Ten of my favourite come-hither songs

… sung to a single person, not an audience.

Let me explain that a bit.

Hindi cinema, especially in the glamorous and colourful world of the 60s, is full of songs inviting love (or lust, or whatever interpretation one might want to put on it). Whether it’s a Helen with bizarre eye makeup singing Aa jaan-e-jaan to a caged lover in a floor show or a floral-shirted Joy Mukherji openly serenading Asha Parekh in a Tokyo party, there’s a good bit of sizzle, lots of “Come on and give us some love”.

If I started listing all the songs of that type that I like, I’d never get to the end of the list. Because these come-hither songs come in all shapes and sizes: there are dozens, for instance, which are no more than performances. There is the occasional one, too (Yeh samaa samaa hai yeh pyaar ka is an example) which is accidental, an unintended come-hither song.

But, I’ve decided to dedicate this post to a very particular type of come-hither song, and the idea for that came from this brief line-up of ‘sexy Saturday songs’ which I curated for Agents of Ishq. There was no way I was going to be able to replicate that song list on Dustedoff, since it had only six songs, of which three weren’t from Hindi cinema, and of the remaining, three were outside of the time period which my blog focuses upon.

So, a fresh list. And this one consists of songs that are specifically addressed to one person. There may be other people around, but the focus of the song is one particular individual. Plus, the song really is come-hither; not just in the words, but in the acting. There should be a definite element of flirtation, of seduction.

As always, all of these songs are from pre-70s Hindi films that I’ve seen.

1. Aaja re aa zara aa (Love in Tokyo, 1966): It’s appropriate to begin this list with the one song that was on my ‘sexy Saturday songs’ list and fitted my blog as well. And, to be honest, of the three Hindi songs that made that list, this is my favourite. It’s an unusual song for Hindi cinema, because a man sings it—and how! Rafi’s voice is deliciously seductive (I cannot help but marvel at his versatility: this, mind you, was the same man who also, so believably, sang Yeh duniya agar mil bhi jaaye and Jangal mein mor naacha). Joy Mukherji manages to pull off the visual equivalent of the sizzle, too, I think, even though Asha Parekh looks rather shocked at it all. But yes, it’s a fairly bold song for 1966 Hindi cinema.

2. Raat akeli hai bujh gaye diye (Jewel Thief, 1965): From a party to a drawing room. From a crowd to a twosome. From seduction to a playfulness that knows it has little chance of success but is game to give it a try anyway. Tanuja’s girlish but determined young miss is infatuated with the older man (personally, I don’t think Dev Anand was at his best in Jewel Thief) and when she’s managed to lure him into her home, sings him a song begging him to stay on. The night’s one of solitude, she reminds him. We’re alone, the lights are all out. Whisper something in my ear… the invitation to do more than merely whisper is implicit in her words. Fun picturization, a vibrant Tanuja, and an excellent rendition by Asha Bhonsle.

3. Tera dil kahaan hai sab kuchh yahaan hai (Chandni Chowk, 1954): This song I had to include because—though it features two relatively little-known actors—it is sublime, and the tune is certain to ring a bell for just about anybody who knows their old Hindi film music. Roshan composed the music for Chandni Chowk, and while I have no idea how the film fared at the box office, I wouldn’t be surprised if it made little mark, despite the presence of Meena Kumari as heroine. A possible sinking-without-a-trace may have been the reason Roshan ended up reusing this tune years later as Rahe na rahein hum.

More than Rahe na rahein hum, I love this song. It’s sultry, it’s seductive and soothing. Smriti Biswas plays an Egyptian dancer-singer trying to attract a much-married Indian who’s washed up in Cairo. The moonlight, the quiet, the solitude: she points them all out, and nudges him towards herself: where is his heart?

4. Aaiye aapka thha humein intezaar (Mahal, 1969): Farida Jalal, for me at least, always typifies—even when young (in films like Aradhana and Taqdeer)—the wholesome, ‘good’ girl next door. Certainly not a sultry siren. Which is why this song comes as a bit of a surprise, and one which she doesn’t pull off too well, despite the flimsy curtains, the provocative pose on the bed, et al: she still looks pretty and sweet rather than seductive. Instead, it comes off (though I’m not sure that was intended) as a sort of reboot of Raat akeli hai, though the playfulness which Tanuja’s character exuded is not what Farida Jalal’s character hoped for. Since her character here was tied up in some pretty shady goings-on (not limited to murder), this come-hither act is much more dangerous than it seems to be, for our hero.

5. Yeh hai reshmi zulfon ka andhera (Mere Sanam, 1965): An old favourite on this blog puts in another appearance. Rather like Tanuja in Jewel Thief and Farida Jalal in Mahal, Mumtaz in Mere Sanam doesn’t look a siren. In intent, however, her character is closer to that of Farida Jalal’s: this one, too, is up to no good. Her come-hither song-and-dance, complete with dimmed lights, billowing gossamer-thin curtains, and a clingy blingy outfit (which is not at all flattering) is all calculated to entrap the hero. Not because she wants him to be her lover, but because she wants to get him into some incriminating poses that can then be used to frame him for dark crimes.

Whatever the purpose, though, this is still a classic come-hither song. And Biswajit looks as bewildered as he could possibly be.

6. Haaye mere paas toh aa (Shikar, 1968): Helen probably holds some sort of record for the number of songs in which her character is lip-syncing to a song that’s an invitation. Most of these, however, are outright ‘performances’, on a stage, on a dance floor, or on an otherwise public platform where it’s obvious that this woman’s performing for an audience: the words are empty, just lyrics to a song, no more.

Not here, or at least not completely. A young and very handsome Sanjeev Kumar, playing a police officer (in a role which won him a Filmfare Award for Best Supporting Actor) visits a witness and possible suspect—and when she realizes he might be too close to unearthing a clue, the lady (who, by the way, is a secretary, not a dancer) decides to distract him. Helen sizzles and Sanjeev Kumar’s acting is brilliant: the initial awkwardness (even surprise); the studied indifference, the vaguely amused realization that this is all a ploy—and the final touché, when he foils all her plans and escapes.

7. Aaja panchhi akela hai (Nau Do Gyarah, 1957): For a film made in 1957, Nau Do Gyarah had what could be construed as some pretty ‘bold’ songs. Aankhon mein kya ji has been interpreted by several people (I am not among those) to imply something pretty risqué in that ‘Aanchal mein kya ji…’ line. The come-hither tone in Aaja panchhi akela hai gets disguised a bit by the playfulness of its music (SD Burman, in one of his finest overall scores), but if you pay attention, you see that it’s not mere teasing. This young man, forced to sleep in the bathtub (because he’s pretending—for the benefit of his employer—to be the husband of the woman he’s arrived with), begs her to come to him.

8. Ek nazar bas ek nazar (Munimji, 1955): Dev Anand seems to have been at the receiving end (or, as in the previous song, the one doing the inviting) of several come-hither songs. In this oft-ignored song from Munimji, his character is being coaxed into bestowing a glance—just one glance, no more—on the woman who’s lost her heart to him. Nalini Jaywant plays the city-educated girl who returns home to the countryside and falls in love with a mysterious stranger, unaware that he is also the irritating and plain-looking munim. Here, on the pretext of taking a photograph of them both, she starts off attracting her lover’s attention—and then makes it a song inviting him to look at her. And do more: Dil ke soye taar jagaa de/Chedh de koi afsaana (Awaken the sleeping strings of my heart/Play a tune that tells a story).

9. Lag jaa gale ke phir yeh (Woh Kaun Thi?, 1964): If I ever got around to making a ‘Ten of my favourite songs’ list—no themes, no restrictions—this would almost certainly figure on it. Lata’s voice, Madan Mohan’s sublime music, Raja Mehdi Ali Khan’s lyrics and a gorgeous Sadhana come together to make this one of those absolutely unforgettable songs. A mysterious woman—the hero’s wife, but whom he doesn’t really know, and whom he’s more than a little wary of—lures him away from his work at the hospital one evening and takes him away. To solitude, to a place where she tells him straight out that this is his chance to be hers. This moment is theirs; who knows what the future holds? There’s a sense of impending doom, but also the promise of an exhilarating, very seductive magic that can be in store for them.

10. Yeh raat yeh chaandni phir kahaan (Jaal, 1952): Dev Anand seems to have a lot of come-hither songs sung to him onscreen (three on this list), and he’s lip-synced to a few of them as well. This is a classic one: the quintessential ‘bad boy’ pardesi whom the innocent village girl Maria realizes is not good for her—but whom she cannot resist. And, because he is attracted to her and he knows she reciprocates his feelings, he makes it even more difficult for her to refuse. Guitar, moonlight, Hemant’s voice and Dev Anand: a potent combination. I first watched Yeh raat yeh chaandni phir kahaan on Doordarshan, perhaps when I was about 10 or 11 years old. Even I could see how anguished Geeta Bali looked, how torn between love and ‘duty’, how much wanting to go to him. And, young though I was, I could understand why.

Which songs would you suggest for a come-hither post? Please share!

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80 thoughts on “Ten of my favourite come-hither songs

  1. As usual, a fabulous collection with a superb summary. Hats off to you. Departing from this subject, please watch the film ‘The Secret of Santa Vittoria’ and post a review. Anthony Quinn at his best!

    • Thank you!

      Yes, you had mentioned The Secret of Santa Vittoria in a comment on an earlier post of mine, and I had replied that I would look out for it. I have found it on Youtube and bookmarked it, so when I get the time to do some more movie-watching, I will.

  2. Lovely theme, lovely selection, lovely commentary!

    Would this qualify?
    Aap ki nigaahon ne kaha to kuch zaroor hai
    Dharmendra sings, both Mala Sinha and Tanuja think he sings to them, but I think he is seriously flirting with Tanuja. The lyrics are so seductive …

    • I hadn’t thought of this – it hadn’t even occurred to me – but yes, I think this is a fine example of a come-hither song. :-) And a lovely song, too. Thank you for this!

  3. Lovely theme, with a great selection of songs! As you have rightly pointed out, Hindi films of the late 50s and 60s are replete with come-hither songs, so it makes sense to specify some criteria to narrow down the choice. Of course, though many of the seductive, so-called club songs in those years were addressed to an audience, it was clear that the target of the seduction was the hero who just happened to walk into the club (Aaiye Mehrbaan is good example).

    One of my favourite come-hither songs is this one (though the words are not very come-hitherish, the way Waheeda draws Guru Dutt into her web with her movements and expressions is fascinating)

    “Jaane kya tune kahi” from Pyaasa

    Two more songs where Dev Anand is the target of the seduction (though in the first one he doesn’t seem to be very impressed with the seduction efforts)

    “Kareeb aao” from Love Marriage

    “Jaate ho to jao” from Milap

      • I DID think of it, but it was already here :)) It’s so interesting: it’s a professional’s (Gulabo’s) version of a come-hither situation, it’s a big misunderstanding too. And there is so much more happening here – even the final scene is anticipated (or rather does the final scene evoke the song with changed roles). One of the best songs ever, part of the best film ever.

    • Thank you so much. Glad you enjoyed the songs, and thank you for the songs you suggest! Why didn’t I think of Jaane kya tune kahi?! It’s a brilliant song for this list.

      While I love Jaate ho toh jaao, I’ve never actually thought of it as a come-hither song: to me, it always comes across as more teasing and playful than seductive (Raat akeli hai is also playful, but there’s a definitely seductive note to it). But then, as I mentioned in my post for Agents of Ishq, ‘sexy’ is very subjective. :-)

  4. What a wonderful list! Love most of the songs on your list but #1 and #9 are special favourites. Some more I could think of – most of them outside this blog’s timeline – were:
    – Aao na gale lagao na
    – Jalta hai jiya more…aaja gori chori chori
    – Ae dushman-e-jaan chal diya kahan

    • Thank you Snigdha, and for the songs you suggest! The 70s, I think, would be good hunting ground for songs of this type, since it was a definitely more uninhibited decade than the ones preceding it – and yet music still hadn’t completely gone to the dogs.

  5. hello Madhuji,
    what a wonderful post! the commentary of the songs is even more watchable and readable than the songs themselves.
    I read every single word, written by in this post.
    really worth reading! I have no words to praise it more!
    I think i can share a few songs
    Uthegi tumhari nazar dhere dheere- from ek nazar
    of course, i dont know the situation in the song…………but it looks the required one

    second song, i am doubtful! it’s not a solo.
    dilrube dil pe tu from rajkumar

    • It’s been a long time since I watched Ek Saal, so I’ve forgotten the exact situation of the song, but somehow there’s a tone to the song that doesn’t make it feel come-hither to me.

      Dilruba dil pe tu… how could I forget this!!! Agggh. This is absolutely the song I should’ve remembered, not just for this post, but for the one I wrote for Agents of Ishq. That is sexiness personified. Thanks so much for reminding me of that.

    • Dilruba … is such a sexy song. The way Rafi softens his voice to impart sensuousness is amazing … he has done it many times for Shammi Kapoor

      • “The way Rafi softens his voice to impart sensuousness is amazing …

        Also pure romance, as in Ae gulbadan and Hum aur tum aur yeh sama. I never cease to be impressed by Rafi’s ability to adapt.

    • Oh, yes. Taare chaandni afsaane sama… it gives me gooseflesh (and literally, I mean – I can feel the skin prickling on my arms and the back of my neck!). I so, so wish I’d remembered this one. Thanks a ton for this, Manuela. :-)

  6. few more….
    zulfein ulajhi hai mere kangana- burma road/ lata

    jadugar qatil hasil hai- kohinoor-asha

    tera jalwa jisne dekha- ujala-lata

    incidently all songs picturised on Kukukm.

    Madhuji would you post a song list on kukmkum?
    I would have done it myself, but i wont be able to describe the songs, the way you do.
    you do it so well,
    So its my request to you!
    She has so good songs picturised on her, that too all melodious.
    Oh, do it plz!

    • Thank you for these! I would definitely put Zulfein uljhi hain mere on the list – it’s very seductive. The other two may have lyrics that praise the beloved, but the ‘tone’ I was talking about is missing – it may be hard to put this into words, but what I was looking for is a certain something in the music and the rendition (which comes through in Dilruba dil pe tu, or Zulfein uljhi hain) which can convey a certain erotic-ness, an invitation to intimacy.

      P.S. Will definitely think about doing a Kumkum post, sooner rather than later. I like her a lot too.

      • Thanx madhuji,
        I am looking frwd to kumkum post!
        She really is wonderful and can act well too, in my opinion.

        I also wasn’t sure about the last two songs, as
        ‘Plus, the song really is come-hither; not just in the words, but in the acting. There should be a definite element of flirtation, of seduction.’
        were not fullfiling this crirerion.
        :-)

  7. one more………….
    Andaz mera mastana, though not actually meant to be a seductive (a stage song, it seems). so i’m not sure, if u would accept it or not!

  8. I wonder how all of us missed out on the timeless Aao Huzoor Tumko Sitaaron pe let chaloon! Arguably, should be top-of-the-list!!

    • It is, in a way. Look at the first screenshot of the post.

      It was on my shortlist, but it violates one important criterion that I’d set for myself: “And this one consists of songs that are specifically addressed to one person.

      While Biswajit’s character may be the one most vividly remembered as the ‘addressee’ of the song, the fact is that Babita’s character actually stumbles all across the bar and restaurant, singing it to just about every man she comes across. So, despite it having the correct tone and the words (and being just a very good song anyway), it doesn’t actually fit.

  9. a few more to add………
    husna ke lakhon rang-johny mera naam- asha

    Raat bhi hai kuchh- mujhe jeene do
    though she is dancing in a mehfil, her eye always meets his as if she is saying it all specially to him. i think u include it!

    kuchh to aisi baat kar zalim- qaidi-asha

    yeh ranggen mehfil gulabi- shikari- asha

    tumse kahoon ek baat – dastak-rafi

    • Tumse kahoon ik baat was on my shortlist, too – very come-hither, and in a pretty bold way too. I’ve seen Shikari too long back to remember the situation, but this definitely looks like a staged performance, so I wouldn’t include it. So, actually, is Raat bhi hai kuchh (and a performance on stage, even if obliquely addressed to a single person, doesn’t count).

      Husn ke laakhon rang is a very interesting song, because it’ one of those very deceptive ones. The music, the lyrics, the rendition – all point to seduction, but the reality of the situation is that Padma Khanna’s character is being forced to submit to Premnath’s lechery, with her boyfriend held hostage unless she performs. The reality of the song is actually rather distressing. I had toyed with including this, but dropped it.

  10. As usual, we have a mind meld. :) I had Ye reshmi zulfon, Raat akeli hai, Lag jaa gale, Aaiye aapka tha intezaar, Aaja re aa zara, and Ye raat ye chandni phir kahan on my ‘Songs of Seduction’ list. Which is basically ‘come hither’ songs, come to think of it.

    So enjoyed reading your write up on the songs.

    I would add, Tumse kahoon ik baat from Dastak – I notice it’s already been mentioned, so I won’t add the video.
    Then, Aur kuch der thehar from Aakhri Khat which is quite explicit in its lust – Paake tujhko tujhe paane ki hawas baaki hai. It’s a gorgeous song.

    What about Dil jo na keh saka from Bheegi Raat, again, rather suggestive in both lyrics and picturisation.

    Baahon mein chale aao from Anamika – again, quite explicit, but also playful.

    • Anu, I’d completely forgotten that you’d done a Songs of Seduction post. Why am I not surprised that our lists had several songs in common? :-)

      I had forgotten Dil jo na keh saka till a week back (by when this post was all ready to be uploaded), and then – researching a completely different post – I came across it. Was wishing I’d remembered it at least in time to put it in the Agents of Ishq post. That would have surprised a lot of people who always imagine Meena Kumari as the sati-savitri she invariably appears in most films.

      Thanks, too, for Baahon mein chale aao and Aur kuchh der thehar – both nail it.

  11. Thank you for this post, I have never looket at come-hither songs from this more angle. For me almost the ideal of this type of them is Roop Tera Mastana from Aradhana, I am sure you don’t include it because it is too well-known.
    I’m not sure that some songs thant I would like to add can be qualified. In Chori Chori solah singaar karungi Zeenat intention is obvious but she sings to sleeping Sanjeev.

    But this song from Kohra I suppose suits

    This also seems me something like that you told about (may be more hot that you examples but anyway:).

    And may be this one from Ajanabee (it is out the time frame but only a bit)

    I didn’t remember now any bengali songs that can be in this list but may be I will ad something later:)

    • Thank you for the appreciation, and for the songs. I somehow think of Yeh nayan dare-dare as more in the same mold as Chaudhvin ka chaand ho: a serenade, a romantic song, not really an invitation to be naughty, if you know what I mean (Bheegi-bheegi raaton mein is very different in tone, and more what I meant when I talked of come-hither songs).

      Husn ke laakhon rang, as I mentioned to someone else who posted it, doesn’t exactly fit, because the situation is so different from what the music and lyrics suggest: this woman is being forced to dance and sing, well aware that she’s almost certainly going to be raped at the end of it. It’s actually a disturbing song, so I didn’t put it on the list…

  12. So many songs come to my mind- probably because most Hindi films contain at least one song in which the heroine overtly or covertly invites her beau. To name a few –

    1. Nargis seductively inviting Raj Kapoor for a ‘moonlight union’ (Awara, 1950)

    2. Kumkum in a romantic mood alluring Rajinder Kumar to give in to the appealing ambience – this somewhat uncommon song is from Ghar Sansar (1958)

    3. Sweet dimpled Sharmila Tagore actually pulling a hesitant Shammi Kapoor to accept her love (Waqt,1965)

    The following two songs are slightly outside your period but I could not help including them-
    4. Jaya Bhaduri mischievously asking Sanjeev Kumar to come in her arms (literally), while feigning sleep. (Anamika, 1973)

    5. It could not be more direct – Zeenat Amaan prancing in the rain and tempting Manoj Kumar with the cold logic that youth is ephemeral while earning livelihood is not! (Roti, Kapada aur Makan, 1974)

    • Yes, of course there are countless songs inviting a beloved, but the point of the post is that it must be a song that doesn’t merely invite some nain se nain milaao type of thing: Hai-hai yeh majboori, much as I dislike that song, pretty much fits the emotion I was trying to convey. A song which is really a good mix of love and lust. Aaja sanam madhur chaandni mein hum (which isn’t from Awara, by the way), Din hai bahaar ke and Yeh hawa yeh nadi ka kinara, while all great songs – among my favourites – are really love songs, not much lust in them.

      • Understood! the ‘oomph’ factor also has to be there, although the gradation from love to lust is subjective and varies from person to person. I hope the following two songs, incidentally both featuring Padmini, qualify !

        1. Ho Maine Pyaar kiya from ‘ Jis Desh me Ganga Behti Hai’ (1960)
        The song starts with yearning sighs – then the tempo of song, the lyrics and a wet Padmini jumping in and out of water finally convinces a naive Raj Kapoor to take the plunge too!

        2. Ang Lag Ja Balma – Raj Kapoor – Mera Naam Joker (1970)
        Nothing needs to be said – just watched!

        • I think Ang lag jaa balma qualifies much better than does Ho maine pyaar kiya, since Ho maine pyaar kiya mostly has her singing to herself, with only her sahelis for company. The rather more obvious ‘come here and love me’ attitude of Ang lag jaa balma is what I meant.

  13. I hope this one qualifies … a haunting song of enticement that is all the more moving because of its futility

    Yeh Hawa Yeh Fiza from Gumrah

    • I’m so glad you put this in! I was dithering between this one and Yeh raat yeh chaandni phir kahaan, but I’ve put this song on so many lists, I decided I’d better leave it out of this one, at least. Beautiful song.

  14. A very “hatke” topic for your blog! I like it.

    One of my favorite come-hither song is “Tu Mere Saamne Hain” from Suhagn (Madan Mohan/Hasrat Jaipuri/Mohd. Rafi)

    I remember once Sonu Nigam talked on how he analyzed this song and pointed out the emphasis Rafi sahab put on words in the lines .. Anchal hain “Dhala” and Main bhala hosh main “Kaise” Rahoon. The appropriate weight and description of the words.. Mesmerizing!.

      • If you know the context, this song makes a lot of sense in the movie, Suhagan. I liked the movie though a bit dramatic but a decent watch.

        Without giving too much about the movie, Guru Dutt is suffering from a heart condition and his wife (Mala Sinha) is asked to keep him refrained from intimacy but it’s hard to do that and this song is at the center of that dilemma..

        • I’ve heard about the premise of this film, but have never got around to watching it (for an odd reason: because, looking for this years back on a DVD rental site, I ended up getting the Geeta Bali-starrer Suhagan, which was an awful movie. I should look for this on Youtube sometime.

    • Oh, yes. Certainly. I think there’ll be no dearth of rather ‘bold’ come-hither songs from the 90s onward – it’s finding them in the 50s and 60s that’s a challenge.

        • Now I don’t know whether I’ve heard this before or it’s just the tune that’s familiar – am I imagining it, or is this a copy of a tune (a Western one?)

          But yes, absolutely spot on. Totally!

      • yes, by 70s we had shed some of the ‘coyness’ , especially the so called ‘non A-graders’ ..as in this song from 1976’s Chalte Chalte : Door door tum rahe

          • I remember being a little taken aback when I first watched this song. i was a teenager, and till then, I’d never seen any Hindi film which made no bones about the hero and heroine getting into bed with such utter nonchalance. ;-) Love this song.

            • Like me, Ava & Harvey, you can come out of the closet and declare your appreciation for 70’s Dev :) :)
              (Just kidding, I know your appreciation ends at the song from Heera Panna, and does not extend to the male actor)
              First things first —
              GREAT POST !!!
              Anu (already mentioned in comments) had a similar post on seductive songs; and in there I had posted this song from Kala Pani

              Anu turned it down because she felt the dancer was just fulfilling her commercial duties. I think there is little to much more than just doing your job; Nalini Jaywant seems to be going beyond what is required. Not that I am aware of the etiquette/protocol of such encounters; but; what do you think ?
              Most of my 70’s songs have either been posted here or in Anu’s blog; but here is another. Seductress = A very explicit Raakhee, Seductee = Rakesh Roshan who for a male is unusually prudish :)

              • Najar laagi raja tore bangle par is one of those songs that crops up on my blog every now and then – I do love it. It doesn’t fit here, though, because I excluded performances from my list.

                Aankhon aankhon mein baat hone do fits perfectly! Ages since I saw this one. Thanks, Samir. :-)

  15. Very relevant post regarding old day’s Bollywood music. Thank you.
    I think the entire film music of 60’s and 70’s was revolved around the art of seduction at least to a large extent.
    The filmmakers,lyricist and composers of those days clearly knew how to deliver sensuality without making the characters too cheap, rather it enhanced their attraction and personality.
    A message was clearly given that sex should always come after a lot of longing, awaiting and emotional investment. It should not be an easily available thing in life. This thought process is somehow missing today.
    Anyway, I would like to add some songs and they are:
    1) “itni jaldi na karo” from “Aadmi aur insaan”(1969)
    2) “kitni akeli kitni tanha si lagi” from “Talaash”(1969).Here the characters are completely silent but their posture and the way they were looking were full of sexual vibe.
    3) “kaal to sunday ki chhutti hai” from “Agar tum na hote”(1983). Its out of your timeline but the song deserves mention. Its a marital come-hither song where husband asks for intimacy and wife pretends to be unwilling. Rekha rendered her voice for this song. And one more thing, the lyric clearly mentions its a ‘Saturday night’ song.

    • “A message was clearly given that sex should always come after a lot of longing, awaiting and emotional investment. It should not be an easily available thing in life. This thought process is somehow missing today.

      Very well said. A lot of people today regard that attitude as somewhat prudish, perhaps, but I think the core idea behind it – which you put so well – is beautiful. And that is how it should be, at least according to me. In a cinematic situation, I think that longing is what really heightens the sensuality: the desire which is unfulfilled, and which will perhaps remain that way until the couple eventually gets married. :-)

      Three very appropriate songs, too. Thank you for those.

    • Mere paas aao nazar toh milaao sounds perhaps closer to being somewhat in the genre of offering solace or comfort (like Aaja piya tohe pyaar doon). It does have an element of seductiveness, too, so I wouldn’t be surprised if some people would consider it a come-hither song.

  16. Sadly, I’m late to the party but tardiness has some benefits and I had the luxury of not only enjoying your post, Madhu but also all the fabulous songs mentioned in the comments. I love every song in your list, save #9 and was particularly pleased to see the inclusion of “tera dil kahan hai.” As you noted, the sultry but soothing combination is irresistible.

    The “Chandni Chowk” song reminds me of another gently seductive and surpassingly beautiful song by Roshan.

    Tu humko dekh aur hamari nazar se dekh – Zindagi aur Hum/Lata/Roshan

    And here’s another one featuring Sadhana:
    O mere bairagi bhawara – Ishq par Zor Nahin/Lata/SD Burman

    • Thank you, Shalini! I’m glad you liked this post. :-)

      Tu humko dekh was new to me. What a lovely song! Why haven’t I heard this one before? Fabulous. Thanks, especially, for this one. I agree O mere bairagi bhanwra fits the bill, but I’m not fond of the song itself…

    • Oh, yes. Much more than Jaate ho toh jaao, which someone else suggested, Yeh bahaaron ka sama fits the theme much better. Dev Anand looked so delectable in Milaap. :-D

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