikram Jaisingh (Farhan Akhtar) does not have much substance but one thing he is not, is the perfect hero. His character is a bit ordinary but that’s the whole point. He comes from Delhi (or it could have been from X, Y or Z), he wants to be an actor and, like all the other million young men who want to act in Bollywood, he is not more talented, more handsome or more qualified than anyone else. He is simply the one that won the refrigerator or, if you don’t understand that parallel, the one that became a star. This character’s “every guy” aspect is even shown visually in the film, especially when Vikram goes to his audition (and yes the color scheme is important like Nikki (Isha Sharvani) points out). Intentionally, everyone in the audition room is wearing black and they all look similar. Also, when the producer and casting director must pick a picture for the lead part all the photographs on the table look the same. Farhan’s role represents the every man trying to make it.

The characters that really bread life into the film are all the film personalities. My favourites have to be Rishi Kapoor playing the very lovable Producer and Dimple Kapadia who plays a has been 70’s star and an over protective mother that you just feel like slapping she’s so good, and even then you still sympathise with her. The producer’s wife played by Juhi Chalwa is a delight to watch and Isha Sharvani as a grownup child presents herself in a corky Amelie Poulain inspired "I like/ I don’t like" sequence.
The two actors Sona (one of my favourite actresses Konkona Sen Sharma) and the cute Abhi (Arjun Mathur) carry the emotional charge of the film. Sona, Vikram’s girlfriend, tries to deal with her crushed dreams and her complicated relationship with Vikram. Abhi, on the other hand, is well settled and concentrates more on the art of acting than becoming a Bollywood star. Abhi is more talented than Vikram and does not approve of “the system” or the pre-packaged “Bollywood Bootcamp” (acting school, dance, martial arts, and cheesy photo session) which Vikram abides too. You also have guest appearances and an almost endless list of cameos. Like, Aamir Khan, Mac Mohan, Anurag Kashyap and Saurabh Shukla . SRK shows up for an indispensable “moment of truth” to guide our poor Vikram. Continuing, you have Rani Mukerjee, Karan Johar, Shabana Azmi, Javed Akhtar, Rajkumar Hirani, Boman Irani, Manish Malhotra, Abhishek Bachchan, Vivek Oberoi, Ranbir Kapoor, John Abraham, Kareena Kapoor and Akshaye Khanna. But one person to profit from all the success is actually the film coach, character actor Saurabh Shukla, as he also appears in Danny Boyle’s Slumdog Millionaire as the assistant police investigator.

Om Shanti Om pays homage to the film industry and Luck by Chance does that too with Hrithik Roshan’s colourful dance sequence that reminds me of a mix between the Cirque du Soleil, Mera Naam Joker and Charlie and the Chocolate Factory , or one of the first scenes in the film with Aamir Khan who refers to his love interest as Kamla Devi who in actuallity is the founder of the National School of Drama. But mainly the film shows the reality of the behind the scenes. Although nothing shocking is announced, they're is just a confirmation of what everyone has already heard about. Like the casting couch or the gossip and media controversies. It deglamorises the whole Hindi Film industry, and that is maybe one reason why some people might not like the film. If you want escapism, watch Bollywood, not Luck by Chance.

This is looking like it’s going to be an amazing year for the Hindi film industry. Up next is Dev. D (feb. 8th) starring Abhay Deol, Ballu Barber (feb. 13th) starring Irrfan Khan and Laura Dutt + amazing Shahrukh Khan item numbers and Delhi 6 starring Abhishek Bachchan and Sonam Kapoor with music by A. R. Rahman (feb. 20th). I am going to see them all, but don’t count on me paying for 12$ popcorn every time.

Filmi Girl and Post Punk Cinema Club have already shared their thoughts on the film. I encourage you to go see Luck by Chance as there are different elements catered to everyone's tastes, so the whole family can enjoy.

Naushad: Mela (1948/1980)

2009-01-26T16:27:00.005-05:00

Mela's soundtrack creates a great mood inspired by romanticism, a certain "attractive despair", as I could name it, that is characteristic of a time in Hindi cinema, (and as far as I know maybe to other Indian cinemas as well) called the 40's. But this being 1948, I could also blame this "depression" on a certain, um, let me think...Partition. I think it's a mix of both the melancholy of the country's separation mirrored in the lover's separation that set the tone of the film and it's music. Also, the film visually looks like a filmed play as the director uses theatre to show the insignificance of the backdrop and the importance on concentrating more on the emotions and the characters (which Naushad picked up on and developed in his music). Also, I think, in those days, theatre had more prestige then cinema and early in the development of the film industry the only reference for cinema was theatre. Bizarrely enough, this does not take away from the realism, not portrayed visually but musically (emotionally as well) of the two main heroes Manju (Nargis) and Mohan (Dilip Kumar).

The 40's was the heyday of the "sad song". Not the kind you feel like skipping or fast forwarding, but the kind that people actually liked, and still like even today. One brilliant song "Gh am Ka Fasana" is one of the finest examples of a great "sad song", and it is also my favorite track on the record. Naushad could have picked the melody queen, Lata or, Geeta, the empress of tragedy, but he chose Shamshad. I think he was looking for something raw. Her voice expressed the voice of the people, like the persevering village girl that wants more than what is destined for her. Mela is a high point in her career, although Shamshad's luck did not last long, when the "classical trend" came in the early 50's, Shamshad did not have the training to stay at the top.

Besides the classic sad song, some of Mela's most memorable tracks are, one of Mohd. Rafi's first big breaks with the song ''Yeh Zindagi Ke Mele'', and another one of my favourites ''Aai Sawan Rut ''. For the track ''Phir Aah Dilse Nikli'' you can almost imagine that you are sitting in a zeenat during the very late reign of the Mungals. (Well, at least that is what I imagined the vocals would have sounded like.)

Some other tracks I enjoy are the playful ''Pardes Balam Tum Jaoge'' and the duet ''Mera Dil Todnewale''. In the second one I mentioned, you can really hear the Talat Mehmood influence for sure, who was the usual voice of Dilip Kumar. He's not singing for Raj Kapoor that's for sure.

Overall good soundtrack, resembles Babul (my post) but let's Shamshad really shine trough. Inspired by emotion and the northern sound this album can seem dull on the first try, but the more you listen the better it gets. Enjoy!

Tracks:

Side 1

1. Shamshad Begum: Dharti Ko Aakash Pukare

2. Shamshad Begum & Mukesh: Main Bhanwra Too Hai Phool

3. Shamshad Begum, Mukesh & Chorus: Aai Sawan Rut

4. Shamshad Begum: Gham Ka Fasana

5. Shamshad Begum: Taqdeer Bani Bankar Bigdi

6. Zohra Ambala: Phir Aah Dilse Nikli

Side 2

7. Shamshad Begum: Mohan Ki Muraliya

8. Shamshad Begum: Pardes Balam Tum Jaoge

9. Shamshad Begum & Mukesh: Mera Dil Todnewale

10. Mohd. Rafi: Yeh Zindagi Ke Mele

11. Mukesh: Gae Ja Geet Milanke

12. Music

Lyrics: Shakeel Badayuni

Stella_1's score: 3.5/5

Get the music now: Naushad Mela

Books on Indian Film: Part 2 - Filmi Music (1)

2009-01-25T14:31:00.004-05:00

Intro

The books in "Part 2" of this series focus more on the soundtracks of films than the films themselves. But film music, in my opinion, is just as important in analysing and studying cinema, especially Indian cinema moslty because that specific cinema gives much space to music.

That said, these books only focus on Hindi film music, and not all filmi music from across India. (Maybe I should write that book one day!)

A little history

The tradition of filmi music seems to have started before cinema even existed, as musicians and vocalists would serve the same purpose as in films today, but in theatre. Most of this "theatre music" is lost principally because it was not recorded (no recording technology) or was later recorded but no copy has survived. The term Indian Film Music or "Hindustani Cine Sangeet" was first used by Raju Bharathan. This new type of music, born with the art of "Talkies" or films with sound*, could only be heard on Radio Ceylon because All India Radio would only play classical music. With the gaining popularity of films and their music, slowly but surely filmi music got its place on the airwaves and became, what I think, the music of the people.

* I would like to add that a study on filmi music should start (both books I read start with the 30's) with recorded music for plays and continuing to music played for silent films. It would be interesting to hear what was done at the beginning of the merging of the two art forms, cinema and music.

Book 3: Bollywood Melodies: A History of the Hindi Film Song (2008)

Do Lata, Asha, Mohd. Rafi, Kishore Kumar or Mukesh ring a bell? Or, maybe, Laxmikant Pyarelal, R. D. Burman, Kalyandji Anandji, Shankar Jaikishan or C. Ramchandra? Well if none do, then I strongly suggest that you familiarise yourself with these wonderful talents. Bollywood Melodies: A History of the Hindi Film Song is just what a curious filmi fan needs to familiarise his or herself with the different people who made film music legendary. It is written by self proclaimed filmi music buff Ganesh Anantharaman (yet, before writing the book he had never listened to any other Naushad soundtrack besides Mughal-E-Azam and Baiju Bawra?) who specifically wanted to write about music from the 50's and 60's but his editor convinced him to broaden his horizon. After doing some extensive research he discovered many other talented people like Saigal and Naushad Ali (Naushad is not overlooked on this blog anyway!). I wrote a list of all the personalities you can find in the book at the bottom of the page.

The book is called Bollywood Melodies: A History of the Hindi Film Song, but in actuality the number of pages dedicated to history are only 18 in a book of about 250. So really what you are getting is a "brief" overview of the evolution of the Hindi film song added to short essays (about 90% of the book) each on specific singers, music directors or lyricists. In their turn, they comprise of some biography, low and high points in the specific persons career and some of their most memorable songs. There are also five interesting interviews, one of Dev Anand, Pyarelal, Gulzar, Manna Dey and Lata Mangeshkar (the last to which he lied to get the interview. Oh my!). But besides those first pages in the book most of the history of the Hindi film song is found in the people from all different eras.

But since musical taste differs from one person to the other, and in the book a singer’s best song is ultimately either one of the author’s favourites or a classic that many people appreciate. Anantharaman tries his best to stay objective and please everyone by not insulting anyone but always lets a few of his thoughts slide trough (e. g. his favourite music director is S. D. Burman or he finds “Choli Ke Piche” from Khal Nayak (1993) lyrics repulsive).

Also, like me, the author is a fan of older soundtracks (50’s and 60’s). Sadly, this affects the content somewhat when he pushes aside music from the 1970's, but mostly the 1980's and beyond, because it is seemingly invalid. The name of the section about film music of the 70's is called "When music becomes secondary" and do I agree? Yes and No. Personally, I think, that in those days it did not become secondary but rather detached from the film. Because, as we see in some cases, especially in films starring Amitabh Bachchan, there is no need of good music in films (from a financial perspective, anyway). But on the other hand some films succeeded on most part because of the songs. Other than the bollywood start system talking over, I think that the past “clans” (or teams) e.g. Naushad-M. Khan, R. K. Films -Shankar Jaikishan-Lata-Mukesh or Dev Anand-S. D. Burman were either no longer existent or changing. This made music more independent of the film it was being composed for.

Bizarrely, the cover of this book resembles very much a book on the same subject yet more expensive and rare called Hindi Film Songs and the Cinema written a year earlier by Anna Morcom (I really want to get my hands on that one! Also to compare, the cover picture is beside the book I am presently reviewing).

Pictures - the same picture of Meena Kumari in Pakeezah (1972) on Ganesh Anantharaman's book (2008) and Anna Morcom's (2007)

Upside

He is one of the few to write about hindi film music, and one of the very few to write about filmi lyricist. They deserve more recongrition. (I'm starting to understand, now that I'm learning Hindi).

The book is easy to read, as he writes in a laid back manner.

Interesting interviews and insight on many different personalities.

Downside

The book is aimed at an indian public and if you don't understand hindi (it is atleast written in roman script) then you will have trouble apreciating the book.

The book is for begginnier's but not for the total ingnorant, because you need to have enough filmi knowledge to know what songs he is refering too. So, I wish all books on the subject of filmi music would have a CD or tracks you can download that play in the order in which they are mentionned, so when the author name's a tune, you can hear it right away. (But in the meantime, thank god for Youtube).While reading the book I felt very "handicapped" because I cannot understand Hindi/Urdu, and it truly took away from me fully understanding what he was trying to demonstrate or prove in the text.

-----------------------------------------

To list all the people mentioned in the book:

Music Directors:Pankaj Mullik, Khemchand, Anil Biwas, Naushad Ali, C. Ramchandra, Shankar Jaikishan, S. D. Burman, Madan Mohan, O. P. Nayyar, Salil Choudhury, Roshan, Hemant Kumar, Ravi, Jaidev, Vasant Desai, Kalyanji Anandji, R. D. Burman, Laxmikant Pyarelal, Khayyam, Ravindra Jain, Bappi Lahiri, Rajesh Roshan, A. R. Rahman, Anand-Milind, Nadeem-Shravan, Annu Malik, Jatin-Lalit.

Lyricists: Kidar Sharma, D.N. Madhok, Pradeep, Majrooh Sultanpuri, Shakeel Badayuni, Sahir Ludhianvi, Shailendra, Kaifi Azmi, Gulzar, Anand Bakshi, Javed Akhtar.

Playback Singers: K. L. Saigal, Noorjehan, Suraiya, Shanshad Begum, Lata Mangeshkar, Geeta Dutt, Asha Bhosle, Mukesh, Talat Mehmood, Mohammed Rafi, Kishore Kumar, Udit Narayan, Kumar Sanu, Anuradha Paudwal, Kavita Krishnamurthy, Sonu Nigam, Alka Yagnik.

Previous Posts (Book Series):

History
- Indian Film (1963) by Erik Barnouw and S. Krishnaswamy
- Bollywood: A History (2006) by Mihir Bose

Stella_1's score: 3.5/5

O. P. Nayyar: Phir Wohi Dil Laya Hoon (1963/1978)

2009-01-21T15:37:00.001-05:00

I was totally ready to praise Phir Wohi Dil Laya Hoon with it's wonderful cover (Asha Parekh looks great!). And without even knowing who the composer was I put on the first track.....Ahrg! No...nahin! Not the horse trotting songs! Picture my reaction in cinematic terms. The scene starts, I've just heard the song, then there is a shot of horse hooves trotting, quick shot of O. P. Nayyar, back and forth shots, horse trotting-O. P. Nayyar, horse trotting-O. P. Nayyar, then a turning spiral superimposed on a spinning picture of me looking confused and demented. The album cover was a trap! And it only got worse as I realized that there is not 1, not 2, but 3 "horse trotting songs" on the same record. Didn't I just mention in my last post that Nayyar needed to crank up the originality button. If some people couldn't hear the constant auto-copying last time (Kashmir Ki Kali or Kismat), this record is certainly proof of it. If some people don't know what type of song I am talking about, a standard O. P. Nayyar soundtrack has at least 1 song with a beat that resembles the sound of a horse trotting. Too name a few examples, you have Naya Daur's "Maang Ke Saath Tumhara" or "Piya Piya Mora Jiya Pukare" from 1955's Baap Re Baap " and then the less evident "Deewana Hua Badal" from Kashmir Ki Kali or "Dekho Kasam Se Kehte Hain" from Tumsa Nahin Dekha, and I could go on.

Anyway, on this record the three "horse trotting songs" consist of the title track "Phir Wohi Dil Laya Hoon", "Ankhon Se Jo Utri Hai Dil Men" (the beat is used more subtly since it's played on the guitar) and "Lakhon Hain".

My favorite song has to be "Dekho Bijli Dole Bin Badal Ki" probably because it is inspired by classical music, but I also think that I have a weakness for dance battles especially in Indian movies (e.g. Vijayantymala Vs unknown in Amrapali, Vijayantimala vs Helen in Prince or Padmini vs Vijayanthimala in the tamil film Raj Tilak). Also, even though I like classical music I also enjoy O. P. Nayyar's Punjabi inspired songs, which in this specific film is shown in "Aji Kibla".

I would simply like to end this post by saying that my intentions are not to bash O. P. Nayyar, I even applaud him for having succeeded in the film industry without having musical training or using the instant success magnet Lata Mangeshkar. I also applaud him, for his courage to be different and original at the beginning of his career and not following the latest craze, but making one instead. But as I once said, there is missing something, especially at the stage in his career of Phir Wohi Dil Laya Hoon. The folk songs seem to be fuller but most of the time you can almost listen to this album and not even know when the songs change from one to the other because the mood and style do not vary much through the record. And as I have said before, I still find that his music becomes more and more unoriginal as time passes, especially after listening to more and more of his work. But even with that said, I cannot say that this is a bad soundtrack, just an unimaginative one.

Thanks and Enjoy!

Both screencaps are from Apni East India Company

Track:

Side 1

1. Mohd. Rafi: Phir Wohi Dil Laya Hoon

2. Asha Bhosle: Dekho Bijli Dole Bin Badal Ki

3. Mohd. Rafi: Anchal Men Saja Lena

4. Asha Bhosle: Ankhon Se Jo Utri Hai Dil Men

5. Asha Bhosle: Mujhe Pyar Men

Side 2
6. Mohd Rafi: Lakhon Hain

7. Mohd. Rafi & Asha Bhosle: Zulf Ki Chhaon

8. Mohd. Rafi: Aji Kibla

9. Mohd. Rafi & Asha Bhosle: Hamdam Mere

Lyrics: Majrooh

Stella_1's score: 3/5

Get the Music now: O. P. Nayyar Phir Wohi Dil Laya Hoon

Bhupen Hazarika: Aarop (1973)

2009-01-14T13:33:00.017-05:00

Aarop is my first taste of Bhupen Hazaika's music and, as far as I can tell, this soundtrack is distinctly 70's yet the music has a very organic feel. The closest I can compare it to is Ananda Shankar's Sa Re Ga Machan album (you can get a track on eastern eye), yet this one is a lot less experimental and more filmi. This "organic feel" is mostly caused by Hazaika's choice of instruments. Even though most songs have the classic high pitch violin intros, most of the time a light mix of classical and western instruments added to the sweetest melodies which are often played on the flute, are accompanied by some traditional folk instruments. The singers all have very good classical background, especially Manna Dey and Lakshmi Shankar, but you won't hear pure classical music on the record. Basically, this album has great vocals with music that has hints of earthy/indian/filmi/classical/western/folk music etc. Yeah, I know it's a mix of a lot of things, and weirdly enough, except for the last song, each category is so diluted by one or the other, that it creates a united feeling yet at the same time creates one that points in no particular direction.

I would never have guessed that my favourite song on the album, "Jab Se Too Ne Bansi Bajayi Re",was sung by a 47 year old woman. Lakshmi Shankar is a trained classical singer with a lovely youthful voice that portrays, in the song, innocents and a feeling of loss and hope at the same time. I love it.

"Nainon Men Darpan Hai'' is the only song I could find the video for. It is probably the most popular as it is sung by top playback singers Lata Mangeshkar and Kishore Kumar. But I find it very ordinary and moulded to be very filmi. Deja Vu or in this case Deja Entendu. Yawn.

The album ends with a totally R. D. Burman sounding cabaret number that seems a little out of place compared to the rest of the record. I feel as if the composer just wrote it because the film format, especially of the 70's, demanded a sexy upbeat track for the vamp. In this case, the song called "Sub Kuchh Mila Too Na Mila" is sung by no other than Asha Bhosle and, judging by the back cover, is picturised on Bindu.

Even though no specific songs, except "Jab Se Too Ne Bansi Bajayi Re" really capture my attention, the whole soundtrack is well constructed and I feel connected to the overall sound. It's kind of like I know what he's going for, and he's almost there but not quite. Also, I find Hazarika used each singer to his advantage, Lata and Kumar for the popular tune, Asha for the cabaret, Manna Dey to sing for the mature hero and Lakshmi Shankar, somewhat underused, for the simple melody. He knew what each singer could do best.

Enjoy!

For more info on Bhupen Hazarika (he's coming out with a new album) here is a link to a fan blog and to his web site.

Tracks

Side 1

1. Manna Dey: O Phoolon Ke Desh Wali
2. Manna Dey: Haath Mere Hai Madhu Ka Pyala
3. Lata Mangeshkar & Kishore Kumar: Nainon Men Darpan Hai
4. Asha Bhosle: Chale Aao

Side 2

5. Manna Dey: Toot Gaya Mera Sapna Suhana
6. Bhupen Hazarika & K. N. Sharma: Hey Jai Yashoda Nandan
7. Lakshmi Shankar: Jab Se Too Ne Bansi Bajayi Re
8. Asha Bhosle & Chorus: Sub Kuchh Mila Too Na Mila

Lyrics: Maya Govind

Stella_1's score: 3.5/5

Get the music now: Bhupen Hazarika Aarop

O. P. Nayyar: Kashmir Ki Kali (1964)

2009-01-11T06:20:00.004-05:00

The film, Kashmir Ki Kali , introduced Sharmila Tagore to Hindi cinema (she is of course Bengali, and is a distant relative of the TAGORE. Previously, she acted in two Satyajit Ray films, World of Apu (1959) and Devi (1960)) co-starring with an always charming and overly expressive Shammi Kapoor. Even though the film is set in Kashmir, generally for many films, O. P. Nayyar, who is Bengali (Jan. 12th Correction who is Punjabi), focuses on Punjabi folk which I consider to be Nayyar's forte (strength).

The film was a big hit and the soundtrack as well, but I truly think that it was Shammi Kapoor's persona, more than O. P. Nayyar's songs, that helped sell records. Because I find the music not bad, just uninspired.

Two tracks which I enjoy are, firstly, my favorite, "Subhan Allah Haseen Chehra" with Rafi's wonderful voice on the most melodious song on the record, accompaning some folk instuments and harmonium. Secondly, "Meri Jan Bale Bale", (love "Punjabi Shammi" ! My heart goes oy! oy! bale bale!) is a great song but Asha's voice isn't Punjabi sounding at all (Shamshad or Noor Jehan would have been better) and is missing a little authenticity. Though Mohd. Rafi is not "authentic" compared to let's say Gurdas Mann, but he seems to get away with it more easily.

I also enjoy, "Diwana Hua Baadal"but honestly I am not impressed with this album. Maybe my hopes where too high, but I am beginning to become too familiar with O. P. Nayyar's work, and the more I listen too his soundtracks, the more it's all sounding the same. It sounds as if Nayyar would say: "I'm cool. I am the highest paid music director. I sound western and rebellious. Come targeted urban youth! Want to rock'n'roll?". Ah, but this type of music would later become either a musical and creative trap for O. P. Nayyar (or a way to make easy money in the film music industry by duplicating his own style, either way it's starting to get to me. I mean, give me Naushad or give me R. D. Burman, but not the squeaky clean somewhat repetitive attempt to be different. C. Ramchandra was western before him and Shankar Jaikishan could imitate Nayyar better than he could imitate himself with rock'n'roll songs (e.g. Gumnaam, Junglee) which had at least some melody. I know I'm a sucker for classical inspired albums or really wacky musical gems , but O. P. Nayyar is on the bottom in my best composers list. Ok, ok, I will stop this useless rambling, everyone is entitled to their own opinion. So I hope you enjoy the record more than I do! I encourage you too watch the film.

In the 60's there was Kashmir Ki Kali, now we get Mission Kashmir? Sad. One day peace will come and we will be singing and dancing in Kashmir once again.

Tracks:

Side 1

1. Mohd. Rafi: Taarif Karun Kya Uski

2. Mohd. Rafi: Hai Duniya Usiki Zamana Usika

3. Asha Bhosle: Phir Thes Lagi Dil Ko

4. Mohd. Rafi & Asha Bhosle: Meri Jan Bale Bale

5. Asha Bhosle: Balma Khuli Hawa Men

Side 2

6. Mohd. Rafi & Asha Bhosle: Diwana Hua Baadal

7. Mohd. Rafi & Asha Bhosle: Isharon Isharon Men Dil Lene Wale

8. Mohd. Rafi: Subhan Allah Haseen Chehra

9. Mohd. Rafi: Kahin Na Kahin Dil Lagana Padega

Lyrics: S. H. Bihari

Stella_1's score: 3/5

Get the music Now: O. P. Nayyar Kashmir Ki Kali

Happy New Year!

2009-01-01T13:30:00.004-05:00

Hi,
I know it's been a while, but don't worry I will be posting albums soon. As to celebrate the new year, and since I could not find any new year Indian videos to share, I decided to initiate some some of you to my French-Canadian roots with a song, called "Degeneration", which is a modern twist on traditional Quebecois music.

tragedia, who posted the video writes : "I put subtitles on this music video by Québec band Mes Aïeux that is really good. It's about different generations in Quebec and what kind of life/possibilities they had. I suppose it could apply to anywhere but the transition in Quebec from Catholic backwater to liberal modernity was particularly quick and harsh. (Read up about the Quiet Revolution/Révolution Tranquille.)"

Usually this song is played on the 24th of June (St-Jean-Baptiste day) or on New Year's Eve, and at the end of the video there is usually more music which is a musical interlude that makes everyone dances like crazy (but it's not included in the clip). Hope you like it, if you don't, don't worry I will be back to hindi soundtracks soon.

Bonne Année!

Hemant Kumar: Sahib Bibi aur Ghulam (1962/1970)

2008-12-05T00:30:00.003-05:00

Basically, Sahib Bibi aur Ghulam is a classic Indian film, based on the book by Bimal Mitra. It was India's entry for the Oscars in 1963 and stars Meena Kumari (in one of her most famous roles) as a drunken rich house wife in the province of Bengal during the end of the 1800's.

Initially, I got this album for two songs. The first, and my favorite, "Piya Aiso Jiya Men" is simply a classic Geeta Dutt song that I love. The second is "Sakhiya Aaj Mujhe Neend Nahi Aayegi", beautifully sung by Asha Bhosle and wonderfully picturised by Guru Dutt on the lovely Meenu Mumtaz (Minoo Mumtaz).

But after listening to the album for a while, I slowly fell in love with the song "Meri Baat Rahi Mere Man Me".

It's always a pleasure to hear Geeta Dutt, and on the record you sadly don't get her vocal intro to the song "Chale Aao, Chale Aao" which is in the film (and can be heard in the clip). But Geeta Dutt was most famous for the song "Piya Aiso Jiya Men", as the caracter heartbreakingly calls out to her neglecting husband.

I also enjoy the playful "Bhanwara Bada Nadan" picturised on Waheeda Rehman. But every song on the album has its own charm and I am sure everyone would like one, at the least.

On the back of the record the song titles are translated, so I wrote them down below each one. Enjoy!

I just learned that the film is supposed to be remade, by Rituparno Ghosh starring Salman Khan, Priyanka Chopra and John Abraham(I posted the poster just below.) I don't know? a classic is a classic, I wouldn't have remade it, especially with poptart actors, well it's their chance to prove that they can act, and I hope they succeed.

Tracks:

Side 1

1. Title Music

2. Asha Bhosle: Bhanwara Bada Nadan

Oh! How ignorant is the wasp!

3. Asha Bhosle: Meri Baat Rahi Mere Man Me

Unexpressed remained what I wished to say

(the secret of my heart)

4. Asha Bhosle & Chorus: Sakhiya Aaj Mujhe Neend Nahi Aayegi

Thou dispenser of wine, tonight sleep will forsake me

Side 2

5. Geeta Dutt: Chale Aao, Chale Aao

Come to me, come to me

6. Asha Bhosle: Meri Jaan O Meri Jaan

(Thou art) my life, my life, do not torment me so

7. Geeta Dutt: Piya Aiso Jiya Men

Oh lover! Deep in my heart have you found a place

8. Geeta Dutt: Na Jao Saiyan Chhod Ke Baiyan

Though released is your hand, do not leave me, love

Lyrics: Shakeel Badayuni

Stella_1's score: 4/5

Get the music now: Hemant Kumar Sahib Bibi aur Ghulam

Usha Khanna: Hawas (1974)

2008-12-04T21:00:00.018-05:00

PC and I decided to post this album at the same time, on the same day. (Though I thought it was supposed to be posted at 9 pm, when it was actually 9 am, sorry). I don't know if he liked the record, but I kind of did. (To read what he thought see the post, Hawas)

Hawas creates great atmosphere. But even though it runs in the same vein as the 1973 hits Bobby and Yaadon Ki Baaraat, Hawas is less pop and a little more "soft funk". Or, at the least, it creates a more mature branch of the 1970's teen romance/dramas anyway. Also, Hawas, means "lust"in hindi, so in a sense the music has to be more mature to represent the theme and content of the film.

Usha Khanna is one of the only female music directors in the Indian film industry (some others are Saraswati Devi, Jaddan Bai (Nargis's mother) and Ishrat Sultana). She started her career with Dil Deke Dekho in 1959 which was primarily based on western rock'n'roll, and as with Hawas, though now in the 70's, she remaines inspired by western music but certainly had evolved with the changing times.

The best songs on the record are the "vamp songs" sung by Asha Bhosle. You have "Aao Yaro Gao", that has to be my favorite on the album for "semi bad girl" Rekha, and for the classic bad girl Bindu ,"Apne Dil Men Jagah Dijiye" is ok but I actually like the intro better then the song itself.

For the rest of the tracks, "Yeh Hawas Kya Hai" (Again, an amazing intro and great mood) is pretty good,"Teri Galiyon Men" is ok and "Kal Raat Usne" is nothing special.

And that is actually it, because there are only 5 tracks. So enjoy!

(I added a picture of the original record cover on the left!)

Tracks:

Side 1

1. Asha Bhosle & Chorus: Aao Yaro Gao
2. Asha Bhosle: Yeh Hawas Kya Hai

Side 2

3. Mohd. Rafi: Teri Galiyon Men
4. Asha Bhosle: Apne Dil Men Jagah Dijiye
5. Asha Bhosle: Kal Raat Usne

Lyrics: Sawan Kumar

Stella_1's score: 3.5/5

Get the Music Now: Usha Khanna Hawas

Quick News

2008-11-28T03:58:00.006-05:00

Hi Everyone,

If you are not only interested in Hindi soundtracks, this could be an interesting blog as well. I just wanted to tell you about my second blog "Tamil Film Story", I posted my first record, a classic Sivaji film story called Veerapandiya Kattabomman. I don't know why but for some reason there seems to be more dialogue records and story records in South Indian languages than in Hindi. I have a small collection of Tamil Film Stories as well as soundtracks, that I plan to put up once in a while.Also, I if anyone wants to join my blog network on Facebook, just click here.

Thanks(love that pic of Sivaji !)

And I am hoping that the Mumbai terrorist attacks will stop and that nothing worse will happen in the future. Gandhi would so be mad right now, but he would know what to do. I hope people stay safe.

Stella

S. N. Tripathi: Rani Rupmati (1957/1981)

2008-11-05T21:15:00.034-05:00

One word that I would use to describe Rani Rupmati is "lovely". S. N. Tripathi's soundtrack (also his film, since he directed it) was made when classical music could be filmy music. Like Baiju Bawra, it draws on ragas like, Darbari, Sarang and Bhairavin (and no, I don't know what I'm talking about when it comes to different ragas, this was just written on the record), but unlike Baiju Bawra the emotional discharge and content of the songs seem more dulled and the focus is based more on the melody.

Rani Rupmati is set in the time of the Mughals, more precisely during the rule of Akbar. And is inspired by the true love story of Roopmati, a hindu court singer, and Baz Bahadur, a muslim sultan. Not to spoil anything, but the relationship does not end well. The music is mostly inspired by classical Hindustani music of that time. Some of Rupmati's poems still exist today and are even translated to english. Although, I do not know if any of the music on the vinyl is inspired by her music.

Anyway, the song,"Laut Ke Aaja Mere Meet" is really great, and I guess that I am not the only one who liked it because it's sung twice, once by Mukesh and the second time by Lata Mangheskar (Lata Version). I am going to have to go with Mukesh version as my favorite.

My favorite song is "Jhan Jhan Jhan Baje Payaliya" and I also like the duet between Rafi and Krishna Chonkar, "Baat Chalat Nai Chundari".

Also like Baiju Bawra, there is a singing competition between a court singer (Manna Dey) "Udja Bhanwar" and Roopmati (Lataji) "Aaja Aaja Bhanwar" as they try and make a flower, which holds a bee, blossom and close. Here is a video of both songs.

I don't like this song much, but it take place before the battle between Rupmati's love, Baz Bahadur's army and the invading troops of Akbar. In "Itihas Agar Likhna Chaho" you have Rani Rupmati getting ready for battle. Enjoy.

Overall, I really enjoy listening to this record and I hope you do too. I haven't seen the film but it doesn't look too bad. If any has please feel free to comment. Thanks

Tracks

Side 1

1. Mukesh: Laut Ke Aaja Mere Meet

2. Lata Mangeshkar: Raat Suhani Jhoome Jawani

3. Lata Mangeshkar & Mohd. Rafi: Phulbagiya Men Bulbul Bole

4. Lata Mangeshkar & Mohd. Rafi: Jhan Jhan Jhan Baje Payaliya

5. Manna Dey : Udja Bhanwar-Darbari

Side 2

6. Lata Mangeshkar: Aaja Aaja Bhanwar-Sarang

7. Lata Mangeshkar: Jeevan Ki Beena Ka Taar Bole

8. Mohd. Rafi & Krishna Chonkar: Baat Chalat Nai Chundari-Bhairavin

9. Usha Mangeshkar: Ankhon Men Surma Daal Ke

10. Usha Mangheskar & Chorus: Itihas Agar Likhna Chaho

11. Lata Mangeshkar: Laut Ke Aaja Mere Meet

Lyrics: Bharat Vyas

Stella_1's Score: 3.5/5

Get the music now: S. N. Tripathi Rani Rupmati

Halloween: Becoming a Bombay Bombshell

2008-10-30T00:43:00.034-04:00

Picture - Heroine of the graphic novel Bombaby: The Screen Goddess by Antony Mazzotta (You can buy it for free, here, at Slave Labour Comics)

So....basically, my costume this Halloween is of a Bombay Starlet of the late 60's, more precisely the "good girl" of the 60s . My look, even though I could never equal the beauty of these heroines, was inspired by these ladies, and even more specifically their looks in these films. I also liked the styles of Sadhana and Nanda in the 60s as well.

Vyjayanthimala in Sangam (1964)

Inspiration: The Sleeveless Choli

Sharmila Tagore in Talash (1969) (I wonder why....duh, the red hair!)

Inspiration: The Hair Style

Hema Malini in Abhinetri (1970)
Inspiration: The Makeup (Eyes and Lips) and Flower in Hair

The look:

The Sari: One color, mostly pale or pastels with embroidery of silver or gold patterns

The Choli: Sleeveless (seemed to be the trend at the time), also I wanted a low back with a bow but I did not have the time to sew one.

The Hair: BIG. Long black hair would have been great but I have medium length red hair. So I did the 60's bee hive look (seen on the pic of Sharmila Tagore) or as we now call it the Amy Winehouse look. I got tips on how to fix my hair from this video. Also, I stuck two curls to my face with hair gel and sprayed lots of hair spray on the hole thing.

The Eyes: Lots of black eyeliner and pale eye shadow.

Now that I've got the look, all I need is Shammi, Jeteendra or Shashi. (Or Shashi ?, no, just Shashi!)

Laxmikant Pyarelal: Jal Bin Machhli Nritya Bin Bijli (1970/1971)

2008-10-22T21:10:00.040-04:00

This is a great soundtrack and, in my opinion, one of Laximikant and Pyarelal's best. Jal Bin Machhli Nritya Bin Bijli is a bit on the experimental side, but most of the songs are based on very simple melodies. The main character of the film is a young woman with a passion for the arts, more precisely song and dance. So this album suits the film well in the sense that the music must be very theatrical and grandiose (two defining features of later films by V. Shantaram) to be incorporated with dance. Most songs have long instrumental intros, breaks or outros that create strong emotional and atmospheric moods.

One of the most famous tracks is "Taron Men Sajke Apne Suraj Se" inspired by this famous song (I would be surprised if you have never heard it before, but I posted the link anyway) from the classic spaghetti western, The Good, the Bad and the Ugly (1966). Original music by the famous composer Ennio Morricone.

Also the title track "Jal Bin Machhli" is also well known. In the video the heroine dances and tries to imitate a gold fish out of water. There is also a new remix version (2005) by Akriti.

"Baat Hai Ek Boond Si Dil Ke Pyale Men" brings back memories from an obscure Disney film from 1985, called Return to Oz. I don't know if it's the fact that in this film similar music, by David Shire, is used to create a very creepy setting or atmosphere. It is present in a scene when Dorthy, once in Oz, meets a princess who collects the heads of many young women to use as her own. Return to Oz Clip (You hear the music at around 2:40 into the clip and the section I am referring to in the Jal Bin Machhli song is an instrumental bit starting at 50 sec). I would also like to mention that this comparison is totally unimportant to this post and that it is only a personal connection that I made.

So continuing, the best example of theatrical music on this record is a song I enjoy, "O Mitwa Yeh Duniya To Kya Hai". The last instrumental part gets quite "groovy" for the time. The clip has such great interpretive dancing.

For the rest of the album, the other songs do not impress me as much, but are also good.

I posted the original cover of the Jal Bin Machhli Nritya Bin Bijli vinyl which I find amazingly bizarre and psychedelic. I love it!

Tracks

Side 1

1. Lata Mangeshkar: Jal Bin Machhli

2. Lata Mangeshkar & Mukesh: Baat Hai Ek Boond Si Dil Ke Pyale Men

3. Lata Mangeshkar: Karja Laga Ke Bindiya Saja Ke

4. Lata Mangeshkar: Jo Main Chali Phir Na Miloongi

Side 2

5. Mukesh: Taron Men Sajke Apne Suraj Se

6. Lata Mangeshkar: O Mitwa Yeh Duniya To Kya Hai

7. Lata Mangeshkar & Mukesh: Jhoomke Gaye Dil

Lyrics: Majrooh

Stella_1's score: 4/5

Get the music now: Laxmikant Pyarelal Jal Bin Machhli Nritya Bin Bijli

Yay! My record player!

2008-10-22T19:59:00.005-04:00

Oh, joy! I finally got my record player with a USB plug, I am so happy!

The only difference is that the files will be in Wav. format and that's it.

I will post an album as soon as I can. Thanks for your patience.

Naushad: Gunga Jumna (1961/1978)

2008-10-13T16:47:00.063-04:00

The soundtrack to Gunga Jumna runs in the same veins as O. P. Nayyar's music for the 1957 film Naya Daur. The music also resembles some of Naushad's earlier work in Amar (1954), especially in what I like to call the "village girl songs". In short, the sound is not original, but that does not take away from the quality of Naushad's work. Gunga Jumna was nominated for a Filmfare award that year.

As far as the plot goes the now famous pair (after the success of Devdas in 1955, Naya Daur in 1957 and Madhumati in 1958) goes on to make another hit by playing lovers in early post-independent India. With Dilip Kumar playing the role of the hard working Gunga and Kumar's fictional well educated brother Jumna played by his real brother Nasir Khan, with Vyjayanthimala as the lovely and colourful heroine. Themes such as right vs wrong, village vs city and battling social status of the new educated vs uneducated India live together and create friction in the film.

But if we come back to the music, it is mostly based on folk, with it's regional instruments and simple melodies.

To start, we have the beautiful Helen doing some Kathak on "Tora Man Bada Papi", well it's more like dancing around (it's good dancing, but not Kathak) in a Kathak outfit, not actually dancing a classical Indian form. The song is kind of plain, it does not interest me much, but I like the video.

After, looking at the big difference between the lives of the two brothers (Ganga and Jumna) as children, the video reflex's the contrast present in society of the "new India". This patriotic song, "Insaf Ki Dagar Pe" is a little to idealistic, but at least it is looking to a bring future. Everyone needs hope.

My favorite song has to be "Do Hanson Ka Joda", I love the sarangi (or sarod, I'm not sure), its beautiful. It's sad, simple and sweet.

Two other songs that I like are "Jhanan Ghoongar Baje" and "Dagabaz Tori Batian", because they are joyful and playful.

"O Chhalia Re Chhalia" and "Naina Lad Jaihen" (in this one you get Dilip Kumar dancing, yay!) just didn't get me moving. Ok....my foot was taping, but I expected more.

Overall, there are more ordinary songs than good songs. The album flows very well and I am sure Naushad put effort into this soundtrack.

Tracks:

Side 1

1. Lata Mangeshkar: Dagabaz Tori Batian

2. Lata Mangeshkar, Mohd. Rafi and Chorus: O Chhalia re Chhalia

3. Lata Mangeshkar & Chorus: Jhanan Ghoongar Baje

4. Mohd. Rafi: Naina Lad Jaihen

Side 2

5. Lata Mangeshkar: Do Hanson Ka Joda

6. Hemant Kumar & Chorus: Insaf Ki Dagar Pe

7. Asha Bhosle: Tora Man Bada Papi

8. Lata Mangeshkar: Dhoondo Dhoondo Re Sajna

Lyrics: Shakeel Badayuni

Stella_1's score: 3.5/5

Get the music now: Naushad Gunga Jumna

Re: My ten favorite Helen songs

2008-09-30T13:02:00.087-04:00

Thanks so much Memsaab for doing such a very good job with your wonderful post My ten favorite Helen songs. From Memsaab's list I especially like the Upasna and Apradh songs ( it' so bad most people don't even know that the second (Helen song from Apradh) is where the Black Eyed Peas took there inspiration (or copied) for the song "Don't Funk with My Heart", plus the intro to 'Don't Funk with my heart" is the beginning of "Yeh Mera Dil" from Don 1978). Anyway, thanks for those. But after seeing it I wanted more. There are so many more delightful songs from Helen of Bombay that I could not resist. I just had to post them.

My choices where made according to the music, the visuals and the Helenness (which I prefer with the kitsch turned a little bit down).

Here are my picks.

10. Jewel Thief (1967)

Good music by S. D. Burman. I want those tights!!!

9. Sachchai (1969)

Helen and a blue haired Shammi Kapoor.

8. Pagla Kahin Ka (1970)

Appearance by K. N. Singh (bad guy in Awaara).

7. Who Kaun Thi (1964)

Love the 60's look.

6. Don (1978)

A classic, I love this song. Asha Bhosle and Helen together equals magic.

5. Geeta Mera Naam (1974)

Again great music, also Helen dancing with a fat man in a skin-tight one piece suit. What more do you want?

4. Talash (1969)

Helen at her cabaret best.

3. Hulchul (1971)
This is simply a great musical story with Helen telling us to all get along, OR ELSE! BOOM! And I would not contradict miss Helen.

2. Caravan (1971)

Oh Monica? My Darling! Classic.

1. Anamika (1973)

This is my favorite because the music (R. D. Burman) and the little story mix so well, you just want more.

Also, I drew this picture of Helen a while ago, and I forgot it was from which movie. Does any one know? Thanks

Books on Indian Film: Part 1 - History

2008-09-27T15:53:00.066-04:00

Book 2: Bollywood: A History (2006)

Written by Mihir Bose in 2006, with lots and lots of help (a whole chapter is dedicated to the people inside bollywood). Bollywood: A History focuses on different subjects such as the beginning of the Indian film industry, the film studios, he lightly touches films like Mughal-e Azam and Mother India and he also writes about the change after independence and so on.

Mihir Bose is a writer who specialises in sport. He is not a film scholar, but he is a good writer. His style is light and flowing, so no one should have a problem reading this book. It is much less school oriented then Indian Film (published by oxford university press, read post) this one is more open to the general public. For more information on Mihir Bose, just visit his web site.

Oh, god, don't get me started on the UK cover. Hmm...is that almost naked and wet Rekha?! Come on, I want a book that sells for it's content, not it's cover. But one thing I did realise is that Bollywood, through history, has objectified women, and in that sense the cover fits just "nicely" with what it's talking about. But, I still prefer the to dry and breast covered Rekha.

Pictures - Uk Edition (Tempus) and India edition (Roli Books)

One other thing that bugs me is the title and the content don't match 100%. Especially if the title is Bollywood: A History (the history part, is not just history). History is present in the book, but in, what I felt, was a tainted form. You couldn't help but doubt the accuracy of some things that were written because it felt more like information in the "He said, She said" category. An example of this is the speculation of the Lata Mangeshkar and C. Ramchandra romance. Lata does not mention it in her biography and C. Ramchandra is dead, while there is no actual proof, you can call this information a rumor or a hidden secret, but not history. Most of the facts are taken from other peoples work or written in quotes from people in the industry.

Anyway, gossip and rumors themselves have there place in the book. Like in the prologue, which is read more as a long magazine article (though at the end it gets more serious), is about Bose's interview of the then rising start Madhuri Dixit and how he made her cry in in front of Sunil Dutt because he asked her "So, how do you feel about being the new sex symbol of Bollywood?" He also writes about Pamela Bordes, a once Miss India turned high class escort that created much scandal and excitement at the time.

The most interesting chapter, for me, was "The Road to Bombay via Munich and London" is about the pre-studio and studio days of the educated Devika Rani and her husband Himanshu Rai. I love that Rani worked with German directors Fritz Lang and G. W. Pabst, (wow, sooo jealous!)

Anyway, what I think would have made the book better is if the titles would represent the content. Basically the problem is Bose claims to write about many events and personalities in each chapter but actually he focuses on one.

some examples are:

"The Road to Bombay via Munich and London" - Devika Rani and Bombay Talkies

"Blondes and Brunettes: Bollywood's White Woman" - Fearless Nadia

"The Explosion of the Bombay Film Song" - Lata Mangheshkar

You end up expecting a lot more then what you get.

Also the title Bollywood A History should be changed to "People who Shaped Hindi Cinema" or something like that. At least it wouldn't be false (and the book would have probably gotten a better rating from me).

Upside

Really fun and easy to read.

More explanation was written for beginners in this area if world cinema.

Downside

The author is not an expert of cinema.

The UK cover can't make me take his book seriously.

Gossip and personal experiences instead of history.

I felt that the chapters or at least there titles where not representative of what you where about to read. For example, one chapter on Bombay Film Music was mainly on Lata Mangeshkar, so if you were looking for information, let's say on R. D. Burman, you get like five lines.

Other reviews

Here is an another review of Bollywood: A History, written by Chandrahas Choudhury, on his blog The middle Stage, who I think has a similar opinion to mine.

And, here (you will need to scroll down), a review by journalist Jai Arjun Singh on his blog Jabberwock.

Stella's score: 2.5/5 (for people who actually know about the history of Bollywood)

3.5/5 (for beginners)

Donation

2008-09-19T00:10:00.018-04:00

Hello, since some of you have suggested a donation link, I have put one up on the side bar. This is strictly for people who can give money or who are financially at ease. Anything goes, 0.05$ or 5$, it doesn't matter. Once I have reached my goal, or almost, I will remove the link, buy a record player and I will go back to posting albums.

Thank You

Sorry, I can't take your money, I think it's just a matter of principle. I though I could, but it just doesn't feel right. It's weird because I don't have much money and I can't take any money. Anyway, I declined all donations and deleted the link.

Sorry for that.

Stella_1

Desktop Backgrounds

2008-09-15T00:02:00.020-04:00

Hi there,
I made these backgrounds if anyone is interested. There are 2 sizes. The first is 800 x 600 pixels and the second is very large but fits for any widescreen desktop (you need to compress it).

To download the image, just click on the one you want and then right click, press Save As and Save it in a file on your computer.

The first is taken from the Awaara(1951) poster with Nargis and Raj Kapoor.

800 x 600

Widescreen

The second is from the Lajwanti (1958) poster starring a beautiful portrait of Nargis.

800 x 600

Widescreen

The third is from the poster of Madhumati (1958) with Dilip Kumar in the center, Vyjayantimala on the left, Pran in the left corner and Johnny Walker in the right corner.

800 x 600

Widescreen

Hope you like them! My favorite is the second one. Enjoy.

Memorabilia

2008-09-15T00:01:00.017-04:00

I don't have many bollywood artifacts from the past but here are a few.

The first image is the cover of a synopsis booklet to Raj Kapoor's film Barsaat (1949). It has the synopsis written in English , Hindi, Bengali, and Urdu.

On the back there is a vintage ad for the film Badal (1951), starring Madhubala and Prem Nath

After, is the cover of a song booklet again for the film Barsaat(1949).

On the back are pictures of Madhubala, with a photo of Dev Anand, the lovely Geeta Bali and the character actor Rashid Khan from Baazi (1951) directed by Guru Dutt.

Enjoy!

Books on Indian film: Part 1 (or the lack of good books on indian cinema)

2008-09-10T00:40:00.064-04:00

Introduction (and complaint)

A while back I had an assignment to write on Raj Kapoor and his films for a cinema class. And I very soon came to the conclusion that there isn't much out there for people that need serious info on Indian cinema or subjects strongly related to Indian film, such as studies on it's music, gender relations, religion, sociology, philosophy etc. These subject are important because a whole state of mind is unconsciously portrayed in mass and popular Indian cinema. For a film to be seen and accepted by the people of India of all castes, religions, ages and sexes means that the commercial cinema of India brings together universal indian and human values shared by all. It would not take long to figure out what these values are because they are expressed in cinema on the 1st degree. But what is more interesting is the cinema that speaks out, that is unclear and experimental. Cinema that is independent from the major studios and also challenges the mind. That is what usually attracts film scholars*, therefore writing books on cinema.

* I just want to mention that I think every film, even if they are big blockbusters, like Kabhi Khushi Kabhie Gham, Dilwale Le Jayenge or Devdas could easily have many layers and underlined meanings and opinions, but I personally believe that there is not enough dept (compared to independent cinema) to attract film scholars to study the films in further detail.

But alas, it seems that not much serious work has been printed up to date (in English or French anyway). Many books claim to talk about Indian Cinema, but too many are voiceless and empty books pretending to be about Indian film. This makes it hard for me to learn correctly and traditionally about Indian cinema.

So this series of posts is dedicated to various books, good one's (the one's worth reading) and bad one's (the one's to avoid). I think that many authors took the opportunity to write about Bollywood or popular Indian cinema just to capitalise on the growing international phenomenon. So let's try and focus on the real books.

Book 1: Indian Film (1963)

One of the first and oldest books (in English) on this subject, is called Indian Film written in 1963 by Erik Ba rno uw and S. Krishnaswamy (son of film director, K. Subrahmanyam). My verdict? Basically, I loved this book. There is so much info cram packed about the Indian film industry in every page that you just can't stop reading it. It is so great!

The topics in the book include, History, Studios, Societies, Feuds, Specific Industries (Hindi, Tamil, Bengali), Actors, Industry Insiders and Workers, Producers, Music, Financial Structures (including black-money) and Censorship.

One chapter that I find interesting is called "Ordinary, Decent, Superdecent" (p.168) . It's a brief overview about women and there place in Indian cinema thought history. It starts with naming a few of the first screen stars of the of the silent era. Some examples are, Sita Devi (Renee Smith), Sulochana (Ruby Meyers) and Lalita Devi (Bonnie Bird). Most of which were Anglo Indians (no caste and outcasts by both Indian and English society) because not even Indian prostitutes would go into film. Later, in the 1930's, Durga Dhote and Devika Rani, changed the perception of women working in Indian cinema by being both of the Brahmin caste (high caste) and were accepted as film stars. But after the war, women were categorised and payed differently depending on five categories. The classes and there daily wages where, "Ordinary Girl" 5R, "Decent, class C"10R, "Decent, class B"15R, "Decent, class A" 20R and "Superdecent" 25R to 40R. Also, if you could dance that was a plus. Now (late 40's- early 50's and beyond), the film industry had women from all background appearing and working in Indian cinema.

Oh yeah, the next two chapters, "Pagents for our Peasants" (p.172) and "O Divine Tamil"(p.177) are great too, they are about the rise of Tamil cinema, and it's invasion on the Hindi film Industry during the late 50's, but you will have to read those on your own.

Pictures - First Edition, 1963 and Second edition, 1980

Upside

The book talks about a variety of symbols in Indian cinema and there historical, political, religious or social meanings. So foreigners, like me, can understand the films better.

The books is so rich because of the number and quality of interviews it used, like Bimal Roy, Satyajit Ray, Shyam Benegal, Shivaji Ganeshan, C. Ramchandra, Salil Choudhry, James Ivory, Ismail Merchant, Shashi Kapoor, K. A. Abbas, Mehboob Khan, Durga Dhote, Devika Rani... and more.

Downside (0r perks)

Even if it is not necessary to have a background in film studies, you could encounter problems or confusions while reading the book. It is very useful, when reading Indian Film, to have some good knowledge of the history of cinema and it's main figures in Hollywood and the world film industries a like.

One thing that it does not do, is analyse specific films in detail. It's not a book about certain people or specific films. So if that is what you are looking for, this is not the book for you. (It didn't help me for my essay on Raj Kapoor and his films.)

Since it is an older book, some facts might be outdated. Although it was republished in 2001-2002, I do not know if it was reedited and updated for the present times.

Stella_1's score: 4.5/5

Next is Bollywood: A History by Mihir Bose

Little problem

2008-09-08T11:56:00.016-04:00

Hi everyone,

I know it's been a long time since I posted an album but I have one little problem, I don't have a record player. And basically for financial issues (primarily paying university) I can't really spend on things that aren't necessities. I will try and save up enough money to be able to start posting records in October. I am very very sorry for the wait.

But in the meantime here are some records I will be posting next (not in definite order)

*I don't have the exact scans or pictures of my records, so I just took some pics off the Internet.

Also, I will be posting about books on Bollywood, Indian cinema and Hindi film music.

Thanks