theBollywoodFan

Rockstar (2011) Lyrics and Translation: Kun Faaya Kun

2011-10-01T21:56:00.000-07:00

While I devote this post to one song in particular, I hope we can discuss other songs from the soundtrack in the comments section, as well.

As I start writing this post, I have yet to listen to the soundtrack to the upcoming film Rockstar (releasing 11/11/11) in its entirety, but if I have ever enjoyed a soundtrack enough after consuming only a small sample of tracks to conclude that I'd recommend it highly, this has to be it.

A question this leads to is whether this has as much to do with the state of the Hindi film music overall, as it does with the greatness of A. R. Rahman. (Rahman is, as any objective comparison of the last 10, maybe 15 years of Hindi film soundtracks would indicate, simply way ahead of his peers in Hindi cinema.) Like most things, it's probably a combination of both. But I digress. Rather than dwell on the question, aren't we just better off enjoying the talent Rahman is blessed with? What's wrong with just appreciating divinity at work? (Assuming we believe in some divine force.)

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Bodyguard (2011): Survey Says...?

2011-09-05T12:30:00.000-07:00

I’ll have to use discussion on Wanted (2009) and Dabangg (2010) as a lead into this brief discussion on Salman Khan’s latest movie and, as box office collections are illustrating, perhaps greatest in at least some respects. There’s the action element we’re accustomed to. There’s more comedy and romance. There's a star actress in Kareena Kapoor. There are the familiar characters by Raj Babbar and Mahesh Manjrekar in familiar roles. There’s decent music made more enjoyable by strong on-screen personalities and good choreography. And they all work rather well for what has got to be among the most entertaining movies of the year. I am admittedly biased in favor of Salman, but he’s bringing the fun back into core, made-for-cinema Bollywood, and that cannot be a bad thing, can it?!

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Guest Post: Pyaasa (1957)

2011-07-25T21:52:00.000-07:00

I'm privileged to have my friend Max (who goes by 'maxqnz' here and on Twitter), write this post. Max is a field manager for a couple market research firms. He lives in New Zealand, where he was born and raised. He first got into Hindi films seriously about eight years ago, when he decided to teach himself Hindi. The first three films that he remembers choosing himself were Lagaan (2001), 1947: Earth (1998), and Kabhi Khushi Kabhie Gham (2001). Suffice it to say that ever since then, he's been hooked! You can read more about his journey at his blog at this link.

If there's one thing we know about Guru Dutt's Pyaasa, it's that the film can be read in countless ways without compromising its many complex layers. That quality is reflected in this post, a tribute to both the film and to the writer willing to question his fondness of it by making it personal. And that is where any piece of art is at its strongest. Please join me in thanking Max for sharing his journey with and excellent viewpoints on this remarkable and awe-inspiring, indeed strong film. Thank you, Max!

First, a BIG thank you to thebollywoodfan for his generous invitation. When I was offered the chance to write this, I had a sudden insight into the meaning of the phrase "mixed emotions". I love this film with a passion, and that's part of the reason why I was so scared of writing about it. It is an acknowledged masterpiece, and has been analysed, dissected, lauded, and critiqued so many times by so many people much more qualified than I. It is an honour to be asked to write about it, but how can I do it justice? Happily, the genius of the film shows me the way.

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Remakes, Adaptations, and Straight Lifts in Bollywood: A Podcast

2011-07-25T20:20:00.000-07:00

The crew over at Upodcasting was gracious in inviting me to participate in a discussion in which bloggers Filmi Girl, Rum, and I, along with our host Asim, discussed remakes, adaptations, and straight lifts in Hindi cinema.

We discuss why films in each category are prominent, what makes them alluring to filmmakers, and what role audiences play. We discuss any cases in which they could be justified. We also delve into topics such as preferential treatment when forming perceptions of the filmmakers and/or cast involved.

It's an interesting topic made exciting because of Bollywood dynamics. So head on over to this Upodcasting link, where our episode -- It's a CAAAAPY, Yaar! -- is available for you to listen to or download! There's plenty more over at the portal for us all to enjoy.

The Upodcast, which is not limited to discussions and commentary on Hindi film alone, is also available on iTunes.

Favorite Classical Songs from Films

2011-07-11T20:46:00.000-07:00

Given how very many excellent songs there are of this genre and its sub-genres, and given that we could more than likely create a classical favorites list for most of the artists mentioned below, I figured it best to simply document the first dozen songs that came to my mind -- those I think exemplify Indian classical music (and where applicable, dance) as used in Hindi film, and those I know I've loved over many many years by now.

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Delhi Belly (2011) and 99 (2009): Check the Tide, Bollywood

2011-07-02T00:18:00.000-07:00

By now, there’s a lot to be said of the formal feedback that accompanies an Aamir Khan Productions (AKP) release. We’ve gone from a unanimous panning of Lagaan the weekend of its release 10 years ago, to oodles of praise and an almost default opinion of ‘best-in-class cinema’. If you’ve followed this blog, you know I am of the opinion that it’s well-deserved and a product of diligence and conviction on the part of the producer and his crew. What’s defined the brand and made it synonymous with quality has been an unwavering commitment to test the filmic waters, and to try to have fun while at it, or at least convince audiences that they’re having fun while at it.

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Lagaan Week: Addendum

2011-07-01T22:27:00.000-07:00

We have a few more entries to Lagaan Week! One comes courtesy Lagaan Week Alumnus and Bollywood and technology blogger Sujoy Singha, who had previously contributed this project management case study centered around the film. This time around, he discusses the ensemble cast and the film's relevance to Bollywood in two separate posts. Check his first post at this link, complete with a great animated GIF of an announcer-turned-patriot Ram Singh as he proclaims victory. In the second, at this link, he discusses why and how Lagaan was a game-changer that was not only welcome to, but was needed by, Bollywood.

Bloggers Dolce and Namak discuss the draw of Bollywood films to a non-Indian audience, using Lagaan as a prime example of what defines Bollywood cinema. Their thoughtful Lagaan Week entry, available at this link, includes songs from the film, so head over to their blog to further discuss!

Lagaan Week: A Song for each Picture # 9, Blog Birthday, and a Lagaan post in Filmfare Magazine

2011-06-23T06:56:00.000-07:00

As we bring another Lagaan Week to a close, we stay close enough to the theme with the latest installment of the "A Song for each Picture" series. The question, as always: Which Hindi film song(s) does the picture above remind you of?

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Lagaan Week: On Location, History Revisited in More Ways than One

2011-06-22T06:57:00.000-07:00

Darshit over at his Hindi film blog Dunkdaft, has developed this (good) habit of taking us back in time when Lagaan Week comes around. But before you get to his Lagaan Week entry for 2011, which describes his sheer joy of watching this film in an Indian cinema-turned-cricket stadium, let's briefly note his previous posts I am positive you will agree every fan of the film will cherish. Please join me in thanking him for bringing us these great posts by visiting his blog and commenting there. This stuff takes an awful lot of commitment, and it takes a Lagaaniac to appreciate that!

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Lagaan Week Guest Post: Best of the Best, Perhaps Best Ever

2011-06-21T08:40:00.000-07:00

Today's post comes courtesy an Aamir Khan fan who likes to call herself...Bhuvan! She is 29 years young and lives in the German state of Saxony-Anhalt, along with her husband and son. Her son likes Aamir Khan, too, especially as Ram Shankar Nikumbh in the film Taare Zameen Par (2007), and especially as 'Bum Bum Bole' is played. Thank you Bhuvan for sharing your Lagaan story. We may disagree on Rachel Shelley, but our unabashed love for the film is without a doubt worth celebrating!

I am fairly new to Indian movies. I started watching them in 2007, and almost got into the habit of devouring them. Today, I watch fewer movies but only because I have seen all the movies of my favourite actors. So now, I wait until something new comes up with the actors I like, or with a topic that interests me. Besides Bollywood, I very much enjoy watching American TV shows. I’m especially addicted to Supernatural and the new Hawaii 5-0. But now to the main subject of this post.

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Lagaan Week Guest Post: A Remarkable Journey with a Remarkable Film

2011-06-20T09:16:00.000-07:00

I am glad to present this guest post by Aamir and Lagaan fan Kristine, who lives in Northern Germany. Kristine -- on Twitter at http://twitter.com/Sonny3745 -- works as art director in the marketing department of a major corporation. In her spare time, she likes to read, listen to music, sing, dance, watch movies, and work as a choreographer. Please join me in thanking her for sharing her journey with the film, and several factoids from the journey of its making. Thank you, Kristine!

First of all I have to say that I feel really honored that I have been asked to write something about Lagaan. So, thank you, theBollywoodFan, for having faith in me.I have seen Lagaan several times. Lagaan was my first "Bollywood" movie. I did not know anything about Bollywood at that time, and more or less stumbled over the movie on TV. I love music, dancing, and travelling to foreign countries. So, seeing a movie with singing, dancing, and foreign landscapes and cultures did not scare me away, as others claim they do. On the contrary, more than half way through I was so blown away that I sat completely engaged and tensed while watching something as weird as...cricket!

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Lagaan Week: Bollywood's Kind of Blue

2011-06-20T06:49:00.000-07:00

TangleOfWires discusses elements of Lagaan which make it representative and indicative of core Hindi cinema, while offering plenty that's novel and innovative, more than enough to not go unnoticed. The attributes combine to offer a film that not only stands the test of time, but is widely considered to be in the exalted league of Bollywood's greatest in Mother India (1957), Mughal-e-Azam (1960) and Sholay (1975). Head over to the Lagaan Week post at A Tangle of Wires for the Lagaan Week entry.

Lagaan Week: Engaging with Themes of Colonialism

2011-06-19T08:00:00.000-07:00

If you've seen Lagaan more than once, you know it carries that greater-than-average potential, to say the least, of growing on its audience with each viewing. Sure, it's a product of entertainment, but its value extends far beyond that, perhaps most crucially in forcing its audience to appreciate all that is human, and the affirmations and negations humanity has always tried to win and defeat.

How much we learn is proportional to the nature and extent of the questions we ask. We think, and we connect. That's what The Mighty Mango of 3 Bollywood Queens does in her thoughtful essay on Lagaan and British India, in which she suggests the themes of colonialism in the film are more pervasive than one might initially believe. Check out the essay at this link.

While on colonialism and Lagaan, here's a related post from the Lagaan Week archives, with references to some great essays/articles on the subject for anyone interested in further exploring cricket and colonialism within the context of Lagaan and British India.

And finally, in honor of Father's Day, here's a related Lagaan Week post, also from the archives. :)

Lagaan Week: Caption Contest

2011-06-17T19:52:00.000-07:00

Lakha might never have come close to winning Gauri's affections, but here's a contest everyone wins! :) Leave your captions in the comments section. The best entries get a mention and link within this blog post. Ladies: It can definitely be what Gauri would say, too, so have at it!

Here's a sample of entries, please see comments for all. Thank you everyone!

Anonymous: "You know, Lakha, looking like a 19th century woodcutter is one thing....but smelling like one...?"
dunkdaft: "Aati kya khandala?"
Shell: "Lakha, it's not how big your axe is, it's how you wield it!"
maxqnz: "Ashutosh can't edit So I must fix O rey Chori - axe the gori"
Sujoy: "Gurrl! Imma chop yo wings, coz I ain't lettin my angel fly away."
Louella: Lakha: "Lakha badnaam hua, darling tere liye!" Gauri: "Bhuvan, Bhuvan ki jawaani..."

Lagaan Week: Hey! It's That Guy!?

2011-06-17T06:26:00.000-07:00

Liz discusses a phenomenon most of us have experienced while watching Lagaan. It's often the familiarity with faces and perhaps acting styles, but not names, that is effective in establishing some comfort level via frames of reference that would positively impact our perceptions of the actors on screen (and hence their films). This, of course, doesn't have to work in any direction in particular. The point is, it's difficult to ignore and if the film's special enough, it only adds to the (hopefully) positive vibes to the viewing and recollection experiences.

Few big names, and almost a perfect analogy with a winning sports team. (It doesn't take a team with the biggest stars to win.) The outstanding supporting cast of Lagaan was a big reason for its success. The better we get at recognizing them, the more we seem to see them in Hindi films, before and after when Lagaan released. Sample some instances at Liz's blog -- My Year of Prakash Raj -- at this link. Thank you Liz for your Lagaan Week entry! A related post from the Lagaan Week Archives is available at at this link.

Lagaan Week: Top 5 Reasons the Cricket Match Wasn’t Fixed

2011-06-14T21:30:00.000-07:00

Lagaan -- exactly 10 years since it released! -- goes deep into the psyche of the Indian masses, by bringing together two of the more potent components of Indian cultural life – the magic of Hindi cinema and the excitement of the game of cricket, told against the setting of a traditional Indian village. It is therefore a collage of the most powerful elements in Indian mass culture, a colorful and patriotic tale of the glories of Indian cricket, told through the medium of Hindi cinema.

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Fourth Annual Lagaan Week

2011-06-13T21:05:00.000-07:00

It's that time of year again. This year, we celebrate the 10th anniversary of what I've often said is hands-down my favorite film of all time.

Funny how, when you're little, everyone around you seems to complain about time flying. Now it's my turn to say, "Gosh, time flies, it's been 10 years? It feels just like yesterday when I was a sophomore in college, and when Lagaan was released!" I feel old, yes. That's because our very own little Tipu is (probably) in college by now! :D

Jokes aside, it's been 10 years. And 10 years later, Lagaan continues to maintain relevance across cultures, geographies, histories, politics, and film industries. It offers countless lessons of love, hope, faith, struggle, teamwork, collaboration, understanding, innocence, patience, and perseverance. Perhaps most importantly, it serves as a reminder of the importance of saluting belief in goodness.

Lagaan Week this year will see more Lagaan goodness. In addition to recapping some of the highlights from past posts, I'll hypothesize some more (as I've grown accustomed to, by now). Add a couple of special guest posts to the mix, and I hope you enjoy this edition of Lagaan Week as much as I enjoyed bringing it to you.

As always, Lagaan Week is open to any and all contributions. If you're a blogger, please join in the fun and leave a comment to this post with a link to your article -- I'll be more than glad to feature it in.

Enjoy! And if you're still reading this blog, I thank you. It's that year in which it's all happening. If Lagaan didn't bring me back to the blog, nothing would. Such a fairy tale in so many ways.

Best wishes always,
theBollywoodFan

Jawani Zindabad (1990), Harishchandrachi Factory (2009), and Toh Baat Pakki (2010)

2011-02-14T06:45:00.000-08:00

Those aren't love letters, merely foundations for a script. At first glance, these films perhaps comprise an unusual list of Valentine's Day specials. But look at what we're talking about: Aamir Khan and Farha (that's Tabu's sister!) in love with each other because of their mutual love and respect for womens rights; A lover of theater and art who went on to make India's first ever feature film -- and oh, how we do love those and the city the industry is based in; and me in love with the idea of enjoying a film simply because it's Tabulicious! Plenty of heart to go around in these three films, and let's get to them, with a special bonus of 10 total Valentine's Day lessons we ought to remember.

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7 Khoon Maaf (2011): Music Review, Lyrics and Translation to Yeshu, and the Great Soundtrack Giveaway

2011-02-02T21:44:00.000-08:00

A contest is now open for all my readers in India, although everyone elsewhere is encouraged to participate. Up for grabs are several CDs of the soundtrack to the upcoming film 7 Khoon Maaf (Seven Murders Forgiven), complete with some fabulous album artwork. For contest eligibility requirements, please read on and through the section at the bottom of this post, right after my review.

All you need to do to enter is comment on this post and answer the following question: Which is your favorite soundtrack with lyrics by Gulzar? A list of his works is available at this Wikipedia link. Comments must be received by February 9 at 1:30 p.m. Indian Standard Time!

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Dhobi Ghat (2011) and Guzaarish (2010)

2011-01-23T01:30:00.000-08:00

I’ve never been a big fan of classifying films as conventional/masala or art-house, and the city of Bombay might have something to do with it. I consider myself fortunate to have spent my childhood in Bombay of the 1980s -- truly cosmopolitan, where people got along and celebrated any holiday imaginable as one unit, didn’t use religion to spew hatred, and generally speaking, cared little to let things get in the way of the enjoyment of all of the above.

That ecosystem impacted me more than I’d imagined, and for it, my thought process today is all the more enriched. It's almost as if it triggers a constant reminder to put things in perspective, even if it’s for what might not be too consequential in the bigger picture (e.g. the traditional versus art-house argument). These two films might be positioned as unconventional, indeed art-house to many. But in the bigger picture, does that even matter when all we are looking for is good cinema?

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Bollywood SmackDown: Veer "He-Man" Singh v. Chulbul "Robin Hood" Pandey

2011-01-17T10:21:00.000-08:00

We now take you ringside to our guest announcers Makkhanchan "Makkhi" Pandey (Arbaaz Khan in Dabangg (2010)) and Punya "Pindari" Singh (Sohail Khan in Veer (2010)) for a special event. Please don’t leave without casting your vote. (Top right, under the header, ends January 31.)

Makkhi: Welcome to an exclusive preview of today's historic match-up between two of the greatest fighters known to filmkind.

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Maine Pyar Kiya (1989), Peepli Live (2010), Karthik Calling Karthik (2010), and Break Ke Baad (2010)

2011-01-02T14:00:00.000-08:00

Hope you all had a great 2010, and best wishes your way for an even better 2011! Happy new year!!! For opinion on Bollywood’s hits and misses in 2010, visit Dunkdaft (here) and Apni East India Company (here and here). I blogged far less last year than I would’ve liked. Life takes over sometimes, and it appears positioned to stay that way. So mini-reviews are the theme in 2011. I hope you all are on board for those, beginning with this post. (As always, feedback on everything from the content to the format is encouraged.) Enjoy!

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What's your take on the Evolution of Bollywood?

2010-10-22T09:50:00.001-07:00

Allusions to Bollywood philosophies on the front page of the NY Times this morning, courtesy the ongoing South Asian International Film Festival, certainly remind us of some interesting discussion items. We've encountered them before, and have thought about them often. And we've evolved around them, as they have evolved around us. If that mutual evolution is not, by definition, good enough to put movies and films in the category of 'long-lasting relationships' for us buffs, I don't know what is! Hence this effort to garner some feedback, one I hope you choose to respond to.

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A. R. Rahman: Live in Concert

2010-09-13T06:50:00.000-07:00

I've hit a dry blogging spell, but knew late Saturday night that that would change very soon. It had to, following one of the most complete concerts I have ever attended! I hope you enjoy these pictures. (Click to enlarge.) All songs are available on YouTube for your listening pleasure.

You know well what I've always thought of Rahman's music. And I don't have much that's new to add there after the performance at The Forum (here's the exterior). The venue is the former home of the Los Angeles Lakers basketball team, and the acoustics aren't near what they're like at, say, the beautiful Hollywood Bowl where he performed in 2006.

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Peepli Live (2010)

2010-08-15T22:00:00.000-07:00

Happy Independence Day India! The big release this weekend was Peepli Live (official film website here), here's a review post and discussion from when it was screened at the Sundance Film Festival earlier in the year. Please head over to Dunkdaft for another review.

Jai Hind, and God bless America. Peace.

Related: The Aazaadi Sawaari (Freedom Wagon) series of posts

Once Upon a Time in Mumbaai (2010) and Rajneeti (2010)

2010-08-01T16:45:00.000-07:00

I'm always down for good gangster or political camp movies -- there are enough similarities across those themes, as right or wrong as that might sound -- and here are two that have most if not all the elements of good ones, while staying true to their masala roots.

Both have violence and politics (and lots of it) at their core. They have their rags-to-riches tales, and the lust for power as chief inspirational forces. They have very interesting and often quotable commentary on loyalty. Their attempts to justify wrong-doing (let's face it, the protagonists are, after all, criminals) are unabashed and unapologetic.

In their own words, they hope to bring viewers to the point where we root for a criminal (albeit the lesser evil, at least in most cases). And since they apparently are targeted to appeal primarily to those in my age and gender demographic (the 18-35 male, booyeah!), they also have rather pretty women for whom, it turns out, most of my kind would apparently give up our lifelong earnings and peace of mind, no matter the risk. Right. (Okay, we aren't heartless, after all.)

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I Hate Luv Storys (2010)

2010-07-04T22:30:00.000-07:00

Two years ago, July 4 weekend saw the release of Imran Khan's debut film Jaane Tu Ya Jaane Na under the banner of Aamir Khan Productions. The film served as a perfect launchpad for Aamir's nephew. Among the acclaim it garnered was comparability to Karan Johar's Dharma Productions' brand of cinema -- whatever Johar could do, it was said, Aamir's production house could do as good if not better.

Fast-forward a couple years to July 4 weekend again (and Happy Fourth, everyone!), and Imran's back in a romantic comedy, this time opposite Sonam Kapoor, in I Hate Luv Storys (IHLS) by Dharma, after a couple of forgettable action movies. He's back in form in, too, in what is a fairly simple and entertaining flick which takes self-aware digs at its own kind. It's better off doing this in what is predominantly a comedy, than drama.

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Guest post: On Faith and Truth, and Spirituality in Lagaan

2010-06-21T06:30:00.000-07:00

Wrapping up Lagaan Week with this post, and I hope you've enjoyed this series as much as I have. A special note of thanks to everyone who contributed in the spirit of Lagaandom -- it wouldn't have happened without you. Thank you! A complete list of posts from this week is available here. As always, a link to the most recent Lagaan Week archive will continue to be available via the Lagaan button in the sidebar to the right.

It's a privilege, now, to feature this post written by Hannah in beautiful Port Louis, Mauritius. Hannah is a Montessori teacher who's been running her own preschool since 1995. No teacher is effective without being an effective student, and her focus to learn from what she does means her fandom of Bollywood has her on a journey to learn about Indian culture through the arts.

She follows some Indian writers, has taken up a Bollywood dance class, and is even on a quest to learn Hindi. It was this quest to learn the language, especially through film songs, that led her to this blog. She enjoys the Bollywood blogosphere particularly because she can discuss films with fellow lovers of Hindi cinema. Her favorite actor is Aamir Khan, and favorite actress, Kajol.

Please join me in thanking Hannah for sharing the story of her foray into Hindi cinema. Let's continue to welcome her to the extended Bollywood blogosphere family, and for summing up what the core message of Lagaan is all about with a splendid analysis. Thank you, Hannah!

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

Lagaan has so many aspects that appeal to different types of audiences. I never tire of watching it. My only regret is that I have not been able to watch Lagaan in a theater, because at the time of its release, I was not into Bollywood at all. A little over two years now, my love story with Bollywood began with another Ashutosh Gowariker film, Jodha Akbar (2008). A. R. Rahman’s music swept me off my feet and from then on, I avidly explored this new world with an eagerness to learn that I thought I did not possess any more!

Last year, I started reading Indian authors in an attempt to learn more about India and Indian culture. My dream now is to visit India, but as I cannot travel at this time, I dived into ‘A Suitable Boy’ as a way to discover India without leaving home. (I’d be grateful to any of you who could recommend good books that would fulfill this purpose.)

My first Aamir Khan film was Fanaa (2006), followed by Rang de Basanti (2006). By then, I was hooked on AK and was constantly on the lookout for his films. I read reviews of Lagaan and knew I had to get the film. Which I finally did, last year! I have lost count of how many times I have watched it since, and would like to share with you on one particular aspect that touched me most – spirituality. (It's a dimension I find lacking in today’s Hollywood films.)

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Lagaan Week 2010: The Magic of the Soundtrack

2010-06-20T13:45:00.000-07:00

Today, Sujoy at One Knight Stands discusses an element of Lagaan that earns the right to be at the heart of every discussion on the film -- its music.

On this ninth anniversary of one of the most uplifting pieces of cinema ever, let’s celebrate the music of Lagaan – one which not just serves as a Bollywood routine element of the movie, but also a medium which translates a thousand emotions in a single line. The music of Lagaan transcends many levels and goes beyond the limits of boundaries, languages and cultural differences. A. R. Rahman scores, arguably, one of his career’s best soundtracks, and the translation to screen is equally breathtaking.

Head over to Sujoy's post to read, listen, and comment!

Lagaan Week 2010: The Underdog's Underdogs

2010-06-18T06:50:00.000-07:00

There's no 'I' in team. Kobe Bryant can't win without a supporting cast. (How 'bout them Lakers?! :) They're among the biggest cliches in sports, and they're true. And they apply ever more so to underdogs. Even the fictional Bhuvan of Lagaan wouldn't earn much success without his supporting cast. And it is the supporting cast that are honored in today's Lagaan Week entry, courtesy Shweta of Apni East India Company. (Her blog title is eerily relevant to the film -- it's ours now!)

Please head over to her post to comment and discuss. Thank you Shweta, as always, for the great insight!

Lagaan Week 2010: More than a Gori Extra

2010-06-17T06:41:00.000-07:00

She's intelligent. She's courteous. She's beautiful and charming. *And* she's the secret behind the preparedness of Lagaan XI. She is the lovely Elizabeth Russell (Rachel Shelley), who puts much more than herself at stake to fight against what is, in her words, simply unfair. Today, Sita-ji of Bollywood Food Club discusses, as only Sita-ji can, an atypical role for a white woman in Hindi film.

Please be sure to read her post to comment and discuss. Thank you, Sita-ji!

Lagaan Week 2010: Cricket 101

2010-06-16T06:35:00.000-07:00

Shell of Shell's Bollyworld discusses how everything she knows about cricket, she learned from Lagaan! Sport as a metaphor for life has been a recurring theme in global cinema, but Lagaan was one of the first Hindi films, if not the first, to succeed as immensely in capturing those metaphors and being more than a film on a sport. Yet, it also became an introduction to cricket for audiences unfamiliar with the sport. Besides, as Shell notes with the several frames from the film, the villagers' trying to learn the sport also provided ample opportunity to inject comic relief into an otherwise serious challenge.

Please check out her post to comment and discuss. Thank you, Shell!

Lagaan Week 2010: What a Climax!

2010-06-15T06:45:00.000-07:00

Today, Darshit of Dunkdaft discusses the climax, and reminds us, among many other things, of how the film starts with a shot of Bhuvan's mom Yashodamaai (Suhasini Mulay) despairingly looking skyward for clouds, and ends with a shot of rain touching her feet.

Please head over to his post to comment and discuss.

Third Annual Lagaan Week: Ninth Anniversary Special

2010-06-14T19:30:00.000-07:00

It's that time of year again, and once again, let's start things off with a digital piece of cricket-centric cake! Here you go. And you. And you, too. You in the back, come on down! :)

Nine years on June 15, and I have few introductory remarks to add to what's been said during Lagaan Week in 2009 and in 2008. To make things a little more interesting, Lagaan Week this year will mostly feature posts from some of my favorite bloggers in the Bollyblogosphere (see complete blog roll to the right), who have, at one point or another, gone out of their way to express their fondness for the film or something from it. There's also a guest post toward the end of the week to round things off.

So please visit every day this week, as we celebrate the film. To all fellow bloggers, you're welcome to contribute to Lagaan Week with a post at your own blog any time this week. Please stop by to comment here if you do.

May the force be with you. Oops, wrong film. Chale Chalo!

Links to post from the Week:

Darshit of Dunkdaft: What a Climax!

Shell of ShellsBollyWorld: Everything I know of Cricket, I learned from Lagaan

Sita-ji of Bollywood Food Club: More than a Gori Extra

Shweta of Apni East India Company: The Underdog's Underdogs

Sujoy of OneKnightStands: The Magic of the Soundtrack

Guest post by Hannah: Spirituality in Lagaan

Raakh (1989) and Aatank Hi Aatank (1995): Bad guys in a violent city

2010-05-25T06:30:00.000-07:00

We centered the last couple of discussions around a welcome difference in how the city of Bombay is usually portrayed in Hindi film, and the relative lack of bad gals in Hindi film. Raakh and Aatank Hi Aatank are a return to the Bombay we're conditioned to expect on celluloid, with elements we're all too familiar with: Corrupt police, with the token considerate cop; Unpunished crime, with the token unconvinced criminal; Moral decay rampant in society; Violence in response to violence, often thoughtless at both ends; Bad guys (almost always guys, and lots of them); and a dark underlying web of the Bombay underworld.

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Top Five Thursday: Bad Gals in Bad* Films; Ishqiya (2010), Dev.D (2009), Race (2008), The Train (2007), and more.

2010-05-06T06:45:00.000-07:00

*For all definitions of 'bad', ranging through the not so bad and rather good.

Among the many positive intangibles accompanying participation in Bollywood discussions on Twitter is what leads to a post such as this. Top Five Thursday -- and if you've been keeping up with other Bollywood bloggers and fans on Twitter, you might be familiar with the idea -- is a meme, whereby the filmy faithful pick a different topic (not necessarily related to Bollywood) each week and share, as the title suggests, their five favorites on that topic.

The topic for this week is almost as irresistible as the subjects: bad girls (or guys) who appear attractive and are irresistible despite their evilness (or evilness as perceived by the audience or other characters in the films). Related entries are tagged #T5T on Twitter, so please follow the thread there for others' inputs. Please also be sure to share your thoughts on the films, and/or your top five (gals and/or guys), on Twitter (and tag #T5T) or in a comment to this post. The fun on Twitter begins at 1 PM CDT today, May 6.

My top five come from five films spread across the past few years. They're the first women I thought of when compiling this list. (Women surely have a much bigger pool to pick from, so before you complain about how characters and portrayals thereof vary negatively by gender, please remember most 'bad guys' are... well...'guys' :D). Meant to discuss some of these earlier, and figured this would be an appropriate time. (Some are discussed in greater detail than others.)

Please forgive the length of this post, then. Please also note that content following is rated PG-13 for unabashed, indeed unapologetic and celebratory, glorification of forces and personality traits contradictory to human goodness, and for admission of having succumbed to the natural forces of magnetism.

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Wake Up Sid (2009): Past v Present in Bombay Meri Jaan!

2010-04-21T06:30:00.000-07:00

Score more for the roadway mentioned most often at this blog! This post is part of a joint review with Ajnabi of Paisa Vasool--or Not. We mostly agree on the merits of the film. Please be sure to check out her thoughts at this link.

It's never a bad idea to try to draw inspiration from pleasant, random, and often inconsequential coincidences (as is arguably the case here, at least in the bigger picture :), and here's a good example. Just as I was about to give in to the rust that accompanies a long time away from reviewing films, 'Past in Present' by a favorite, Feist, shuffled in while driving. A quick read of the lyrics (sans the first sentence, no scarlet letter needed) to the fine song is enough to draw parallels to debutante Ayan Mukerji-directed, and Karan Johar-produced, Wake Up Sid.

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April and May releases, Kites music giveaway, and the Indian Film Festival of L.A.

2010-04-08T22:15:00.000-07:00

Any attempt to make a comeback after having fallen behind over the past few months shall have to begin with releases and events in April (calling it Comeback Month) and May.

A definite highlight this month is the Indian Film Festival of Los Angeles (official website), which kicks off on April 20 and runs through the 25th. Of (obvious) particular interest is the Bollywood by Night series, which features Kaminey (2009), 3 Idiots (2009), and -- get this -- Raakh (1989; trailer here), an Aamir Khan film which has yet to release on DVD! Add to this that all films are screened at the state-of-the-art Arclight Hollywood Cinemas (thoroughly enjoyed it every time I've been there), and it's one week full of films well worth looking forward to. Here's the complete film guide.

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70s Week: Yaadon Ki Baaraat (1973)

2010-02-23T19:45:00.000-08:00

This post, originally published in March, 2009, is being republished as part of 70s Week, being celebrated across the Bollywood blogosphere this week. The mere mention of the 1970s and Bollywood demands mention of Amitabh Bachchan and Rajesh Khanna -- here are posts dedicated to my favorites Deewaar (1975) and Haathi Mere Saathi (1971). And finally, I can't not mention Garam Hawa (1973), perhaps my absolute favorite from the decade.

Oh how the tables have turned!

And no, bad cannot be 'good', no matter how one looks at it ;) The tales of good versus evil are the focal point once again, this time in a film produced and directed by Nasir Hussain, written by Salim-Javed, and with music by R. D. Burman. Yaadon Ki Baaraat is perhaps best described as a fun and entertaining film, despite its use of tried and tested themes.

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Guest Post: Peepli Live (2010) at Sundance Film Festival

2010-02-17T06:45:00.000-08:00

It is my privilege to have good friend Katherine G. write this post. (You might remember her earlier contribution with this post on Rang De Basanti (2006).) Katherine is a Forensic Nurse Consultant and lives in Atlanta, Georgia, with her daughter. She is also an avid Aamir Khan fan and a regular contributor to discussions at Aamir's blog. She was at the recently concluded Sundance Film Festival, where Peepli Live was the first ever Indian film to screen in a competition. Thank you Katherine! (Notes by Aamir at the foot of the post.)

Sat-ire n. the use of irony, ridicule, etc., in writing.

If you are looking for the typical Bollywood film with glitzy wardrobe, vibrant songs, and perfectly choreographed dance sequences, Peepli Live is not the film for you. We leave the Peepli Live theater with a feeling unique for Hindi cinema -- for which we must credit debutant director Anusha Rizvi. She has spun a series of satirical situations into the perfect web, all the while centering her attention on the issue of farmer suicides in rural communities of India.

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My Name is Khan (2010)

2010-02-12T07:30:00.001-08:00

It'll probably be a week before I see it. This post will be updated then. In the mean time, please share thoughts and links in comments if you've seen it, written about it, or read something interesting about the film (as opposed to about what's been made to be controversial circumstances surrounding its release; if you haven't been keeping up, this BBC piece and this one by the NY Times have background). Please try to include alerts for any spoilers.

Long live cinema.

Peace.

Updated:
Links to MNIK reviews: Jun6lee | Anishok | Rhilex | Dunkdaft

A Song for each Picture # 8

2010-02-06T23:00:00.000-08:00

The theme in this installment of the series can't not be evolution of dance and music in India. Hope you enjoy these lovely pictures. The question, as always: Which (Hindi) film song(s) do they remind you of? Please note as many as you like, for either or both. Of course, thoughts and discussion on what stories the pictures tell are welcome, as well.

AMRITSAR, INDIA
Source: This L.A. Times photo feature
Raminder Pal Singh / EPA / January 26, 2010
Indian school girls perform a folk dance from the state of Punjab as they take part in India's Republic Day celebrations in Amritsar. Republic Day marks the adoption of the constitution of India and the transition of the nation from British rule to status as a republic.

BANGALORE HIP HOP
Source: This National Geographic Photo of the Day feature
Sudha Pillai / January 20, 2010
Homegrown hip hop bands are a new phenomenon in Bangalore, India. Low Rhyderz is the first hip hop band in the city that combines elements of Indian beats with hip hop rhythms to create a music that is unique. This photograph was taken when they were fooling around in a car mechanic shop. Obviously, the mechanic found the entire scene "interesting."

Long live music!

R.I.P. Tahir Hussain

2010-02-02T07:30:00.000-08:00

From this Yahoo! India news release:

Mumbai, Feb 2 (IANS) Tahir Hussain, filmmaker and Aamir Khan's father, died of a massive heart attack here Tuesday morning, sources close to the family said.

He is survived by his wife and two sons, Aamir and Faisal, and two daughters, Farhat and Nikhat.

Hussain is known for producing hits like 'Hum Hain Rahi Pyar Ke' (1993) that starred son Aamir, 'Dulha Bikta Hai' (1982), 'Zakhmee' (1975), 'Anamika' (1973) and 'Caravan' (1971).

In 1990, he made his directorial debut with 'Tum Mere Ho' with Aamir and Juhi Chawla.

Family sources said Hussain died at Aamir's residence in Bandra. Aamir and his wife Kiran are in the US for the Sundance Festival and are taking the first flight home. Hussain's grandson, Imran Khan, who made his debut with 'Jaane Tu Ya Jaane Na', is in New Zealand and will also be coming back.

Picture source: Times of India.

Upcoming Releases, and The Bird that was Faint with Thirst

2010-01-19T21:15:00.000-08:00

Hope you're all having a good start to 2010! I've been dedicating a lot more time to work, life, and travel for both, and it doesn't look like that is going to stop any time soon.

Lots going on in the mean time.

The Taare Zameen Par (Like Stars on Earth) Disney DVD is finally available in the U.S.! (Get it at Amazon.) The Sundance Film Festival starts this week, and shall, for the first time ever (I believe this is accurate, please correct me if your understanding confirms otherwise), feature an Indian film! It's Peepli Live, a satire from Aamir Khan Productions, directed by debutante Anusha Rizvi. From Aamir's blog:

PEEPLI LIVE is a satire, a black comedy about rural life in India. Except for Raghuvir Yadav, most of the actors are facing the camera for the first time, so a predominantly new cast, many of them of Adivasi origin from Madhya Pradesh. And what performances! I have been acting for 20 years and there was so much that I learnt from watching them.

The regular January and February Bollywood release calendars are all about Veer (January 22; official website) and My Name is Khan (February 15; official website).

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Guest post: 3 Idiots Movie Review (It's here!); Your thoughts?

2009-12-24T15:45:00.000-08:00

I am very pleased to have my good friend Joanna write this review. Joanna lives in central Ohio with her husband, three kids, and their two dogs. She is an Early Intervention Specialist who works with children (up to age three) with developmental disabilities. You might recall her fine contribution to Lagaan Week 2009 in this wonderful post. Thank you Joanna!

If you've seen 3 Idiots, what did you think? Liked it? Loved it? Didn't like it? What's the verdict? (If you've written about it, please share the link in a comment below.) If you have yet to see it and are willing to give it a chance -- and of course, I highly recommend you do -- there are several related discussion topics at my 3i umbrella post, including the songbook with translations to each song from the soundtrack.

This should do it for 2009. Wish you and your families the very best. Merry Christmas and happy holidays! See you all in 2010. God bless.

An Amazing Ride on the Journey of Self-Discovery

Life is a race. Compete or die.

These are among the messages students at the Imperial College of Engineering hear loud and clear. Perfection and its pursuit has only one path. Be the best. Be on top. If not, you’ll end up just like any other Idiot, and the finer things in life will always be beyond reach. But isn’t there another way? Must education only consist of rote memorization from textbooks?

Rancho (Ranchordas Shamaldas Chanchad, Aamir Khan) has the answers.

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Favorite Wedding Songs

2009-12-08T06:45:00.000-08:00

This post is dedicated to our good friend Darshit (Dunkdaft), who's getting married *today*! Please join me in congratulating him, his bride, and their families, and in welcoming the bride to our extended family of Bollywood bloggers and geeks (because that's what we surely are, by osmosis)!

Here are some of my favorite wedding songs, defined as songs that are great to play during (Indian) weddings, especially during music parties that many weddings devote an evening to. (They are often combined with the Mehndi/Henna night.) The term 'shaadi ka pavitra bandhan' (the immaculate institution of marriage) is ubiquitous in the movies, and many of these songs deliberately include interesting, and often amusing, commentary on it.

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Paa (2009): Auro's Aura is Bollywood's Delight

2009-12-05T16:15:00.000-08:00

The underlying theme here is familiar -- Bollywood entertainment to the core, with a phenomenal performance that takes an average film to another level.

Great actors do that. Amitabh Bachchan is better than great.

We've known this for decades, as he's obviously long been at the point where nothing he does professionally will ever take away from one of the most remarkable careers in all cinema. The inverse doesn't hold true, of course, i.e. he can certainly continue to add to it all. We know better. So it's hardly surprising that he take on the challenging Paa (forget the mannerisms including voice, how does allocating three to four hours per day to brilliant prosthetic makeup sound?) and not only transform himself completely, but assume the role of his character to the extent we don't get to see Amitabh at all, but get to sense his presence and the brand of cinema he's notorious for -- core Bollywood, this.

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Tum Mile, Life Partner, Love Aaj Kal, and Ajab Prem Ki Ghazab Kahani: Let's draw some circles

2009-11-30T22:30:00.000-08:00

These 2009 films illustrate how we have made significant advancements in our approaches to determining romantic compatibility. Yes. We have progressed from the less practical approach of trusting astrology, to the more practical one of trusting surveys and quizzes on social networking websites!

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Favorite films of the 2000s: Which are yours?

2009-11-24T06:45:00.000-08:00

A remarkable decade for Hindi cinema nears its end, and as we look behind (and forward), what better occasion than the week of Thanksgiving and Eid to recap some favorite films that I'll remember the past 10 years by? Please add your favorites -- if you have a blog, perhaps you could consider compiling your list there?

Before we get to the films, a note of thanks to you, dear visitors, for making this space what it is. This blog was registered in 2005, but I didn't post much at all until a couple years later. It has since been a welcome avenue to discuss films with some very cool film lovers and connoisseurs, from whom I continue to learn much, and for whose participation I am thankful. This blog would be pointless without you.

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3 Idiots (2009) lyrics and translation: Give Me Some Sunshine and Jaane Nahin Denge

2009-11-16T07:00:00.000-08:00

Children's Day was celebrated this weekend (November 14). This picture of India's first Prime Minister Jawaharlal Nehru and Walt Disney is displayed in the lobby of Disneyland Hotel in Anaheim, California. (Here's a slightly larger image.) This is displayed right outside. And these are relevant because Walt Disney Studios Home Entertainment just recently released the trailer to Like Stars on Earth, which releases in the U.S. on January 12. (The release schedule for other countries is as follows, per Aamir at his blog: Australia: Nov 11, 2009; U.K.: Oct 26, 2009; Russia: Jun 18, 2010.) And it's a relief the Disney DVD will include the original Hindi language audio as well! (The film is now dubbed in English too.)

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3 Idiots (2009) lyrics and translation: Zoobi Doobi

2009-11-13T07:00:00.000-08:00

Song three of five the soundtrack to the upcoming 3 Idiots, which is also the subject of my favorite trailer of the film so far (you've got to see it, below; what do you think?), is a fun throwback track which pays tribute to old Hindi films and, in the words of Aamir Khan, to one Hindi film made in English (that would be Titanic (1997))! It's the only song in the album which involves a woman singer (Shreya Ghoshal does the honors, opposite a very in-form Sonu Nigam).

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3 Idiots (2009) lyrics and translation: Behti Hawa Sa Tha Woh

2009-11-12T01:00:00.000-08:00

Our journey through the soundtrack to the upcoming 3 Idiots continues. Song two of five (not in sequence as in the album) is a gem by vocalist Shaan. Behti Hawa Sa Tha Woh speaks to the pal who sets an example, wins over his peers, and is sought long after his departure. Neat musical arrangement (Shantanu Moitra) here, and I really like how the drums, bells, and flute are used before the subtle piano makes an appearance to end.

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3 Idiots (2009) lyrics and translation: Aal Izz Well (All is Well)

2009-11-11T01:30:00.000-08:00

The soundtrack to the upcoming 3 Idiots was released Monday (November 9) morning in India. It was the first ever Indian soundtrack to be launched online (via web conference; picture source), and was it fun to be part of or what?! The event, hosted by Aamir Khan, was followed by one-on-one web conferences with the cast and crew, in which many of us had the privilege to discuss the soundtrack with Shantanu Moitra (music director), Swanand Kirkire (lyricist), Shreya Ghoshal and Shaan (vocalists). Actors Kareena Kapoor and Madhavan, and Director Raju Hirani, were also present.

A truly remarkable celebration of sorts, and definitely a personal landmark from the standpoint of a fan. So much so, that when I finally woke up Monday for work, running on about three hours of sleep, I couldn't help but sing Aal Izz Well in the shower to keep the spirits up (read keep the self awake)! Long live manipulative music and cinema!

Like soundtracks to Aamir's films from this decade, particularly Dil Chahta Hai (2001), Rang De Basanti (2006), and Taare Zameen Par (2007), the lyrics to 3 Idiots liberally employ terms from Indian pop culture. The song 'Aal izz well' is a perfect example. I should add that each of those three films was a reflection of complex emotions involved in being human. 3 Idiots -- a feel-good film with a heavy dose of comedy -- extends that theme with a focus on self-actualization. Its soundtrack is absolutely vertically-aligned, which means there's a good chance its integration will be its biggest strength.

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Kambakkht Ishq, Dil Bole Hadippa, Blue, and Barah Aana: I Scream. Everyone Screams. For what, again?

2009-11-08T15:15:00.000-08:00

Ever notice how, when ice-cream has more sugar than necessary, plain water tastes weird (in a bad way) when consumed immediately following? Each of these films offers a good example to illustrate this framework of after-effects of ice-cream consumption applies just as well to film consumption. (Well, at least it does theoretically; that Physicists tell us water is tasteless is beyond the scope of this discussion :D). Let's briefly discuss each, then, from worst to best of the lot.

Please excuse the title to this post being cliched, but then, significant portions of these films are cliched, and there's hardly a shortage of those who love to scream. Each shall also be assigned a qualitative 'I Scream' rating.

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London Dreams (2009) Review

2009-10-31T01:50:00.000-07:00

This is why we love Bollywood. A simple story of friendship, jealousy, and dissatisfaction with the supernatural, is only so good on paper. A fine film elevates the simple elements to an admirable level while retaining its strong emotional core. The result is a fun entertainer in which our friendship with cinema is the clear winner.

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The 3 Idiots (3i) Umbrella

2009-10-22T22:15:00.000-07:00

This post was originally published on September 10, 2008, under the title '3 Idiots expected in Summer 2009'. Things changed since, of course. The film is now all set to release this December 25. This post shall serve as the umbrella for all things 3i, then. A link to it is available in the sidebar (right) via the 3i icon. From now through its release, links to news stories, all trailers, songs, etc. will be added below.

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October and November releases

2009-10-14T07:00:00.000-07:00

I've fallen behind in previewing some of the upcoming releases, and this post should help make time to review movies again. Several films to look forward to over the next couple months. Just look at the diversity of themes addressed in October and November. About time the remarkable evolution the Hindi film industry has undergone over the past decade become a consistent and prominent feature of the release calendar (with exceptions, of course; an average of two good movies a month would work). As always, the complete list of releases is at the bottom of the post. Notes on ones I look forward to follow.

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Blue (2009): Behind-the-Scenes, Music Review, and the Great Soundtrack Giveaway

2009-10-06T07:00:00.000-07:00

The film 'Blue' releases on October 16, in time for Diwali. Let's call this a preview post, if we may. There's exclusive video from the sets (courtesy the film's action director, James Bomalick), some of my thoughts on a soundtrack (A. R. Rahman) I'm having a lot of fun with, pictures from a recent Kylie Minogue concert, and a really cool giveaway (my first; courtesy Saavn) which I hope you participate in -- among others, you can win one of 10 copies of the album!

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Wanted (2009): He-Man. Superman. Salman.

2009-09-28T22:05:00.000-07:00

Salman Khan wearing a He-Man shirt instead would be more appropriate, but the truth is, it wouldn't matter. He fights and looks like He-Man, occasionally wears a Superman shirt, and commands as much respect from walls and wall hangings as does Spider-Man. Yes, it's no bird or plane, or larger-than-life (and conventional) superhero. It's an impulsive but kindhearted, wayward but focused, fierce but likable, and very human, Salman! :)

If you think that first paragraph is silly -- and you might if you dismiss superhero/gangster/action flicks as trivial guy cry -- Wanted is probably not for you. However, if there's even an iota of you that enjoys good guys (and gals) versus bad guys (and gals), presented in a classic masala format, Wanted is most definitely for you.

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Blue (2009) lyrics and translation: Bhoola Tujhe; and A Song for each Picture #8

2009-09-21T09:30:00.000-07:00

How can someone be so good so consistently? The soundtrack to Blue (the film releases October 15) by A. R. Rahman is easily among the best of 2009. It is certainly the most contemporary and hip of the year, and in its musical and lyrical themes, beautifully aligned with the plot. (More on the soundtrack in a future post.) And in its quest for diversity, it even packs in a song -- part-subject of this post -- on relationships with the supernatural, in this case God (Khuda, or Allah).

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Wanted: September Releases and Chick Flicks that Click

2009-09-07T16:15:00.000-07:00

And so begins the most exciting period of the filmy year! Lots going on this month and through the rest of the year, and before we get right to it, a quick note to thank Sonu Nigam and Sunidhi Chauhan (picture here) for a spectacular concert here in L.A. on August 16, which culminated with Mere Haath Mein from Fanaa (2006) with the word 'rooh' (soul) substituted for 'dil' (heart) in the title couplet! Sonu is easily among the best I've seen live, and I'd put him alongside Asha Bhosle and Lata Mangeshkar as vocalists who are more mesmerizing in person. Notable moments included tributes to legends Mohammad Rafi and Michael Jackson (members from the Jackson family were among the audience), and acknowledgment by Sonu that he considers himself the voice of Salman Khan. He certainly had the songs to back up his claim.

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Fanaa (2006): Paying tribute to Mother India (1957)

2009-08-11T06:45:00.000-07:00

Director Kunal Kohli opens Fanaa with this shot of Zooni Ali Baig (Kajol), immediately establishing the purposefulness of a blind woman in Kashmir singing Saare Jahaan Se Achcha, saluting the Indian flag, and doing so around children. Each of these subtexts is essential to the plot of an obvious but humble tribute to the Mehboob Khan classic, Mother India (1957). Here is a different kind of contemporary commercial movie which packages an interesting blend of formalism and substance with strong emotions and some core masala ingredients. The result is strong reliance on its superstar cast, which is not at all a bad idea when your lead pair comprises the best actors in popular cinema today.

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Jal the Band, live in Los Angeles

2009-08-09T12:00:00.000-07:00

Jal, the rock group from Pakistan, performed at Exposition Park here in Los Angeles last night. In what has to be one of my most ad hoc visits to any concert (didn't even *know* they were to perform until the afternoon), I was very pleased having seen them live. They are fantastic performers.

You're probably familiar with their music through Bollywood. Read Jal's Wikipedia entry, and one name stands out to those familiar with Hindi film music -- Atif Aslam. As a long-time fan of Pakistani pop and rock (much of which has to do with exponentially better lyrics), I can tell you Jal are much better off without Atif, and I like them more without him too. Having said that, there's hardly any doubt the split worked out for both parties. So if you have any favorite works by Jal or by Atif Aslam, let's talk about them!

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August releases and A song for each picture #7

2009-08-04T06:40:00.000-07:00

"Explosion 2009" featuring vocalists Sonu Nigam and Sunidhi Chauhan was to stop by Los Angeles this past Sunday. The concert has been postponed to August 16, as noted here. Those of you in Houston, San Francisco, and Denver, and perhaps Minneapolis and Boston, will continue to have a chance to attend. See this Bollywood Food Club link for the schedule and any related updates.

From among the new releases this month, the two I am looking forward to are those I am prepared to not see in theaters. One will likely not be picked up by my local theater. The other I would prefer having access to a fast-forward button for. Both are intriguing, and we begin with them, then. The complete list of releases is at the bottom of this post.

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Judaai (1997), Astitva (2000) & Before the Rains (2007)

2009-07-22T07:00:00.000-07:00

Approaches based on target audiences only begin to tell of why the similar subject of root causes of dysfunctional marriages was approached so differently by directors of these three films, each without a conventional villain. Each presents characters with a rather grim assessment of marriage, and each presents moments of happiness in marriage to establish the ideal state. Each highlights that the root causes of the dysfunctional marriage existed from prior to the marriage. And finally, each presents the core issues early in the film so there aren't any abrupt ends and there's plenty of time for viewers to process the information as events unfold.

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Garam Hawa (1973) and Zubeidaa (2001)

2009-07-14T06:40:00.000-07:00

(That reads 'Jai Hind' in Hindi and Urdu.) The partition of India and Pakistan that accompanied independence for the region from the British in 1947, and the events following, will always be an intriguing theme for art. Art is close to life. And so is love. Here are two fine films that beautifully present the complexities involved in types of love, and indeed hatred and distrust, within the scope of the politically turbulent and socially unstable region.

Both employ accurate portrayal of sensitivities of elements driving important and difficult decisions by their characters. Both present relevant issues. Both have powerful women characters central to their script. Both end in ways I wouldn't have brought them to a close (for what it's worth). And both have engaging screenplays and dialogue. Garam Hawa (Hot Winds) is by far the better film overall, so let’s discuss it first.

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Thoughts on music to Kaminey, and lyrics and translation to the title song

2009-07-11T09:15:00.000-07:00

'Kaminey' is not a well-appreciated word. It doesn't deserve to be one. Hardly inoffensive, nor a word one would want to use much at all (I'd hope so; about its only positive use lies in a dubbed version of an uncensored South Park episode; at least that would induce laughter, but you get where this is headed). Among its root words is 'kam' (pronounced 'come', and meaning 'to a lesser degree', or simply, 'less'). The title to the film, then, refers to 'one of a lesser degree'. In one word, lowly. This translation of the title sounds much more polite than the word intends. Its use in Hindi and Urdu is perhaps best understood in the context of dialogue accompanying action sequences involving the likes of Dharmendra and Amjad Khan calling each other names!

Yet, this upcoming film (starring Shahid Kapoor and Priyanka Chopra), and especially its lyricist, Gulzar, challenge this view with a rather delicious platter of words that is second to none among all soundtracks released this year. One need not go past the title song to appreciate the effort. On the strength of these lyrics alone, they've succeeded in toning down the angst associated with the title, and even invoked the sympathy of listeners. The music to this song sounds like the fusion of Pakistani rock from the 1980s and trumpets and orchestration befitting a grandiose theatrical score. With vocals by music director Vishal Bharadwaj, a fantastic track overall, with emphasis on the contexts implied by relatively simple words. You can listen to it at this link. Here's my translation:

A couple other lyrical snippets from as many tracks I must highlight for entirely different reasons. Let's begin with Pehli Baar Mohabbat, with vocals by Mohit Chauhan (remember what we were saying about him in the July releases post?). Pehli Baar Mohabbat contains a reference to lovers under a fig tree consuming squirrels' leftovers. Hold on to that thought, and check out this video of a classic Urdu poem:

In a nutshell (pun intended), the poem by Allama Iqbal, titled 'The Mountain and the Squirrel', and partly derived from this (credited) work by Ralph Waldo Emerson, is nothing but a cute little story to remind children that no life in this world is without purpose. It's amusing, too. A mountain questions the need for the existence of a squirrel, claiming might given its height and size. The squirrel responds by reminding the mountain that despite its height, it can't even climb a tree, and despite its size, it cannot crack a nut. And that nothing or no one is useless or indeed 'lowly' in "nature's factory"!

Now, isn't it wonderful to connect the two? Squirrels, nuts, blessings, love, purposefulness, and being reminded of 'lowly' status. This is what one paragraph in Pehli Baar Mohabbat (listen here) and the theme of the title song share with the poem. I wonder if this is Gulzar's way of paying tribute to one of the most revered Urdu poets of the modern era. If it is, it's a stroke of sheer genius, because the character singing 'Kaminey' the title song seems to fit right in as someone trying to climb a mountain of the journey that is life. My hypothesis (and I know it's wacky) aside, it's a great song, regardless, and the sequence of the use of the two songs discussed so far will probably determine the nature of the film's climax.

This next one is obvious. The following from a Jigar Moradabadi poem:

Ye ishq nahin aasaan, itna to samajh lijiye
Ek aag ka dariya hai aur doob ke jaana hai.

Understand that love isn't easy,
It's a river of fire which one must drown in, to cross.

Gulzar's tribute in the powerful Fatak (vocals by Sukhwinder Singh and Kailash Kher) involves a reminder to practice safe sex. "Love isn't easy," it begins. "It's a river of fire...let not this ship sink." It's interestingly worded, and for a valid cause. (Aside: That Moradabadi poem is also the source of the couplet with which every Nasir Hussain Productions film begins. Moradabadi was also mentioned in this post on Kohinoor (1960).)

And finally, I can't help but smile in awe every time Raat Ke Dhaai Baje plays (listen to it here). For one, there's a very cute-sounding Rekha Bharadwaj (albeit for very few lines) along with at least three other great singers, Sunidhi Chauhan, Kunal Ganjawala, and Suresh Wadekar. It's the use of beledi with those lyrics that makes it so pleasing to the senses. I hope it's more tastefully choreographed than two excellent songs in Omkara (2006; that soundtrack was delivered by the same director-lyricist duo) by the same female leads, which left a lot to be desired (but I know I'm among the small minority to hold that opinion). The only downside to this track -- and it's a big one -- are the English lyrics that add much clutter to an otherwise near-flawless song. Such a shame, but fair enough to overlook given all that is right with it.

There's much more in the soundtrack. Dhan Te Nan starts off in a very conventional manner, but is anything but conventional once it gets past the first half minute or so. Interesting piece on its choreography (from here):

Here's the trailer. Now this is going to be huge at desi parties, and I can't wait ;)

All we can ask of a soundtrack prior to the corresponding film release is that it portray a strong sense of identity, and that it contain signs of a strong narrative. Based on the soundtrack to Kaminey, one can tell there is more substance associated with the film than one would have imagined given the title. If the narrative carried by the soundtrack offers fair indication, then, the film will be more substantive than people still expect. Too bad it involves all those guns, which means I'll likely wait for the DVD. Oh, well.

Gulzar gave us lyrics to what I consider is the best and most complete soundtrack of 2008 (Yuvvraaj), and he's back at it in this Vishal Bharadwaj-directed musical journey, easily among the two best soundtracks of the year, second only to the music to Delhi-6. It does contain the most exceptionally well-written lyrics of 2009, for which it is a welcome addition to any music collection. Listen to all songs in their entirety at this link. Chances are you'll want to get your own copy, and fast!

Music rating: 3.75/5 (Very, very good!)
A 4.5/5 for the lyrics, and an easy 4/5 without the below-par remixes included in the album with an otherwise excellent series of songs. Good going Vishal B.! Shahid Kapoor, the stage is set for one of the biggest successes of your career. Will it materialize?

Official website: http://kaminey.utvnet.com/

iTunes store link: This link

Also see: This post at Darshit's blog

Parampara (1992)

2009-07-06T06:45:00.000-07:00

Its title means 'tradition', and it keeps with one of the most prominent and consistent traditions of Hindi cinema, which is also arguably a decades-old value-add for the masses. Directed by Yash Chopra, Writer Aditya Chopra's debut film, which also marks Saif Ali Khan's acting debut, sticks to the one of the most conventional family drama recipes. It succeeds to an extent less than is expected of a film with its stellar cast. Yet, the involvement of the cast and their performances are more than good enough to not be ignored, and what they make of the conventionalism is not at all bad for fans of the genre.

Thakur Bhavani Singh (Sunil Dutt) and his son Prithvi Singh (Vinod Khanna) share a tumultuous relationship over the father's upholding of tradition involving duels and subsequent killings. The other big issue between the two is that Prithvi has fallen in love with Tara Shankar (Ramya Krishna), sister to Gora Shankar (Anupam Kher), and member of the gypsy 'clan'. By the time Prithvi's father arranges a marriage for him with a woman of an equal 'class', he's married and fathered a child with Tara.

Yet, he must leave Tara and marry according to his father's wishes. That does not mean he is disrespectful to his new bride Rajeshwari (Ashwini Bhave). They eventually find love and have a child before Prithvi dies trying to, in his words, "end the tradition of hatred." Yet, as the father laments the loss of his son (here's a beautiful shot, think of the countless interpretations!), it is tradition that continues to matter most.

Fast forward a couple of decades and Prithvi Singh's sons are in college. Tara's son Ranvir (Aamir Khan) and Rajeshwari's son Pratap (Saif Ali Khan) meet in a beautifully executed race sequence.

They make some fun music and party hard.

All the while accompanied by Vijaya (Raveena Tandon -- paired opposite Aamir) and Sapna (Neelam).

Of course, Ranvir and Pratap eventually learn of their relationship, and their friendship changes to enmity. Each is groomed by his mentor, Pratap by his grandfather, the Thakur, and Ranvir by his uncle, Gora. Gora has the better argument and a message of peace, he just has much less leverage because of a relative lack of power, wealth, and accompanying status.

Tradition says the only way to resolve their dispute is with a duel between Prithvi Singh's two sons, in which one must die. And duel they must, despite rational thinkers (here, almost exclusively the women, it seems) pleading their case. Who will survive? What will come of it for the greater communities and clans they represent? And will the ladies stick by their men? Watch Parampara to discover. Its end might just be consistent with...well...tradition.

First things first. If you like duels, you must see this film. Just those involving Aamir and Saif offer good indication. A race involving a car and a horse. Then the formal one-on-one on three occasions, one each with foils, swords, and guns. Each is very well executed with the right intensity.

As much as I hate guns, I guess they can be used as an effective tool to foster love. How else could one explain this?

There is about a 20-minute segment half-way through the film in which comedy takes over. The film could certainly have benefited from more of it.

It's telling, because most of it involves Aamir and Raveena.

Surely, a precursor to their pairing in a classic comedy from a couple years later.

Aside: A well-deserved flashback (or flash forward, in the film chronology), from Andaz Apna Apna (1994)!

The music (Shiv-Hari) is about average, but the the picturizations and actors keep things interesting. Where there are gypsies, there will be a gypsy song, so there's Hum Banjaare by Lata Mangeshkar. Everyone who's rated Hum Pyaar Karne Lage on YouTube must like it more than I. And we know well that Aditya Chopra likes open fields :)

Neelam and Saif get Mere Saathiya, and Aadhi Raat Ko is my pick from the album. It's silly, I know, but it is used well, and stars Raveena in shalwar kameez! 8)

From a thematic standpoint, it is probably fair to think of Parampara as reinforcing the needlessness of the roles of tradition in family feuds, in some ways reminiscent of Qayamat Se Qayamat Tak (1988). However, what is a lot more different here is the depiction of the struggle to break out of what one inherently carries with blood lines. This is reflected by at least eight characters mentioned above, and although that might seem to be a lot, it's the very obvious masala nature of the film that makes its integration seamless.

I mentioned the cast, more than anything, making much out of little. The right amounts of emotion and intensity elevate this to a watchable film. This is evident from start to finish. Sunil Dutt, Vinod Khanna, Anupam Kher, and Ashwini Bhave (yes!) are the best actors in the film, which is not surprising given the year in which it was released. (There's a reason I haven't said much at all of Bhave.) Dutt is very effective in his work as the senseless father, father-in-law, grandfather, and community leader.

Woah, doesn't Sanjay Dutt look exactly like his dad?

Aside: He was also an excellent equestrian. Aamir has been quite vocal about his commitment to commitment being influenced by his working alongside Mr. Dutt in this film, who, it turns out, disappeared from the sets of Parampara for close to an hour on horseback, so he could tame the horse he'd be shooting an important scene with!

We talk of tradition in a civilized world that has made all sorts of progress in the last century, but this is probably going to go down as the most 'traditionally' relevant question in the history of mankind. (Speaking of which, you might find Salman Khan's latest blog post interesting -- especially the last two paragraphs.)

Neelam for public office!

Aamir, Raveena, Saif, and Neelam are present in a little less than half of the film. It would have been interesting had its format been closer to QSQT, with a short introduction to a greater theme, with more for these four. They're all in good form here. But then, we wouldn't have much of Khanna and Ramya, and it's not like there is a whole lot more integrated into the script that the youngsters would have to do. In other words, this could have been just as effective had it been shorter. Sadly, the one glaring letdown in the film is the script.

Having said that, if you're a fan of family drama, there is a chance it might work for you. If you're a fan of the cast, it's worth at least one viewing. And if you're a fan of both the genre and the cast, then you, like me, might consider it a fairly decent timepass flick. At the end of the day, it's not close to the best family dramas the actors have consistently delivered. Suffice it to say that a fitting tag line to the film would be: Tradition - It's in the name!

Movie rating: 3/5 (Above average)
Redundancy despite good performances can only be so good. Aditya Chopra knows not to heed that, but if you like his style of story-telling, you might like this much more than I did. Perhaps I am more critical of it given the cast. If you've seen it, please let's discuss know how you liked it.

Music rating: 2.75/5 (Average)
The background score is a complement to the drama, but the soundtrack very linear and conventional. Its integration is about okay. Overall, I cannot help but feel Shiv-Hari, who have delivered music to the likes of Silsila (1981), Chandni (1989), Lamhe (1990), and Darr (1993), could have done a lot better. Having said that, both Shivkumar Sharma and Hariprasad Chaurasia are phenomenal musicians who continue to give fans of Hindustani classical music so much to appreciate. No blasphemy intended, I think they're just exponentially better away from film.

My classification: PG-13
(For theme, language, sexual situations)

And finally...
Isn't it a wonder the film that turned around Saif's career nearly a decade after the release of Parampara, was one in which he starred alongside Aamir and Vindod Khanna's son Akshaye?

July 2009 releases and Bollywood in mainstream America

2009-07-01T06:45:00.000-07:00

We're half-way through the year, and around this time last year was when Jaane Tu Ya Jaane Na took over, for which a shout out is in order. The multiplex strike is a distant memory, and there's a full slate of releases scheduled this month. As if it hasn't been official all along, Bollywood (it's in the name!) is in love with California, with two big releases at least partly based here. To top it off, I came across this at my local Best Buy store this weekend. I wonder if it's a pilot project for stores in and around Los Angeles, or a greater initiative of some sort.

Very interesting, and the prices are very reasonable too. Having said that, we know they need to do better with their selections when the only Aamir Khan film available is Mela (2000). Ouch. Partner (2007) is prominently featured. I thought it'd be a test case to prove Bollywood can do better with a Hollywood script (yes?), but Heyy Babyy (2007) put that opinion to shame. Not one Shah Rukh Khan film was available. Even *I* agree that's not a fair representation of our film industry :) Get with the program, Best Buy! How about putting Lagaan (2001) out there? Oh, well. Moving on...

Read the rest of this post >>

Kaagaz Ke Phool (1959)

2009-06-23T06:55:00.000-07:00

The title song to this film tells us not to sit in a garden comprising kaagaz ke phool (paper flowers). But if viewing films is like walking through gardens, this one directed by and starring Guru Dutt is well worth walking through despite having more thorns than flowers. In what has to be one of the earlier films reflecting on the film fraternity, its artistic prowess, thoughtfulness, and purposefulness, when placed in the context of the era in which it was released and from among the ones I have consumed, are rivaled only by Guru Dutt's 1957 wonder, Pyaasa.

The flashback that the film essentially is, delivers a glimpse into the life of a renowned film director Suresh Sinha (Guru Dutt). Suresh and his wife divorce partly because of his in-laws' apathy to films and filmmaking. He has extremely limited access to his daughter Pammi, who plays a critical role later in the film, when an orphaned Shanti (Waheeda Rehman) forays into his life. Suresh and Shanti enjoy tremendous success with his next film (fittingly, Devdas), in which he casts her as Paro, propelling her to stardom. Decisions on their togetherness follow, initiated primarily by Shanti, who suspends her career for reasons you must discover with your viewing.

This leads to Suresh losing control of his career, until he has a decision to make when Shanti offers to use her leverage to his benefit upon her return. Will he accept? Where will his decision lead him? And how will perceptions of his art continue to impact his life? Watch Kaagaz Ke Phool to discover. The outcome will most certainly leave you thinking, as will some tremendous imagery that requires no accompanying dialogue, with not a shadow out of place, and not a light used in excess.

It's hardly all serious, though. Seldom can be when Rocky (Johnny Walker) is around! And look who has the upper hand (pun intended) in this handshake with Dr. Singh (Minoo Mumtaz)!

Aside: So this is the second film in which I've really enjoyed Minoo Mumtaz's performance, the first being a guest appearance in Naya Daur (1957). If you have any specific recommendations (of films and songs), do let me know.

Paper flowers symbolize a lot more than a title would ordinarily suggest. At the surface, they address how fragile human relationships are. Dig deeper, and they present a valid viewpoint which equates the exploitation of vulnerabilities in relationships to selfish tendencies inherent in being human. There is an obvious correlation to the challenges that lie in pursuit of happiness, with allusions to questions such as: What price are we willing to pay? Do we account for others' interests when making decisions (in something as trivial as choice of words to articulate thoughts)? Where do our priorities lie?

But think scalability to humanity, and the deeper meaning to the message the paper flowers carry could well be interpreted to be that being on either extreme of any scale only spells trouble (and the absolute nature of this is only applicable in its relevance to every scale). The film doesn't say this explicitly, but it doesn't need to. I think its accuracy and validity are pretty obvious.

Having said that, I am curious to learn of the viability of my thoughts (scales, two extremes to each, and that it's good to be somewhere in the middle) expressed in the previous paragraph, specifically within the scope of this film. Am I the only one who is caught between agreeing with the treatment of Suresh Sinha (with the response of the producers to his film after Devdas, for example) being sad and arguably unfair, on the one hand, but finding it difficult to feel sorry for Suresh's response to the treatment he received? To take a stance either way would initially appear straightforward, but what adds complexity to answering this is that I do not believe Suresh was insecure of his position. There's something to be said of the maturity of thought that led to his decision-making. In how it is packaged in the film, almost a rare, assured understanding of what played out around him, a resolution to not be part of it, and a willingness to accept the consequences.

Each of these are also indirectly alluded to in the brilliant title track with which the film opens. Mohammad Rafi in absolutely phenomenal form here:

The soundtrack, with music by S. D. Burman and lyrics by Kaifi Azmi, is rather good, and contains the ever-popular Waqt Ne Kiya Kya Haseen Sitam by Geeta Dutt. (A quick search on YouTube leads to this user-generated rendition of the great tune.) San San San Chali Hawaa is a fun car song by Asha Bhosle, Rafi, and Sudha Malhotra. A rather good kid song, Ek Do Teen by Geeta Dutt, is an excellent example of the wide-ranging improvisational skills of the one and the only Waheeda Rehman! I wonder if Guru Dutt ever sang this to her. (Excuse the tangent, but I love that song! :)

My huge expectations going into this film were met. I try to refrain from discussing the personal lives of our actors, but this film challenges that. I kept thinking while viewing whether Dutt was summarizing his experiences and rivalries within the film industry. If you are aware of any fact-based sources of information that would help answer this question (with specific mention of the film), please share the references. In any case, Kaagaz Ke Phool excels where it matters, and for that, I think it's well worth checking out when you're in the mood for some quality cinema that is best consumed in a quiet setting that serves as an incubator for reflection.

Movie rating: 4.5/5 (Excellent!)
Pyaasa is a more complete product, but that it is used in the same sentence as Kaagaz Ke Phool is compliment enough for the latter.

My classification: PG

Music rating: 4/5
Two outstanding tracks in a surprisingly pleasant soundtrack which is well-integrated in the film.

On Location, and more on Project Extraordinaire

2009-06-20T07:15:00.000-07:00

The last in the Lagaan Week 2009 series. A big thank you to all guest writers and contributors, readers, and those who cared to add so much more to the discussions by commenting. I hope you had as much fun this week as I did bringing these posts to you. Assuming my blog and I live another year, see you again in Lagaan Week of 2010! Tonight, I'll light a cigar in honor of Lagaan: Once Upon a Time in India...good film, this :)

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We've seen the film and appreciated the fantastic artwork that defined it. We acknowledge Captain Russell (Paul Blackthorne) is one of the most effective villains in recent memory. Now, let's walk through his abode! Hindi film blogger Darshit Joshi visited the Vijay Vilas Palace in Mandvi, a remote area in Kutch in the Indian state of Gujarat. The site featured in the film as the quarters of the commanding officer of Champaner.

Darshit has a great picture essay at this link, in which he ties his beautiful photographs of the exterior and interior of the palace to specific instances in the film. Please visit and thank him for bringing us such a remarkable post, complete with an obvious connection to Lagaan from the gates to the palace! The palace is simply majestic; by definition, it's supposed to be, I guess, but music such as this sample from the background score adds much to its aura:

The complete album of Darshit's pictures is available at this link; here's a sample:

But wait, that's hardly all! He also visited Kunariya, the Gujarati village in which Lagaan was filmed in 2000. (Did you know Lagaan XI played there well after the film was released? Inspirational story.) He's taken some excellent photographs of the location, and even visited the theater which hosted the world premiere of Lagaan -- fittingly, showcased to the very villagers who were the life of the film. The post, which outlines a heck of an adventure, is available at this link. Remember this?

Of course, no film using synchronized sound and involving as many as 10,000 individuals on one set can be made without overcoming tremendous project management challenges. Sujoy Singha is a student of Management Science at the University of Southampton in the United Kingdom. A class project for Managing Resources and Operations inspired him to analyze the making of Lagaan. Complete with risk analyses and notes on the scope and stakeholders of the massive project (and at the time, the most expensive Hindi film ever made), you can find his paper, "Lagaan: A Project Management Case Study of the Making of the Film", at this link. Sample this from the post:

...Lagaan needed to be made. To quench the thirst of Bollywood lovers like me craving to see a cinematic magnum opus unveil its hues on the big screen and make my eyes gleam. Lagaan needed to be made to make me lift my hands in triumph every time Kachra took a wicket. ...Lagaan needed to be made because a silly sod like me could understand the principles of Project Management through it.

And finally...
Among the works cited in posts by Darshit and Sujoy, and as referred to in some of the other posts this week, is The Spirit of Lagaan by Satyajit Bhatkal. It is one of the best books I've read on cinema. (Here are some notes.) If you enjoyed the film, you'll most certainly love it!

Please note all Lagaan Week 2009 and 2008 posts will soon be archived in this intro post, which will always be retrievable by clicking the Lagaan badge in the sidebar to the right.

Guest post: The Sound Feast that is the Lagaan soundtrack

2009-06-18T12:00:00.000-07:00

Aline is originally from Mexico and lives in France, where she works as a language specialist. Lagaan was one of her first Indian cinema experiences, and transformed her into an ardent Aamir Khan fan. Her admiration of the actor eventually led her to my blog and motivated her to actively participate at Aamir's. Her parallel involvement in music recently resulted in an invitation to write Bollywood soundtrack reviews for the European-based Hindi Cinema blog, where she posts regularly.

Thank you Aline for sharing your brilliant dissection and expert analysis of songs in what I agree is by far one of the greatest soundtracks of our times!

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Lagaan… The sheer sound of the word expresses the substance and the magnitude of Ashutosh Gowariker’s film, and truth be said, the soundtrack is as magnificent as the viewing experience.

Yes, thunder never sounded so human and humans never sounded so thunderous. The opening Ghanan Ghanan sets the tone for the film plot as clouds start to gather much to the joy of Champaner villagers, while an all-star rainbow of vocal hues makes its appearance on the music canvas: Alka Yagnik’s smoothness, Udit Narayan’s radiance, Sukhwinder Singh’s warmth, Shankar Mahadevan’s poignancy, Shaan’s zest. Considering myself a voice maniac, I never tire of savoring this song as a particularly luscious treat. However, concentrating solely on the voices would be a pity. Ghanan Ghanan also introduces a playful dafli, a droning synth, pounding drums and crystalline strings. This is the next best experience to actually feeling rain droplets falling on our ears!

Following such a magnificent opening, a rhythmic Mitwa progressively conveys courage and hope through the growing and exuberant use of bass drums, a deliciously folksy violin, a subtle ghatam and the lively use of wind instruments, an ektara and synth strings. Alka Yagnik’s deep voice and Udit Narayan’s uplifting timbre accurately reflect the song’s mood, adding strength to the respective scene in the film.

Radha Kaise na Jale is a particularly eloquent example of how A. R. Rahman’s orchestration talent can make listeners travel through time and space. With eyes closed, where else could this song take us? Well… the countryside, during Holi of course, where Krishna, Radha and the beautiful Gopis dance with the birds whistling in the background. Asha Bhosle’s teasing vocals particularly shine against bells galore, tabla, dandiya stick and a flute that guides her through the song, culminating the lovers’ mischievous interaction with a beautiful display of bhimpalasi raga.

O Rey Chhori features the film’s main trio, each singing their respective declarations of love and I must confess that I have rarely found a musical love triangle so interesting. The song’s forte lies in the transitions between an Eastern upbeat theme strewn with the sound of dry bells and light drums and a Western honey-sweet tune, complete with harp, violins and operatic voices. Javed Akhtar’s lyrics are equally expressive in both languages, with a noteworthy portrayal of Elizabeth’s romantic fantasies, making Vasundhara Das’ transparent interludes blend in beautifully with the main couple’s sweet talk.

What is left to be said of Chale Chalo, a classic that is capable of stirring the blood of any listener throughout the world, regardless of whether they understand Javed Akhtar’s otherwise brilliant lyrics? Humming, stomping, snapping, clapping, banging… even the cello and the dulcimer sound like percussions, chiming in to build up the Lagaan team spirit. The catchy song curiously seems to echo what the epic Lagaan film making experience must have been by reflecting the powerful magic of a joint belief in one goal, with A.R. Rahman himself giving this hymn its main voice.

The album suddenly moves into a softer note, mirroring Elizabeth’s prior declaration of love with a brief Waltz for a Romance. The track sounds exceptionally authentic, making us reminisce some of Hollywood’s most memorable Western classical and baroque-style film compositions.

The previous Western track gives way to its Indian counterpart as A.R. Rahman’s talent for devotional songs gives birth to the gem O Paalaanhare. Lata Mangeshkar is a brilliant choice for the song, given the purity of her voice. (The version of the song in the film includes Sadhana Sargam providing vocals for Gauri.) The bhajan builds up softly with a measured use of the tabla, cymbals and temple bells, ultimately falling into Udit Narayan’s soulful rendition of part of the Lagaan theme chorus. The moving melody elevates the soul in prayer, leading the listener to sympathize with the villagers’ plea.

The Lagaan main theme crowns this scintillating soundtrack with a perfect mix of grandeur and serenity… of East and West combined. I have no qualms in saying that I believe this track somehow captures the universal essence of music itself. Its brain stimulating melody, the combination of seemingly improbable instruments together in the same piece (sitar, cymbals and church organ, anyone?) nevertheless achieving amazing harmony... It is simply magnificent. R. Prassana’s spine tingling string arrangements deserve a special mention as they transport the listener to unprecedented heights. Anuradha Sriram’s voice gently brings us back to tranquility with her earthy and melodious hum, closing an absolutely monumental soundtrack.

The film Lagaan: Once upon a Time in India was certainly meant to become a landmark in Indian cinema. The challenge of composing an equally brilliant music was successfully achieved when the Mozart of Madras concocted this “sound feast”. Lagaan’s music contributed to make the film shine and vice versa, therefore both the film and its music are bound to continue gathering applause from viewers and listeners alike, regardless of their cultural and musical background. This timeless tour de force by A.R. Rahman and his outstanding musical team (a special mention to the late H. Sridhar, sound engineer, who worked not only on the soundtrack but on the film’s sound in general) may be put up there with the very best soundtracks of all time, even several years after its release.

Thank you deeply theBollywoodFan for creating this brilliant space and for allowing me the opportunity to contribute to it.

What makes Lagaan special?

2009-06-17T06:45:00.000-07:00

That's easy to answer. A whole lot! I know I am notorious for never being at a loss for words and emotions when it comes to my fondness of Lagaan. But less is often more, and it's as challenging to articulate in a few sentences what makes the film so special for some of us. So here's what some of the other big fans of Aamir Khan think. Suffice it to say that if Aamir's blog is a village, say Champaner...

...they are among the most active villagers who take it upon themselves to ensure the village is always bustling with activity. When Aamir is away at work (or on vacation, which happens around once every few years, it seems), it is their enthusiasm for films and the life they represent, that keeps everyone going.

Today also marks two years since Aamir's blog went live! So, to all my fellow Aamirians, a happy AK blogging anniversary! It's been great to know you all, and we'll surely keep at it!

A big thank you to everyone who took time to contribute specifically to this post! A very special note of thanks to Katherine G. in Atlanta, Georgia. This post was her idea, and without her help (and Joanna's), it would certainly not have been possible. We begin with Katherine's notes on Lagaan, then (you might recall her excellent post on Rang De Basanti (2006) in April):

My fondness for Bollywood films began as a young bride when I married into my husband’s family some 20 years ago. Since my mother-in-law was from Kashmir, she would rent the latest Bollywood releases for us to watch together. The first time I saw Lagaan with her, I thought it was an absolutely wonderful story of good guy versus the establishment (the British). I was enthralled by the music, especially the song Chale Chalo.

Aamir Khan’s Bhuvan is one of the most endearing film characters in my memory. Bhuvan spots injustice and courageously decides to commit his village to an almost impossible task of winning a cricket match with the British. Knowing that losing this match would cause grave consequences for his fellow villagers, he takes responsibility to build a determined group of men into a cricket team. What follows is a spirited game of wills, innocence versus arrogance. Oh, what a game it is!

Chekhov, from San Antonio, Texas, reminds us that cinema, being so close to life, carries the distinction of being one of the most effective media through which we can all learn (to learn) so much! Between this and Joanna's post yesterday, I realize I picked the wrong major and electives in college :'(

During my second year at the university when I was 19, I took an Indian Anthropology course. As could be expected, the professor felt the need to include Bollywood films in order to help us better understand Indian culture. "Lagaan" was the first film we screened, and my first full Bollywood film ever. Our professor showed us cultural themes such as colonialism, imperialism, Hinduism, the caste system, Sikhism, etc. It took us weeks to get through the film, only watching ten to twenty minutes at a time. My classmates and I cheered for Bhuvan's triumphs, and held our breath through the cricket match. We giggled through the love story between Bhuvan and Gauri, and we even attempted the dances ourselves. If a classmate missed a class, we would call them just to tell them what had happened in the movie.

While Lagaan is an important landmark in Bollywood for its themes, nominations, and acceptance in the West, it is important to me personally for how it enlightened me. Despite having grown up in a largely Indian community in Washington DC, I had seldom developed much interest in India. After this film, I developed a deep appreciation for Indian culture, as well as for Bollywood. I am now considering learning Hindi in graduate school, and pursuing interests in that direction. For me, it can truly be said that Lagaan changed my perception of India, as well as the course of my life.

Haritas2 from Karnataka, India, rightfully focuses on the selection of then-rookie actress Gracy Singh as one of the more pivotal casting decisions. I wouldn't disagree. (Did you know Nandita Das had also auditioned for the role of Gauri? (Per page 62 of the Bhatkal book cited here.))

It can only be Aamir Khan who has the audacity to chose such a theme for the movie, such a simple yet great star cast. I would like to add light on his selection of Gracy Singh...no one would have blamed him for selecting a star actress like Kajol or Rani Mukerjee. Instead, he trusted a television actress with a massive project. In retrospect, nobody would have given the feel good 'gaon ki chhori' (village belle) freshness to the movie. It looked as if the role was tailor made for her!

Meanwhile, Creekbeds in Wisconsin sums up rather well the experience of revisiting the film:

Lagaan started me out on my love affair with Hindi movies. It was one of the first Bollywood movies I ever saw. I wasn’t sure what to expect, but it didn’t take me long to fall in love with it. I love it for its exuberance, innocence, panoramic vistas and amazing song and dance numbers. I fell in love with Bhuvan and his ragtag team, a delightful, but mostly inept bunch. Each time I watch it, it’s like having a reunion with a beloved family member. Just some of the reasons why ‘Lagaan’ left an indelible impression on me, and it will always have a special place in my heart.

An 'inept' bunch indeed. How else could one describe a team that learns to field with the help of hens? =)

Tabby in London, England, notes that Bhuvan's ability to make the audience relate to him and his situation is what makes the story of the victory of the underdog seem so convincing.

An Oscar-award worthy performance by Aamir. He naturally has a huge on-screen presence, which made Bhuvan truly came alive. His character, style, approach, and mannerisms made the character well-rounded. Bhuvan could have been any villager in any remote village in India. The viewer isn't distracted by the grandeur of the setting or the magnitude of the challenge because of its excellent storyline. By the end the viewer is at the edge of his seat, consistently championing the underdogs - will they or won't they win? Bhuvan's victory is the viewers victory in equal measure. Long live the underdog!

Pushker in Lucknow, India, says what a lot of us truly believe -- that the credibility that Aamir lends to his profession and to the Hindi film industry, through films such as Lagaan, is what truly distinguishes him from his peers and into a league of his own. It is also what helps twenty-first century Hindi cinema stand out as a force to appreciate.

Aamir Khan has been a rare phenomenon in the Indian film industry. He has singlehandedly given respectability to Bollywood commercial cinema in the eyes of audiences from other parts of he world. For me, NRI-focused movies don't compare with his movies when it comes to appreciation and respect generated worldwide. Lagaan is the movie which started the trend. First and foremost, it is a path-breaking movie as far Indian film industry is concerned. It's the first pure crossover film which does not compromise on the essence of India. Its authenticity is not something we take for granted in Indian film.

From the first frame until the last, it is absolutely brilliantly crafted and directed. You almost feel part of the past. What doesn't it have? The sound is pure Indian, and songs are the most authentic. Acting, again, is top-notch, from leading actors to every minor character. The sets and locations give an authentic view of late 19th century India. All in all, a milestone in the annals of Indian Cinema, and one that has started to revive contemporary cinema, challenging the subpar standards of filmmaking that was the norm for so long.

Readers: If you have Lagaan-related stories you'd like to share, within context of the question in the title to this post, please add a comment! (I'm guessing it's one of those movies we all distinctly remember seeing, perhaps with specific people, or at a specific venue.)

Guest post: You had me at Ghanan Ghanan

2009-06-16T06:30:00.000-07:00

I am privileged to have my friend Joanna write this post. Joanna lives in central Ohio with her husband, three kids (ages fourteen, eight, and six) and their two dogs. She is an Early Intervention Specialist, and works with children (up to age three) with developmental disabilities.

An Aamir Khan fan, she has been an active participant at the Aamir and Lagaan DVD blogs since their inception in 2007, and considers herself in good company among the wonderful Hindi film fans with whom she has had the pleasure of interacting through these and other sites. Her journey with Hindi cinema began with Lagaan, three years ago. Please join me in thanking Joanna for sharing with us such wonderful insight!

_______________________

“Parched eyes scan the sky…”

This was the Muhurat shot for Lagaan, and I suppose it can also be considered the Muhurat for my maiden voyage into Hindi cinema.

I had gone back to college to finish my degree in the summer of 2006, and fatefully enrolled in a Global Comparative Studies course. Part of the course was a unit on Lagaan. The instructor explained that it was an Indian (“Bollywood”) film about a cricket game played between British soldiers and local villagers during the late 1800s. Admittedly, I was a little apprehensive (frankly, it sounded a little boring). But ready or not, I was prepared to spend the next two class sessions watching this film.

Needless to say, I was completely blown away. It was a beautiful and powerful epic, which unbeknownst to me at the time, would have a huge impact on my life. In the spirit of Jerry Maguire (1996), I’d say: “You had me at Ghanan Ghanan.”

The class section on Lagaan was concentrated on drawing parallels between the film and how the evolution of Indian cricket symbolized the struggle against the British Raj. As part of an assignment in the Lagaan unit, we were to explore the ways in which Lagaan might both reproduce and subvert the “erotics of nationhood” of Indian cricket using a series of articles written on the subject.

Conflict and resistance are easily considered to be the main themes in Lagaan. The timeless struggle between oppressors and the oppressed is nothing new. However, if we were to look deeper into the symbols of nationalism, feelings of self-worth (both collective and individual), and conflict, we may get a better understanding of what the film means in terms of indigenous struggle. Lagaan reproduces and subverts the typical “erotics of nationhood” of Indian cricket, in regards to the roles of gender and tradition of the game, and by default, the struggle it represents.

According to Arjun Appadurai in his article, “Playing with Modernity: The Decolonization of Indian Cricket,” he defines the “erotics of nationhood” of Indian cricket as the link between gender, nation, fantasy, and bodily excitement to the game itself (Appadurai, 110). Now that cricket has come to be identified “with ‘Indian’ skill, ‘Indian’ guts, ‘Indian’ team spirit, and ‘Indian’ victories, the bodily pleasure that is at the core of the male viewing experience is simultaneously part of the erotics of nationhood” (Appadurai, 111).

There are several scenes in Lagaan that illustrate the intensity of this nationalistic ideology. Most people might focus on the scenes in the latter part of the film, during the cricket match, as that would be the most obvious. However, I found many scenes that I felt were more of a powerful statement to the “us against them” paradigm so clearly laid out in Boria Majumdar’s article, “Cultural Resistance and Sport: Politics, Leisure and Colonialism–Lagaan–Invoking lost History.” In his article, Majumdar says that the reality of beating the British at their own game goes deeper “...into certain ideas of self-cultivation, manliness and self-worth. Cricket was played not simply to facilitate social mobility. Rather the game became a mirror which the Indian identity assessed itself, and in this respect the appropriation of European sports by the Indians can be seen as early breeding grounds for nationalism” (Majumdar, 40). There are three scenes in Lagaan which I found to illustrate these concepts most profoundly.

The first scene is when the villagers go to the Cantonment to ask the Raja-ji to relieve them of this year’s double lagaan, and Bhuvan (Aamir Khan) and Captain Russell (Paul Blackthorne) have a confrontation that leads to the fateful cricket match. The archetypal good versus evil takes hold from this point. One asks the other to stand, but both stare each other down as Captain Russell keeps raising the stakes so that Bhuvan cannot refuse. It can be argued that Bhuvan accepted the challenge out of bravado, and I will not dispute this. But it goes deeper than mere machismo. Bhuvan feels he is not only fighting for his pride, but for the very lives of the people in the village. It is at this point that he steps into the role of nationalistic rebel. (This post has more on the scene.)

The second scene is just after Bhuvan convinces the team to let Kachra (Aditya Lakhia), the untouchable, play on the team. The villagers turn around to see Captain Russell and his men watching them. Bhuvan stands and they maintain direct eye contact...

...as the rest of Bhuvan's team lines up behind him, side-by-side, and all men stand together with their arms crossed and facing the British soldiers. To me, this was a pivotal scene and one which, paired with a powerful background score (“Re Bhaiyya Chhoote Lagaan” -- listen to it below), set the stage for the upcoming “battle” and illustrated how the once unwilling participants were now united and committed to fight.

The final scene that I want to mention actually happens during the cricket match. (Okay, I had to throw one in.) It is the scene in which Bhuvan and Deva Singh Sodhi (Pradeep Rawat) take the field together as first batters. They walk towards the British team without fear and with firm resolve evident on their faces. As I watched them kneel down in unison to pick up a pinch of earth and touch it to their chests, I was struck with another powerful moment of solidarity, unity, and strength.

There were so many moments in Lagaan that struck me at my core, and I found myself unable to get that very special film out of my head. It was like nothing I had seen before. So, I bought the DVD, found a comfortable spot on my sofa, and prepared to be spellbound once again. This time, my then five year-old son joined me. The film worked its magic on my little boy and connected with him on a level that we never could have imagined.

There is a special twist to this part of the story. You see, my middle son has mild Autism. At the time, he had limited verbal ability. However, after watching Lagaan a few times, he tried to sing in Hindi. His favorites songs were (in his words): the “Rain song” (Ghanan Ghanan), the “Apni Hai song” (Mitwa), and the “Yellow Shirt song” (Radha Kaise na Jale). In the spirit of taking a child’s lead, we would encourage him to sing “Chale Chalo” to help him pronounce his “L” sounds. It was a success! I bet Director Ashutosh Gowariker and Aamir Khan never predicted that Lagaan would be used for speech therapy.

I am happy to report that my son is doing well, and has made unbelievable strides. Somehow, I feel that Lagaan had awakened something special in my little boy--and perhaps in all of us as well.

“He who has truth and courage in his heart, is who wins in the end.” (Mitwa)

I want to join all the fans of this wonderful film in celebrating its 8th anniversary. Re Bhaiyya...Chhoote Lagaan!

References:

Appadurai. “Playing with Modernity: The Decolonization of Indian Cricket”
Majumdar. “Cultural Resistance and Sport: Politics, Leisure, and Colonialism—Lagaan—Invoking Lost History”
Mannathukkaren. “Subalterns, Cricket and the ‘Nation’”
Farred. “The Double Temporality of Lagaan: Cultural Struggle and Postcolonialism”

Lagaan XI and their challenge

2009-06-15T07:00:00.000-07:00

Competence in any sport, at any level, is underscored by one constant factor -- top-notch effort. Individuals and teams must live with whether the best effort was delivered. Best efforts don't always translate to wins, though. Sometimes, they are simply not good enough, which is when the roles of intangibles such as luck are magnified.

Like in any good portrayal of sport on film, Lagaan captures the cardinal principles of sport rather well. This is admirable, given Lagaan is not primarily a film on sport. Those films are supposed to be dictated more by how the games are played than by wins and losses (although the triumphant underdog theme is prevalent across world cinema), but for a group of villagers fighting to increase the chances they'll survive with enough to eat, taking heart from anything other than winning hardly serves any purpose. Yet, they and not Russell's men play with a sporting spirit. And that is where the character sketches that define their being are as effective and consistent as one could expect.

For the greatest match ever played not to have any [inherently] neutral members in the audience is a shame (but fair in a way -- there are only two sides to the coin of justice), because as spectators, games in which opponents give their all are the best to witness. And that is exactly what Bhuvan's and Russell's teams delivered. A see-saw battle that went down to the wire, and one that could just as easily have been a disaster for Lagaan XI were it not for a tremendous stroke of luck (how else would one explain it?) in the final over, with a no-ball (think of it as the cricket equivalent of a ball after two strikes in baseball) off the last delivery (or 'pitch').

But things obviously wouldn't have gotten that far had a British cantonment commanding officer named Andrew Russell (Paul Blackthorne) not meant ill and toyed around with the sentiments of, in the words of Champaner's leading political representative (Rajendra Gupta the Mukhiya), a 'silly child' named Bhuvan (Aamir Khan). And this brings us to one of the most powerful scenes in a film packed with one powerful moment after another.

Every time I see the film, this scene is among those I am most awed by. If not for the dialogue, for its delivery.

If not for the near-speechless emotion, for its obvious focus on greed or redemption depending on whose perspective is considered.

If not for the magnificent camerawork, for the awesome, in the true sense of the word, background score to the scene (which includes silence as well). Here's audio from the scene:

For the intense focus employed by the characters on what the challenge is. An opportunity that must be availed, leading to a challenge that must be accepted because it's too good to pass. Topped off with an exchange for the ages between siblings on opposite sides. "This is not fair," says Elizabeth (Rachel Shelley), to which her brother replies (and there's no debating the validity of his statement, is there?):

Back to the team, then. It's only fair this post be dedicated to the complete team -- the Lagaan XI -- as they are referred to in cricketing circles. Too often, actors other than the superstars are overlooked. Almost like sports stars and their teams. Thankfully, the film arguably does justice to each. So here they are, in order of the batting lineup in the film. I've tried to list other films in which these actors have worked with Aamir, but can't vouch for completeness of the lists.

1. Bhuvan (Aamir Khan): Team founder and leader, we've talked much about throughout, of course. There's little value I can add with more words to his presence. Let the outcome of the cricket match and film speak for themselves.

2. Deva (Pradeep Rawat): Former sepoy and a fine all-rounder. One of the best strategists for the team, and the most experienced, who fell a run shy of a half-century in the most unfortunate of dismissals. Among Rawat's works alongside Aamir are Sarfarosh (1999) and Ghajini (2008). If you've seen him in either film, especially in the latter, you know how menacing he can be. Neat little subtext here is that Rawat belongs to a family of soldiers (Bhatkal, 99), and replaced Mukesh Rishi for the role of Deva when Rishi backed out of the project.

3. Arjan (Akhilendra Mishra): His lightbulb moment came courtesy a Captain Russell mighty angry at his superiors in the British Raj. "You slaves will stay under our shoes," Arjan was told. "No matter their thickness, soles eventually wear out in sweltering heat," he replied. Too bad impulse got the better of him in the match. Mishra's previous film with Aamir was Sarfarosh (1999).

4. Lakha (Yashpal Sharma): Woodcutter, traiter, and part of a self-made love triangle involving Bhuvan and Gauri. He probably did not atone enough, but who am I to argue when Gauri forgave him? He did not score any runs (bodyline has its ugly side), but his comeback as a legitimate contributor to the team from day 2 onward gave Ashutosh Gowariker and his action director Abbas Ali Mogul one of the more difficult sequences for film. And boy did it elevate Lakha to Jonty Rhodes-like levels! It also earned him this dedication from yours truly (it was hard work!)

5. Bagha (Amin Hajee): Mute, but a great listener and communicator. Among the very first to support Bhuvan in forming a team, his optimism more than made up for his abysmal fielding skills. And when he hit the ball, the ball stayed hit. Works alongside Aamir include Ghulam (1998) and The Rising: Ballad of Mangal Pandey (2005).

6. Ismail (Rajendranath Zutshi): Solid, calm-headed batsman, who played through injury to help give the team a fair opportunity to push for a win on the final day (day 3) of the match. Other works alongside Aamir include: Holi (1984), Qayamat Se Qayamat Tak (1988), and Tum Mere Ho (1990).

7. Ishwar (Shri Vallabh Vyas): The medic among the group, and perhaps the first and only team doctor in the history of sport to replace an athlete out in the field! Could be blamed for lack of stamina as the game wore on (IV was probably out of the question back then), but never a lack of commitment. Dedicated a Father's Day post to him here. Major intangible -- he's Gauri's father! Works alongside Aamir include Sarfarosh (1999).

8. Guran (Rajesh Vivek): Fortune-teller and spiritual leader of the group. An unusual batting stance and a constant desire to talk smack while out in the field made his character the perfect catalyst for comic relief. It also drew him a "coming from the jungle" comment during the match.

9. Goli (Daya Shankar Pandey)! Phenk gola! (Throw the ball!) A ridiculous bowling action one cannot begin to describe earned the team some vital wickets, although there's no excuse for a first-ball duck. He was also alongside Aamir in Ghulam (1998).

10. Bhura (Raghuvir Yadav): His chickens helped the team learn how to field, and his split-second decision-making during a mixup between the wickets gave the villagers an opportunity by keeping Bhuvan at the pitch. A fine actor whose previous film with Aamir was 1947 Earth (1998).

11. Kachra (Aditya Lakhia): The crippled and the 'untouchable' who would never have made it to the team without Bhuvan's support. His bowling kept the game within reach on day 2, and it was his over-and-a-half long partnership with Bhuvan at the very end that would help seal the deal. His previous films with Aamir were Jo Jeeta Wohi Sikandar (1992) and 1947 Earth (1998).

12. Tipu (Amin Gazi): He came on as runner for an injured Ismail, and the role of the kid who was the first to join Bhuvan in playing cricket in the village was crucial in facilitating the largest partnership of the match for the team. The cricket rulebooks allow the mode of his (Ismail's) dismissal, but it is as unsportsmanlike as running up the score in (American) football, for example. This was Amin's debut film.

The Coach: No mention of the team is complete without mention of its coach. Elizabeth Russell (Rachel Shelley) was the driving force behind the success of Lagaan XI. If there's one thing I could change about the film, as blasphemous as this might sound, it's treatment of her character after the match. Oh, well.

So there you have it. The unlikeliest of heroes from the unlikeliest of sources. And a team purposefully comprising individuals that collectively represent unity of religions and the potential humanity carries to fight a divide-and-rule philosophy with one that says we have more than binds us than separates us. I also like that Lagaan XI largely comprised individuals from the very same group of people that was present when the challenge was issued. Now, isn't that a coincidence? :)

Also see:
Lagaan Week 2009

And finally...
Cricket fans have always admired the extent of detail involved in setting up for and filming this particular match. Credit Ashutosh Gowariker and Aamir for their work. So we went from bad field placements (from the national squad, no less) and laughable camerawork in Awwal Number (1990) to a team of villagers getting it right.

Here's an excerpt from (page 95 of) The Spirit of LAGAAN by Satyajit Bhatkal (click the image to enlarge), in which we're given an introduction to the challenge of finding nineteenth century cricket gear. See, I *knew* this film was hardly fiction! ;)

Lagaan Week 2009: Eighth Anniversary Special

2009-06-15T00:01:00.000-07:00

[Please see below for Lagaan Week 2009 posts] This is from my eighth birthday (some things are just meant to be), and today, please allow me to feed you all a digital piece to celebrate eight years since Lagaan was released in theaters!

Everything I said in the intro post to Lagaan Week 2008 applies. Around this time last year, we discussed several features of the film, among them its cast, setting, soundtrack, lessons learned, and cricket game. There was a DVD set review, and a dedication to a villain turned hero. Then there was this discussion on probably why Lagaan worked for the masses, which doubled as a background score review.

This year, the hope is to share more about Lagaan that is external to the film (but not exclusively). As always, there will be an effort to strike a balance between fact and opinion. I'm also looking forward to sharing some fantastic guest posts. So, each day this week, please stop by for a treat related to the film to which I owe my love of Hindi cinema, and the only one I can recommend unconditionally. And while you're at it, you can always stop by here for some cake :) For now, enjoy the spellbinding music to the opening credits:

Chale Chalo.

Addendum 6/22/2009
Here are the posts from Lagaan Week 2009:

Lagaan XI and their challenge
Guest post: You had me at Ghanan Ghanan
What makes Lagaan special?
Guest post: The sound feast that is the Lagaan soundtrack
On location and more on Project Extraordinaire

The Paradox of Progress II: Gaja Gamini (2000)

2009-06-08T06:30:00.000-07:00

Like his directorial venture Meenaxi: Tale of 3 Cities (2004) that followed, the M. F. Hussain-directed Gaja Gamini is everything but ordinary. But that alone is hardly what makes it stand out. It is one of the few films that directly addresses the mistreatment and underutilization of the intellect of women through moments in world history, and argues that the progress paradox we face today might well have been remarkably different had women been more more involved in making decisions that led to what we now confront.

If there ever were an example of a theater play in the guise of a film, this is it. Although one would think that as a model of abstract art, this would go without saying:

Shot entirely on indoor studio sets, its biggest strength lies not in its cast or its music, but in its dialogue and not surprisingly in the integration thereof with metaphors contained within the art direction. There's symmetry to be discovered among them. But as is the case with any piece of abstract art, there's ambiguity involved. For example, this triangle, when drawn at the foot of a doorstep, is outlined counter-clockwise. But the audience sees a redrawing in the opposite direction. The question is: why?

Five women are involved in a song choreographed to symmetric movements. Each carries the same message. Each comes from a different background. Each is wearing black. But each has a differently styled garment. Why?

A painter seeks inspiration from woman to create his best work yet. The woman is unknown to him, but he has a name for her. Why? A florist seeks revenge from an unknown. Why? A photographer-journalist shows up in a village and ridicules a woman for giving birth to several children. Why? (This one's easy -- the photographer is Shah Rukh Khan :P)

Not everything is explained, nor is everything immediately intelligible. It's probably not supposed to be, because it is why the film, which presents more of a thought process than a conclusion (one I'll leave for you to discover), is effective. Central to the essence of the film (or at least to what I think is the essence) is the debate between a scientist (Ashish Vidyarthi) and a poet, Kalidas no less (Mohan Agashe), related to the scientific versus the supernatural, the merits and demerits thereof, and the potential for harmonizing them.

The characters that give rise to this debate all warrant interest, not only because of who they portray, but also because of who they are. The film obviously belongs to Madhuri Dixit, who plays five roles (Gaja Gamini, Sangeeta, Shakuntala, Monica, and Mona Lisa). No surprises here. Madhuri does what only Madhuri can. Her speech is powerful. Her walk graceful. And her thoughts reflective of the women she portrays. And no mention of Madhuri would be complete without specific mention of her performances to music. Here's one to start with (guys, just stop what you're doing and see this), with more on the music to follow:

Then there's Shabana Azmi, Naseeruddin Shah (as Leonardo Da Vinci), Shah Rukh Khan, Farida Jalal, Inder Kumar, Tej Sapru, Raisa Hussain, and several others including M. F. Hussain in a special appearance.

In many ways, this tribute to woman is based around how indifferent we the men of the world have been to her existence and her elegance, objectifying her, trading her, waging wars over her, all while not once wondering what she thinks. What's more, men are even accused of being dim witted warmongers!

At least we are given credit for trying to better understand the opposite sex, although even here, it is the 'riddle' which is the primary character.

And at least all of this gets me and Shah Rukh on the same side of the argument, for once! =) He really does play a rather intriguing character here, and his entry is well-timed.

I joke about the issues, but they're serious, as you know. Even in the U.S., women aren't paid as much as their male counterparts, which is ridiculous (and it's not only gender-based -- race is involved as well). Far from issues related to employment are issues of other basic rights, such as the right to fair treatment in schools and -- given my primary volunteering efforts in social service, this is the most difficult for me to discuss -- freedom from the threat of domestic violence.

The issues presented were almost summed up by Madhuri in Saajan (1992) and especially in Lajja (2001). So from the standpoint of the essence of the message, there's not much that's different. What is different in this film, and for the better, is the approach to delivering the message, which is effective, especially toward the end. (Be on the lookout for an interesting integration of the theme with The Last Supper.)

The theme is universal and relevant, but the issues I have with Gaja Gamini have to do with its pace and dialogue delivery. As much fun as it is to consume, it's clearly longer than it needs to be. And while identity crises are often welcome (the ones here were intentional, and we're talking of some great actors here), I just didn't think the layers of theater-influenced dynamic were smoothly transitioned to film.

I also missed the outdoors. There was all sorts of potential to add to the art direction using realistic settings (again, this was corrected in Meenaxi with fantastic results), and it would be interesting to hear Hussain's take on why it wasn't exploited. (This is not addressed in the accompanying 'Making of' segment.)

On the other hand, the sets are a visual treat in their own right, and are more than good enough, as would be expected in a film by a painter first, to convey the sense of space -- the confinement of woman -- which is central to the theme after all. (So that might be why?)

The film does leave the door open on whether it wants us to perceive its message being two-fold, that the paradox of progress might indeed be better understood if women and men were given equal rights (where applicable), as they are by religions (or so the film says, and I agree to significant extent; a discussion on what religions mandate is not one I am willing to moderate). Unlike Meenaxi (a much more empowered woman, and arguably more appealing), this is more a chronicle than a future perspective. Like Meenaxi, which I think is the much better film (and with a better-aligned performance by Tabu; sorry Madhuri fans :P), there's much to ponder. And for that alone, my time with it was extremely well spent.

I'd recommend it if you enjoy abstract art, are open to a new approach to Hindi cinema, and content with undergoing an experience that facilitates thought but doesn't guide it. And if you're a Madhuri Dixit fan, consider it mandatory viewing!

Movie rating: 3.5/5 (Works for me)

Music rating: 3.25/5
I was expecting more in this department. It's quite a mixed bag by Bhupen Hazarika and Anuradha Pal. Meri Payal is beautiful, but the title song leaves some to be desired. Ek Samay (with subtitles) starring Madhuri and Shah Rukh is fun and funny, and although it reminds a lot of Pakistani pop music from the late 1980s, I must admit I find it amusing. The idea of Madhuri formally celebrating the dawn of a new century, and looking so happy while at it, is priceless! :o)

My classification: PG-13 (for theme)

And finally...
If you are a Madhuri Dixit fan, you'll enjoy this lovely tribute by Pitu.

The Paradox of Progress I: Naya Daur (1957)

2009-06-01T14:30:00.000-07:00

I was seven years old when I accidentally discovered, while attempting to tune in to BBC commentary of a European Championship soccer game, that I could eavesdrop on conversations held over cordless phones in our home using a Short Wave radio. (The late 1980s were ugly for a soccer fan in India.) I distinctly remember that moment of discovery. How fascinating it was, and how disturbing it was. With it came the realization that information overheard by the wrong people could land genuinely good people in serious trouble. Technology is beautiful, but like everything in life, its effects are inevitably and directly proportional to the intentions of those using it.

An invaluable realization at that age, which, along with love of Lego (think connectedness, not architecture) and sport (collaboration!), influenced my career aspirations, what I studied, what I taught while in graduate school, and what I practice professionally today. As a technologist and aspiring futurist, I consider myself an advocate for the development and application of technology to enhance human processes, not to replace them. (My experience has been that that balancing act of adopting the new while holding on to the old is extremely tricky, although I relish being at the intersection of the debate.) This almost begins to summarize a small but important part of the paradox of progress. And this is why Naya Daur (1957) has fast become one of those films I am excited to discuss, but am rather embarrassed to admit I saw just recently.

I'd first seen Naya Daur a couple of weeks before it was screened at the Indian Film Festival of Los Angeles, which added much to the viewing experience. The Festival program included the synopsis of the B. R. Chopra-directed film, which you can read by clicking on the image to the right.

It's a remarkable cinematic package, especially when placed in context of the era in which it was released. Like the other biggies of 1957 (and what a year for film it was) -- Pyaasa and Mother India -- its message remains relevant. Unlike its counterparts, it is the closest to being a pure entertainer.

Perhaps the biggest compliment I can shower it with is that I think Lagaan (2001) drew inspiration in quite beautifully paying tribute to the film, with the period of time the villagers were given to prepare for the contest!

By now, if there's one thing you know about me, it's more than likely that I rather enjoy films involving villagers in some sort of contest for dignity and survival, and love stories that underlie such contests ;)

The premise behind it is noble. Naya Daur begins with a quote from the Mahatma Gandhi (like Swades (2004) did), but in many ways also addresses Aristotelian ethics -- that it is incumbent upon us to try to fulfill the potential we have in innate nobility. The manner in which an honest portrayal of this is accomplished in the film is fun and engaging, with a beautifully crafted narrative arc that is absorbing, albeit predictable.

While the role of the media in advertising the villagers' challenges to the country at large is positively portrayed, courtesy photographer and journalist Anjana (Johnny Walker), the role of government is simply ignored. Possibly an admission of their reactive tendencies not aligning well with the objectives of the message of film? I kept waiting unsuccessfully for specific references to whether the writer (Akhtar Mirza) thought the kinds of progress proposed by the antagonist would eventually lead the country to inflation or stagflation (assuming scalability across rural India). Any related commentary would have only made the argument more substantive.

Not something I hold against the film, though. That balancing act applies just as much to creating a film such as this with the intent of maximizing likelihood of acceptance among the masses. There are only so many who would be interested in correlating the free market economy to federal economic policy.

Aside from the cast (Dilip Kumar, Vyjayanthimala, Jeevan, Ajit, and Walker are all excellent, that we know) and brilliant art direction (enhanced by the film being re-released in color in 2007), the music is the clear front-runner for best complement. It's hardly a surprise given it's O. P. Nayyar collaborating with lyricist Sahir Ludhianvi.

There's Saathi Haath Badhana which speaks to collectivism. Is Desh Ka Yaaron Kya Kehna bleeds patriotism. When it's not the mischievous Ude Jab Jab Zulfein Teri, it's the romantic Maang Ke Saath Tumhara (a fantastic duet by Mohammad Rafi and Asha Bhosle), or the pivotal and beautifully integrated and lyrically superior song in praise of God in Aana Hai To Aa Rah Mein, also by Rafi. This song (please skip the last two minutes if you haven't seen the film) follows a typically but not uniquely Gandhian philosophy on the unity of religions.

Of course, Johnny Walker gets yet another good fun song by Rafi in Main Bambai Ka Babu. And there's a fantastic song part of a play staged at the village in Reshmi Shalwar Kurta Jaali Ka, with vocals by Shamshad Begum and Bhosle, and featuring the lovely Kumkum (left) and Minoo Mumtaz!

It's easy to want to keep discussing a film like Naya Daur, and it's easy to acknowledge its significance to Hindi cinema. If you haven't seen it, you must, if only to appreciate that the film is, from start to finish, aware of the position of its audience within the progress paradox. Now, more than ever, its message stands out loud and clear.

Movie/Music rating: 4.75/5 (Fantastic)
'Classic' is the appropriate word. The colorized version is excellent, so if you haven't seen it, definitely consider.

Also see:
Naya Daur at the Bollywood Food Club.

Colorized version -- official website (with trailers):
http://www.shemaroo.com/filmdistribution/nayadaur/

And finally...
This is not something Naya Daur argues in favor of or against, but it's relevant here. Something to think about, and much more complex than it appears at the surface. What are advancement and success after all? From the November 12, 1931 issue of Young India, by M. K. Gandhi:

Industrialism is, I am afraid, going to be a curse for mankind. Exploitation of one nation by another cannot go on for all time. Industrialism depends entirely on your capacity to exploit, on foreign markets' being open to you and on the absence of competition. ... And why should I think of industrializing India to exploit other nations?

Don't you see the tragedy of the situation -- that we can find work for our three hundred millions unemployed but England can find none for its three millions and is faced with a problem that baffles the greatest intellects of England. The future of industrialization is dark. ... And if the future of industrialism is dark for the West, would it not be darker still for India?

Q&A with James Bomalick: Action Director for Blue (2009)

2009-05-18T06:50:00.000-07:00

James Bomalick is a prolific Action Director whose filmography includes Mr. and Mrs. Smith (2005), The Fast and the Furious: Tokyo Drift (2006), Live Free or Die Hard, aka Die Hard 4 (2007), and The Mummy: Tomb of the Dragon Emperor aka The Mummy 3 (2008). He is also the Action Director for one of the most awaited Hindi films of 2009 in Blue. Directed by Anthony D'Souza, Blue stars Sanjay Dutt, Akshay Kumar, Zayed Khan, Katrina Kaif, and Lara Dutta.

I'm privileged to have met with James, who was kind in previewing some of the very fantastic and awe-inspiring behind-the-scenes footage of the quality action sequences that went into the making of this film. Blue will certainly set a new benchmark for Hindi movies to follow. I must add that it will also have one of the most contagious soundtracks (A. R. Rahman) of the year. Enjoy this Q&A, and please join me in thanking James for taking time out of his extremely hectic schedule to answer my questions and share his remarkable insight.

1. What motivated you to take up a career as action director? What's most exciting about it?
There was no conscious decision to action direct. Rather, it was an outgrowth of designing, creating, fabricating all of the pieces and parts to make an action sequence. After many years dealing with the choreography and the mechanics, it was only natural to place cameras for the best shots, to make it as exciting as possible. It was the next progression of development. The most exciting part of all of this is seeing the completion of complicated sequences on film, from all the different angles. Many times I have thought things up, prepared long and hard, and then had that moment when it was done, saying, "Wow, we really did that!!!" That is the most rewarding part.

2. How did movies influence your life as a child?
Movies didn’t really influence me as a child, they only corroborated what I was doing. I was a wild kid on my bicycle, jumping ramps, and riding motorcycles in the desert. As I saw things in movies, I would get ideas for more crazy stuff to try. As I got older, I was a total adrenaline junkie; surfing, motorcycles, skydiving, scuba diving, martial arts, anything physical and dangerous. So, it was a way of seeing on film the things I thought were normal.

3. Which was the first action film you recall having seen?
The first action films I remember were the James Bond movies, with Sean Connery; also the westerns with John Wayne. One had cars, etc., and the other had shootouts, horses. Both were amazing, but I truly fell in love with the mechanics and adventure of Bond films. I have seen them all, not just once, but too many times to count. Besides films, I was a voracious reader of all action books. Well, any books. I loved the connection in the stories, and have read the books that movies were made from.

4. Books and treasure hunts go hand in hand! How did you come to direct action for Blue?
I came to direct the action on Blue when the director Anthony D'Souza called me on the phone and asked if I was interested. He wanted real action, not Computer Graphics, and we would do as much as we could on camera. Well, that was right in my ballpark, so we talked. I went to Mumbai, and we went to work. Anthony was the driving force for realism, and it was my area of expertise, so it was a perfect fit.

5. Is this your first Hindi/Indian film project?
This is my first Hindi film, and I hope for many more to come, if all is willing.

6. I don't doubt it! Three things in Blue every Hindi film fan must be excited about, in addition to the cast and music?
The cast and music are both great, and a great reason to see this film. In addition, there are incredible underwater sequences with 40 sharks, and a radical train chase, and for that matter, a lot of chases that will really be like a roller coaster ride.

7. We've read about it being filmed in the Bahamas. Any more locations we should be on the lookout for?
Not only did we film underwater in the Bahamas for months, in and around a real sunken ship at over 80 feet below the sea, with real sharks, and real explosions, but we were in Thailand with street chases as well as train chases. Also, the footage of the water scenes in the islands of Thailand is very amazing.

8. You filmed with several sharks, which I think is unreal. How was that experience? How did the actors react to being in their proximity?
The sharks were very real, and not trained. They live their lives around this wreck. So, every day it was: go to work, swim through the sharks, and film. For me, it was the greatest. You had to be careful and observe some basic rules, but it was an adrenaline rush. The actors took it all in stride, and Akshay was very cool with the sharks. It was great to see how all actors appreciated the nature and the environment, as well as the sharks place in it.

9. There's a significant fan following in the Bollywood blogosphere for each of the lead actors of the film. Anything you'd like to share with us on your interactions with them?
Working with the stars of this movie was amazing. Until then, I had not had a grasp of their status worldwide; but, I did a lot of homework to educate myself, and watched a lot of films with these same stars. I had many long converstions with Sanjay Dutt, Akshay Kumar, and Zayed Khan about a variety of topics, not just the films. In this way, we developed a trust and connection that made it all work.

10. What are the first words that come to mind when I say the following names. Any specific memories that stand out?

Sanjay Dutt: Heart of a lion. He is truly a great man, and I enjoy the time I spend with him.

Katrina Kaif: I didn’t have a great deal of interaction with Katrina, but see her glamor and appeal.

Akshay Kumar: Very professional, cool, and soft spoken. He has a great work ethic.

Zayed Khan: A lot of fun, and an adrenaline junkie like me. He was very enthusiastic.

A. R. Rahman: I met him before we started filming, and he seemed to have a lot of involvement and artistic direction when discussing this film with the Director Anthony D'Souza.

Lara Dutta: Amazing, intelligent and beautiful. Also, hard-working, learning to swim so very well.

11. The casting for Blue seems to be spot on. Sanjay, Akshay and Zayed are seasoned performers in action-oriented films. Did any of the actors surprise you with their involvement in stunts?
As action director I was heavily involved with the male lead actors. Sanjay dove very well, and was a good sport with the very demanding underwater fight sequences. Think of all that gear, underwater, trying to make hard, quick fight moves. Utterly exhausting.

Akshay was very cool, working smoothly underwater, through all of the takes we needed. He seemed to enjoy the water. And, Zayed was great, though he surprised me with his desire to jump off of a 30 ft tall balcony onto a car. When he told me he wanted to do this, I was quite shocked. In Hollywood, this is unheard of. All of the actors have done their own stunts, and it amazed me that this was a Hindi industry standard. Though it put a lot of pressure on me, as I had to be extra careful and plan extra well. They were totally amazing.

12. The background score and soundtrack, combined with the action sequences, promise a treat. It seems a lot of filmmakers pay relatively little attention to music before or during filmmaking. Do you think the presence of playback singing and songs in Hindi films are a complement or a deterrent to the films?
I appreciate the formula of Hindi film. In this culture the music and dance are a vital part of life, so the film must reflect that. Only through this can you convey all of the ranges of emotion and drama, as well as excitement. The public is attuned to this and expects it to be in their comfort zone. The music was so important for this film that it began at the first planning stages, before filming even started.

13. One action film everyone must see.
I am such a critic. I watch *all* action films, and take bits and pieces from each. I love fights from some, car chases from others, explosions from yet others. I think all action films have some parts that are great, even if the entire movie may not work. Bruce Lee movies, Grand Prix, Bourne Supremacy, Ronin, old James Bond, all are soooo fun!

14. Agreed. Which is/are your favorite Hindi movie(s)?
Again, I have no one favorite. I have watched several dozen Hindi films; I like Sanjay's fight sequences and also his singing. I liked a variety of Akshay films. I think Amitabh Bachan is quite distinguished in many of his roles. I truly enjoyed Shah Rukh Khan films as well. I think the films all bring something to the table, I like parts of all.

15. True. Some of Sanjay's fight sequences are quite memorable, indeed. How would you rate your experience on the sets of the Hindi film?
It is very similar to Hollywood. Though, some departments have a lot more people, it is more or less the same. So, for me it was fairly easy and comfortable to get into a groove. All in all, it was a great experience. I had filmed in Goa previously on Bourne, so I was exposed to it before. Here it was a fully international crew working in some very remote locations. The crew worked very hard, and I was very greatful for all of their effort.

16. Would you do it again?
Do it again? I would love to. In fact, I am now working on another Hollywood film, and I am missing the color and flavor…the vibe…of working on a feature like Blue. I would love to do it again.

17. There seems to be an unprecedented level of interest in Bollywood following the tremendous success of Slumdog Millionaire (2008). As an industry insider, do you sense around you the same level of interest in Bollywood?
For years there has been an interest in Bollywood, even prior to Slumdog. I was involved with this project 2 years ago in its infant stages, and have seen the interest grow. All of the Hollywood studios have affiliates in India now, and the interest keeps building.

18. What's one lesson Bollywood could learn from Hollywood?
I would say that there is only one main area that significantly differs between the two; that is a result of schedules and talent availability. Usually a Hollywood film , especially a big action film, has everything planned and rehearsed for a long time prior to shooting. Then it is all shot in one long go, not broken into schedule. I understand the difference, but in action it can be difficult to work around this preperation and rehearsal time. I understand how it is done in Bollywood, and why, but it can be difficult especially for action.

19. And vice versa?
Hollywood could benefit from some of the looseness, the color, the happy sudden occurrences that make a more spontaneous performance. It is this vibe, this life, that lends a realism to things that can be lacking in Hollywood.

20. When is Blue expected to release? Will Los Angeles see a premiere?
I have been told that Blue is to be released during August, on a long weekend, but I can’t be held to that. There will be several large premieres, that I was told by the production house.

21. Sounds great, I'll hope to see it Day 1! Again, thank you so very much for sharing your remarkable insight. I'll say it again, I'm awed by all you and your crew do for the sake of film and its audience. Many salutations, and I cannot wait to see Blue. Any closing comments?
I would like to thank my friend and the Director Anthony D'Souza for placing his faith in my abilities to bring his vision to reality in terms of action. He was instrumental in his support to me. I would also like to thank the production house Shree Ashtivinayak for their support and for allowing us to be so creative on such a big scale. Without their support, this film would not have been made. The action is all real in camera, so it was logistically very difficult. But, in the end, it was a great opportunity, and again, I thank them.

Picture sources:
Stunt/Action crew images copyright James Bomalick, ActionTek LLC.
Actors' images courtesy this MSN India link.

Please note that copyright for this Q&A is owned by James Bomalick and theBollywoodFan.com, and that the content of this post may not be reproduced without the expressed written consent of the author.

Psychedelic Bollywood (and appreciation thereof)

2009-05-13T19:30:00.000-07:00

As if we needed any evidence to back our claims! Here are the instructions:

Increase the volume on your speakers/headphones;
Enlarge your web browser window to fill maximum screen space (in most browsers including Microsoft Internet Explorer and Mozilla Firefox, this can be done by hitting the F11 key, or by selecting 'View' and then 'Full Screen');
Open this link of an all-time favorite song in a new tab and play around with the controls and options at the bottom-left of the window pane; and
Tell me you think too much of Parveen Babi is a good thing!

It's banal, I know, but rather fun given the song -- Jawaani Jaan-e-Mann from Namak Halaal (1982), sung by Asha Bhosle, with lyrics by Anjaan and music by Bappi Lahiri. And the site that allows us to waste our time with YouTube videos is Yooouuutuuube.com. :)

Kohinoor (1960): No matter the guise...

2009-05-05T22:00:00.000-07:00

Bulandi chaahe insaan ki fitrat main ho posheeda,
Koi ho bhes, shaan-e-sultani nahin jaati.

No matter the guise, the glory of royalty doesn't fade
with concealment of its eminence (within kingly instinct).

While I cannot vouch for the absolute accuracy of this marvelous couplet by legendary Urdu poet Jigar Muradabadi (1890 - 1960) -- it's been a while, my memory fails me, and search engines aren't helping much with the specific poem that carries this -- it is probably a fitting poetic expression nevertheless, that is a microcosm of what Kohinoor Baba (Dilip Kumar) must feel in this gem of a film (pun intended).

This article suggests Muradabadi served as mentor to Hindi cinema's very own lyricists Majrooh Sultanpuri and Shakeel Badayuni, the latter the poet for Kohinoor. And that's integral to any discussion on the film (initiated by me, at least), because if I had to pick one (and only one) song from Hindi cinema that's my all-time favorite, this would more than likely be it. (Vocals: Mohammad Rafi; Lyrics: Shakeel Badayuni; Music: Naushad Ali)

It exudes purity, eloquence, indeed sheer excellence, including in the segment of the film immediately preceding. It has soul. Independent of caste, gender, and material wealth. Soul. Rooted in religion and universal in applicability. Soul. Carrying an uncanny ability to nourish the power of thought. Here's Rafi singing it live (low quality audio and video, but worth checking out).

I'm just glad and excited the song led me to the film, because there is much, much more to the S. U. Sunny-directed Kohinoor. As much a fairytale as any other film, it tells the story of Prince Devinder (Dilip Kumar) who flees a kingdom to whose throne he is the rightful heir for fear of death. Of course, there is a princess -- Princess Chandramukkhi (Meena Kumari) -- from another kingdom with whom he shares love. And of course, there are those (like the ever-unreliable Jeevan) in both kingdoms whose lust for power, wealth, and woman makes it near-impossible for our prince and princess to unite. But wait. There's also an intriguing love triangle (Kumkum is almost always up to something interesting) and sacrifice in the name of love that'll keep audience guessing until the very end, with a big question looming -- will the prince and his throne survive?

It's an epic in its own right, the lightheartedness through two-thirds of which caught me off-guard by quite a bit. And 'off-guard' is exactly what I was before the ravishing Meena Kumari, who did a fine job balancing the unequivocal and the comic. She's simply stunningly beautiful. Please feel free to share recommendations other than Pakeezah (1972). Until then...a 'Haaye Allah' in record time ;)

The music is the shining star in all of the subtle but classy glitz and glamor that accompanies this true fairy tale. It retains the narrative within, and that is where its value is most evident. So whether it's a fantastic Holi song in Rang Lo by Rafi and Lata Mangeshkar to kick things off, or songs that appear much later, e.g. Zara Mann Ki Khivadiya Khol (Rafi), Dhal Chuki Shaam-e-Gham (Rafi), and Dil Mein Baji Pyaar Ki Shehnaiyyan (Lata), it's a treat all over.

My other favorite from this soundtrack is the immortal Do Sitaaron Ka Zameen Par (Rafi and Lata again), which captures the initial meeting of the lovers and is beautifully choreographed under [what we can assume is] a moon and starlit sky, true to the lyrics. I think it's a matter of sheer poetic brilliance to analogize the world with a bride:

Koi Pyaar Ki Dekhe Jaadugari (Rafi and Lata) follows, and is beautifully picturized as well. Chalenge Teer Jab Dil Par by the best duo in the business once again is one I'd never listened to, but found wonderfully well-integrated. Like the other songs, it is extremely well-written. I have hardly seen many movies from the era, but it couldn't have been common practice to have a rotating base (or even the camera trick, if that's what it is)!

The film is full of unexpected delights, such as commentary on loyalty...

...with respect to pets.

And a villain who isn't shy to smile (it's Robert from Amar Akbar Anthony (1977)!).

Beat the quality of this presentation, ye social-networking, face-loving, web ;)

She's checking out something very interesting.

You see, the film is tremendously self-aware, and for the better.

Among the other highlights are Mukri (this would be just as funny without the subtitle), whose character is extended to the prince's loyal companion while in the enemy's abode in disguise.

A special appearance by Tun Tun, sprightly as ever. (I wonder how this would be perceived nearly five decades later.)

A well packaged entertainer it certainly is, which makes up for its length. I've mentioned Meena Kumari, but Dilip Kumar is quite remarkable in this as well, of course. With melodrama, comedy, and sword fights, as a prince and as a saint, his effortless depiction of each speaks to his versatility. One could go on and on about this film, but it's probably best to save it all (and there's plenty) for you to discover. Its grandeur had me wishing we could see all the hard work that went into the art direction, in color.

Movie rating: 4/5 (Excellent)
Meena Kumari...here I come :)

Music rating: 5/5 (Phenomenal!)

Also see: Kohinoor (1960) at Dances on the Footpath

And finally...
The Urdu word 'kohinoor' is derived from the Faarsi (Persian) term 'koh-e-noor' which means 'peak of illumination' (literally, 'mountain of light'). When both definitions are applied to parts of this film and most definitely its music, one can see why the title is hardly out of place despite the theme bearing no direct semblance (the indirect will always be there) to the more popular Kohinoor, of which you can read more here. (It was also in the news a couple of months ago.)

theBollywoodFan

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