Tag Archives: Anarkali

Songs that end a film: Ten Favourites

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Many years ago, I had done a post of credits songs: songs that appear at the beginning of a film, playing as the credits roll. Not just music, not just a verse or two, but a full-fledged song, often (as in the case of Garjat barsat saawan aayo re or Rangeen bahaaron se hai gulzaar Chinatown, to give just two examples) songs that were there only through the credits; they didn’t appear otherwise in the film.

Some readers suggested it might be interesting to find songs that did the opposite. Songs that ended a film, but were complete in themselves. Not (as is common in a lot of films) a verse or a refrain from an-already-heard song that is reprised at the end. Not like the hit love song of which the refrain is played again while the happy couple, now married, go off into the sunset.

No. These are songs which appear only at the end of the film. Not necessarily at the climax: Yeh mahalon yeh takhton yeh taajon ki duniya comes near the end, but there are several scenes beyond that. But songs which actually end the film.

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Ten of my favourite ‘imprisoned singer’ songs

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No, this song list isn’t the result of a dear relative landing up in jail or anything of the sort. It just popped into my head one day when I was looking up a song on Youtube and saw Lapak-jhapak in the side panel. It occurred to me: Hindi cinema has its fair share of people who are in prison, at times in really dire straits (not the case with Lapak-jhapak, where David’s character is really quite comfortable), but still being able to summon up the energy to sing. As a character writes in Alice Walker’s The Color Purple, Why do tired people sing?… Too tired to do anything else. Maybe that’s the case with film characters in prison: lots of time on their hands and too depressed to do anything else.

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Ten of my favourite ‘Aaja’ songs

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Or, to put that better: Hindi film songs that begin with the word “Aaja”.

Let me give the background for this. My daughter, ever since she was a baby, has always had an ear for music. All you had to do was turn on the music (or start singing) and she’d start wiggling her shoulders. When she began walking, the dancing became rather more vigorous—and the first song she totally fell in love with was Aaja aaja main hoon pyaar tera. The very first time she heard it (and she hadn’t even started talking coherently yet), she joined in at the end: “Aaja, aaja!” After that, every time she’d do a little wriggle and say “Aaja, aaja!” we knew she wanted to listen to some dance music.

So, Aaja. Literally, ‘Come!’ Though I’ve always puzzled over why aaja—which combines aa and jaa, and should create a paradox—and not simply aa? Does the imperativeness, the urgency (which is invariably a part of Hindi love songs that use aaja in the lyrics) come through more when the word is aaja and not aa?

Aaja songs

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Ten of my favourite C Ramachandra songs

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…specifically, songs which he composed, not just songs he sang (since C Ramachandra also lent his voice to some of his best songs).

Chitalkar Ramachandra was born 97 years ago—on January 12, 1918, in the town of Puntamba in Maharashtra. Although he’d studied music, it was as an actor that C Ramachandra joined the film industry—he debuted in a lead role in a film called Nagananda. This didn’t continue for long, though; he eventually shifted to composing songs, first for Tamil cinema, and then for Hindi. And he came like a breath of fresh air to Hindi film music: in a period dominated by classical tunes composed by the likes of Naushad, Anil Biswas and Pankaj Mullick, C Ramachandra had the guts to bring in music with distinctly Western rhythms, what with hits like Aana meri jaan Sunday ke Sunday and Mere piya gaye Rangoon. And he was brilliantly versatile: as the following selection will (hopefully) show, he could compose just about everything from peppy club songs to lullabies to ghazals (if one can expect a particular style of music for a ghazal) and lilting love songs.

Chitalkar Ramachandra, b January 12 Continue reading →