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mushairaandchill · 7 years

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On Songs in Indian Cinema

This is a long-winded rant, not quite respectable enough to be called a ‘post’, on the use of songs in Indian films that I wrote a few years back (updated and polished a bit now, ofc). The need to write this arose after reading one too many a comment mocking and disparaging what is an extremely important part of Indian film form.

I am not cool at all with people dissing songs in Indian movies. One of my worst pet peeves is people still whinging about how songs are 'unnecessary' or 'unrealistic' or 'cheesy'.

Let's get this straight, Hollywood/European conventions and techniques are not the be-all, end-all of everything moving-pictures-y. India's film industry did not evolve from them, it involved from local theatre traditions, and freakin' obviously it'll differ from Hollywood and that is not a bad thing. That does not detract from the artistic worth and quality of Indian films, no matter what extra-bleached ethnocentric Western critics say about them, or how many close-minded filmgoers around the world whine because they don't like things that differ from *their* norm.

Songs have generally been used over the history of Indian movies as narrative devices to further the plot, give voice to the characters' inner thoughts and feelings, add depth and dimension to a scene that ordinary dialogue can't; when done well, song sequences can enrich a movie so thoroughly that their removal could be extremely detrimental to it.

People seem to focus too much on the other spectrum of things, the song sequences that are done badly. They take their examples from mindless popcorn movies, the item numbers and insipid Switzerland-hilltop-romance interludes. That's like decrying the use of CGI by bringing up Transformers, or wanting there to be no book adaptations because of Battlefield Earth.

Rarely, do people bring up how songs are used in, say, Gulzar or Mani Ratnam films. How a song sequence can be used to depict staunch defiance, the realization of love, a hilarious and fierce competition, to create a dissonance, or hell, introduce a character in a way that defines how different he is from his twin while delivering a message about safe sex and AIDS at the same time.

And these aren't even the tip of the iceberg in 86 years’ worth of sound films.

Anybody who throws 'unrealistic' at me is going to be getting an earful. First off, India has its subset of hyper-realistic art films (which sometimes also make use of songs, fyi), they are just dandy and have given the world some of its finest works over the years. But movies are an art form, not real life, and they have no obligation to be 100% like it in every way. Otherwise, explain to me why the preachers of realism over at the West accept and heap praise on Harry Potter and Lord of the Rings? Even in a supposedly gritty, realistic setting, why does a man in a batsuit not make y'all snort in disgust?

You need to take films as films, accept that they inhabit a world of their own where things that are unrealistic in ours can fit in without seeming artificial. Otherwise, seek a documentary. Or entertain yourself by sitting on a bench in a park and watching people stroll by; don’t get pissy if some of them happen to be singing to themselves.

As for cheesy, well, sometimes cheese is good. And much like any other narrative device, there can be varying levels of cheesiness across song sequences, from 0 to 100, depending on how they are conceptualized and executed. So, while you have a lot of cheese in this (Level 90), you have 0 in this.

I’m just ranting, by the way. I’m not a spectacular writer, but I need to express my rancor at people misunderstanding and dismissing what is a unique, wonderful feature of the Indian film industries. A much better written piece, an actual essay, about song sequences can be found here, by freelance writer Jai Arjun Singh. The tag ‘song sequences’ has more posts by him about different songs, and they’re all great reads.

To end this, some (more, hehe) of my favorite uses of songs in films:

Chaudhvin Ka Chand Ho – the titular song from M. Sadiq’s 1960 film Chaudhvin Ka Chand, in which Aslam (Guru Dutt) marvels at the beauty of Jameela (Waheeda Rehman), his new bride. Imagine a movie trying to show a close relationship between newlyweds. There will probably be multiple scenes, two or three of them erotic, boatloads of banal, mushy dialogue. This is not the kind of movie that would fall into that trap to begin with, but it chooses to do it in a song instead. Just watching the video would probably let you know why. The soft, shimmering music by Ravi and Mohammed Rafi’s sublime rendition of Shakeel Badayuni’s awestruck, almost worshipful lyrics, combined with the delicate and sensual cinematography, elevate the scene to a level beyond just basic relationship-building. It’s the essence of romance itself.

Tu Mere Ru Ba Ru Hai – from Vishal Bhardwaj’s 2003 film Maqbool. He also composed the music. The song takes place in a dargah, beginning after Tabu’s character, Nimmi, challenges Irrfan Khan’s titular Maqbool to act on his passion for her. At the same time, she informs him of a surprising, potentially threatening fact. The main part of the chorus, “You and I are face to face”, subtly underscores both these things. The rest of the lyrics, speaking of an all-consuming love that raises the object of the singer’s affection to the stature of a God – “Just give me enough permission, so that I may lie at your feet, and die” – are ultimately reflective of the two characters’ relationship to each other. Several important elements of the plot are also deftly woven into the overall picturization, moving it forward.

Chappa Chappa – from Gulzar’s 1996 film Maachis; he is also the lyricist. I was torn between this and Paani Paani Re, but chose to go with this because it’s a great example of how a seemingly ‘cheerful’ song can contain hidden pathos. The men laughing, singing and dancing are a group of terrorists – driven to their acts by oppression and humiliation. Motivated by anger and vengeance, they’ve left behind their homes and their loved ones. Now, they have no one but each other, and the memories of their former lives. They sing about friendship, about the women they loved, and snatches of melancholy seep in through the upbeat music. This song, along with other brief scenes, show us that there is a side to these men undiminished by their violent actions – that they are irrevocably human, not one-dimensional villains or saintly heroes.

Mud Mud Ke Na Dekh – from Raj Kapoor’s 1955 classic Shree 420. A siren call to a tempted man from the seductive agent of a glittering, decadent world – where losing tens of thousands of rupees in a single card game is a trivial, amusing matter – this song marks a major turning point in the story. Maya (Nadira), after humiliating Vidya (Nargis, the representative of a poor Indian working class where 100 rupees is a lifetime’s earning), lures Raj (Kapoor) away from going after her. She flutters her lashes, smiles sweetly, dances like a nymph, but hidden under that playful veneer is a much more sinister agenda. The chorus can mean two things depending on how much you know of the plot: “Don’t turn and look at me”, a coy request to an admirer…or “Don’t turn and look behind you, at the past”, a forceful demand that Raj leave behind the world he comes from to inhabit the one where Maya lives, where his abilities can be exploited for monetary gain. Around the midway point, the song changes tunes, and Raj yields to that demand. He sings about his transformed outlook on life – that the world belongs to those who change with it, who walk on. An incredible bit of character development, along with the establishment of several of the film’s themes, in a little over 5 minutes.

And finally, My Name is Anthony Gonsalves from Manmohan Desai’s bona fide 1977 masala masterpiece Amar Akbar Anthony. Because look how much fun you can have with a song sequence! Only T-1000 and a Heartless could come away from this without a big, doofy grin on their face.

#indian cinema #indian films #bollywood #indian music #cinema #it feels so good to finally post this lol #queue na kaho

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