Tag Archives: Yeh hawa yeh raat yeh chaandni

Dilip Kumar in Ten Moods

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RIP, Dilip Kumar.

A living legend has gone. Yusuf Khan, aka Dilip Kumar, one of the greatest actors (many would say the greatest) of Hindi cinema, a man who could seemingly effortlessly enact any role. A man who could convincingly be the maudlin drunk, the happy-go-lucky joker, the broken-hearted lover, the cynic who looks on with contempt at a world gone awry. Unlike several of his most successful contemporaries, who let their stardom get to their heads until what you saw onscreen was always the star, never the character—Yusuf Sahib managed always, unerringly, to bring the character to life. He was Devdas, he was Noshu. Amar, Azaad, Saleem. And every other character he has played.

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Ten of my favourite Rajendra Krishan songs

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2019 marks the birth centenary of two major lyricists of Hindi cinema: Kaifi Azmi and Rajendra Krishan. While they may have shared the same birth year, Krishan and Azmi appear to have been very different personalities. Unlike the ardently socialistic Azmi, Rajendra Krishan seems to have pretty much embraced the capitalist side of life (interestingly, he is said to have been the ‘richest lyricist in Hindi cinema’—not as a result of his earnings as a song writer, but because he won 46 lakhs at the races).

Also, unlike Azmi, who wrote songs for less than fifty films (up to 1998, when he wrote for Tamanna), Rajendra Krishan was much more prolific. Though he died in 1987, by then he had already written songs for more than a hundred films.

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Ten of my favourite romantic serenades

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This blog has been in existence ten years, and I suppose you can tell how important (or not) Valentine’s Day is over here by the fact that in all these years, I’ve dedicated a post to this day only twice—once, with a list of love songs in ten different moods, and (more recently) with a list of romantic duets.

So here we are, jumping on to the bandwagon yet again. This time, it’s a list of romantic serenades, of people singing in praise of the person they’re in love with (or, as in the case of a couple of fraudulent characters in this list, pretending to be in love with). There are serenades to others (Hindi cinema is full of serenades): to mothers and their near-divine maternalism; to the motherland and to the bond between siblings. None of these, I think, are as ubiquitous and as common as the serenade to a loved one. The praise in honour of his/her beauty, charm, sweetness, simplicity, virtues: going by the way Hindi songs serenade a love interest, you’d think the realm of Hindi cinema was crammed with utter paragons.

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