When I compiled my list of Khwaab/Sapna songs, I had it in mind that ‘dream’ songs could be interpreted in different ways. As songs with a synonym for ‘dream’ appearing in the lyrics (plenty of these, as was to be seen in the comments for my post). As songs that appear as dream sequences. And, finally, as songs that are actually dreamt. People fall asleep and, in their dreams, a song plays out.
1942, a forgotten and decrepit military base in Montana.
In the middle of a brawl among a group of unruly, ragged and undisciplined American soldiers—guilty of “military and moral delinquencies”, as their commanding officer puts it—the sound of bagpipes comes floating down the road. A contingent of Canadians, the best of the best-trained army in the world, comes marching along in precise formation. Not a man is out of step, not a hair is out of place. They are the picture of discipline. And they are to be, along with the Americans, amalgamated into a fighting force that will be dropped into the middle of Norway.
Cinema writing, travel writing and fiction are what I usually spend my time on, but every now and then, I try my hand at writing about food. Not just restaurant reviews (of which I do a good deal, some occasionally … Continue reading
Of Mere piya gaye Rangoon fame.
Mere piya gaye Rangoon—and some of the other songs of Patanga—were the main reason I began watching this film. Then, when the credits started to roll and I discovered this film also starred Shyam, I sat up a bit and began watching with a bit more interest. Shyam (1920-51, born Shyam Sundar Chadha) grew up in Rawalpindi and, when he was just 22 years old, debuted in a Punjabi film named Gawandi. He went on to work in several films, including Samadhi, Dillagi, and Shabistan—the last-named was also to be Shyam’s last film: in the course of the shooting, he fell off a horse and died.
I’ve seen precious little of Shyam (Samadhi is the only film of his I remember watching), but he intrigues me in the same way that his older contemporary Chandramohan does: they make me wonder if the honour roll of Hindi cinema would have been somewhat different if these men had lived. Shyam, with that handsome face and that impressive height and build, was definite star material. Plus, he was not a bad actor, either. Had he lived well into the 50s, would his presence have perhaps altered the careers of actors like Dev Anand and Shammi Kapoor?
Happy 100th birth anniversary, Chitragupta!
A couple of years back, in celebration of the birth anniversary of C Ramachandra, I’d posted a selection of my favourite songs from his oeuvre. In my post, I’d described C Ramachandra as ‘underrated’ (a reflection of the fact that the average person who listens to old Hindi film music—not the diehard enthusiast who knows, or tries to know, just about every detail about the songs of yesteryears—tends to talk about ‘bigger names’ like SD Burman, Naushad, OP Nayyar, etc). A couple of readers refuted that: they said C Ramachandra wasn’t underrated; among the music directors of that period who were underrated was Chitragupta.
I may not have agreed with AK and Kersi Mistry on C Ramachandra, but I do agree about Chitragupta: very talented, and oh, so overlooked when it comes to lists of great composers. Yet, when you listen to his songs, you’ll find some of the loveliest tunes, the most nuanced of compositions. Even some immensely popular songs.
Born on November 16, 1917 in Gopalganj district of Bihar, Chitragupta ended up in the film industry after an initial stint as a lecturer in Patna (interestingly enough, he held a master’s degree in both journalism as well as economics). In Bombay, Chitragupta began his career as an assistant to SN Tripathi; from about 1946 onwards, he was composing on his own. He went on to compose songs for both Hindi as well as Bhojpuri cinema, right up to 1990 (he passed away in January 1991). It’s sad that more people know of Chitragupta’s sons—Anand-Milind—than they do about the duo’s much underrated but extremely talented father.
Some weeks back, in commemoration of the birthday of Hema Malini, Anu (at Conversations Over Chai) did a post on the actress, listing some of her best roles. Reading that post, I could not help but remember some of my favourite roles of Hema Malini’s. Many, of course, were the type that Anu covered in her post: roles that showed off Hema’s skill as an actress, roles which had her portraying strong-willed, humorous, interestingly unusual, or just plain old feisty females. But to my mind came also roles that were more of Hema as eye candy. And thinking of that—and of Dharmendra, so inseparable from Hema, really—I could not help but think of Tum Haseen Main Jawaan.
Some to-and-fro of comments on Anu’s posts ended up in a joint decision to do a simultaneous Dharam-Hema Double Bill. Anu has written up her review of another early Dharmendra-Hema entertainer (the delightful Raja Jani), which you can read over here, at her blog. Mine, also a review of a Dharmendra-Hema film that was outright entertainment (especially with both of them looking pretty much at their best), is what follows.
No, don’t expect a bunch of questions with a tantalizing prize to be won if you answer them correctly. This is just a teaser for an upcoming post of mine, and consists of just one question.
That being, what do these four songs have in common? (Yes, I know the majority of these are from beyond the time line my blog sticks to, but what they share in common does have something to do with 1970, which is on the cusp and therefore permissible on my blog). What do they have in common, other than that all of these were composed by RD Burman? (Edited to add: yes, all these songs are sung, even if only in part, by Kishore Kumar. But there’s something special that links these four songs of Kishore and RDB together, which is not true of any of their other collaborations).
Yeh kya hua, from Amar Prem:
Aapke kamre mein koi rehta hai, from Yaadon ki Baaraat:
Yeh jawaani hai deewaani, from Jawaani Deewaani:
Pyaar deewaana hota hai, from Kati Patang:
Happy guessing! The answer will be published this coming Saturday.
This blog focuses almost exclusively on films from before the 1970s. Very occasionally, though, I make exceptions. For films that are pretty much on the cusp, and which evoke more a sense of 60s cinema than 70s, which were made mostly during the 60s (or even earlier, as in the case of Pakeezah) but were released only later, but basically for films that, when I watch them, seem as if they were made in the 60s. Because of the people who star in them, because of the costumes, the songs, the feel of them.
When Vinod Khanna passed away last week, I wanted very much to review one of his films as a way of paying tribute. There are a couple of 60s’ films of Vinod Khanna’s that I’ve seen—the forgettable Man ka Meet, for instance—but I settled on a rewatch of Mera Gaon Mera Desh, not just because it features Vinod Khanna in one of his most memorable outings as a villain, but also because it is an interesting example of a film that may have only been moderately successful, but is the very obvious inspiration for one of the biggest hits ever in the history of Hindi cinema: Sholay.
Some of my favourite films are those that cleverly combine crime with humour. Hitchcock’s The Trouble with Harry, for instance, a witty story about a man whom everybody seems to have been wanting to get rid of. Or—one of my favourite films, regardless of time and language and genre—I Soliti Ignoti, about a bunch of horribly inept thieves. Charade, How to Steal a Million… and, the latest to join the ranks, the Russian film Brilliantovaya Ruka (The Diamond Arm), which is about a man with an arm wrapped about with diamonds. And other gemstones, and gold.
This work calls itself a ‘screen novel’ and consists, as do so many novels, of not just the main body of the novel, but a prologue and an epilogue as well.
The prologue is a brief one. In a narrow street in Istanbul, two dodgy-looking guys stand in the doorway of an apothecary, and hand over a cane with an ornate handle to a man in a car. This man we see next sitting down in a public area, placing the cane carefully beside him—from where it is swiftly and surreptitiously switched for a replica by another, who rushes off with it.
In Rajinder Singh Bedi’s Dastak, there is a scene well into the film which offers a glimpse of both what this film is about and what its tone is like, how it conveys its messages.
Hamid Ahmed (Sanjeev Kumar) is about to leave home for office. His wife Salma (Rehana Sultan) brings him a cup of tea. In a large cage that sits in their room is a mynah which has been mimicking Salma’s voice so perfectly that Hamid has mistaken something it’s said for his wife’s words. Salma, smiling mischievously, points out his error and tells Hamid about a so-called brother of hers from her village.
Salma: ‘… woh kaha karte thhe, “Pinjre mein panchhi ko band karne se bada paap lagta hai”.’ (He used to say, ‘It is a great sin to imprison a bird in a cage.’)
Hamid (smiling): ‘Chhod dene se bhi toh lagta hai.’ (‘Releasing it too can be a sin.’)
Salma: ‘Woh kaise?’ (‘How is that?’)
Hamid: ‘Baahar sainkaron baaz, shikre… koi bhi khaa jaaye.’ (‘There are so many birds of prey outside. Any of them might eat this one up.’)