Celebrating Womanhood through Bollywood: The Queen Era begins.

What kind of an effect do women oriented films have on female viewers? Do we re-visit our own failures and end up agonized or we come out with jubilation? Are we able to celebrate womanhood through cinema today?

As a viewer, after witnessing the changing role of women in Movies in India, I attempt to create a list of all women oriented films which have left a mark on my memory [positive & negative]. The elevation of my own feelings as a movie lover is evident today as I fondly glance at my “She-roes”.

As a child, way back in 70s & 80s, the Epitome of womanhood in cinema was “Nargis” as Mother India. When I saw the movie, it left me in anguish. Radha faced all atrocities from society and stood true to her cause of justice. My heart cried for her. I felt sad after watching Anarkali chained & humiliated at the hands of the Emperor, though Madhubala’s brilliant portrayal of true love left me in admiration. The feeling was similar when Raj Kumar Santoshi presented the story of Damini [Meenakshi Seshadri] – a staunch, middle class woman who faces the dilemma of standing against her influential in-laws to provide justice to her maid servant. Her journey made my heart heavier. He attempted Lajja to show 4 women, Vaidehi [Manisha Koirala], Janaki [Madhuri Dixit], Maithili [Mahima Chaudhary] & Ramdulaari [Rekha] who are targets of male chauvinism. To have these actors together on screen was a landmark indeed but this movie could not uplift me from the tragic mood. In between we had Shekhar Kapoor’s “Bandit Queen” where Seema Biswas showed the brutal torture inflicted upon her. It was simply a horrifying Biopic. Though she was presented as a deaf & mute mother[Khamoshi] subtly by Sanjay Leela Bhansali.

It was only Yash Chopra’s Chaandni & Pooja [Lamhe] who could cheer me up after Manju [Khoobsurat]. Manju [Rekha] was playful, naughty, independent & headstrong. Chaandni & Pooja [Sridevi] were emotional, vulnerable, courageous yet extremely “Romantic”. They fought for love but never fell low in self-esteem. They didn’t revolt against the society and carried the female audience along with them [and lightened the minds]. A lot of women were able to identify with them. This era of Sridevi & Madhuri Dixit was Bright & Lovely. Karisma Kapoor stepped in their shoes later. Shyam Benegal’s Zubeida was an inspiring Muslim Actress; Khaled Mohammad’s Fiza was a brave girl searching for her missing brother amidst communal Riots. She was marvellous in these characters and started a trend for commercial actresses being accepted in less “Glamorous” roles. Earlier only the big names from parallel cinema were considered apt for such stories. Her simplicity and earthy performances left me awestruck. I related with her so well in Dil Toh Pagal Hai! Nisha was able to gather adoration in-spite of the role being a supporting one.

Madhur Bhandarkar began his Series based on Women from all sections of Society. In Chaandni Bar, Tabu depicted the gritty life of a Bar Dancer. Her survival in the upheaval of social traumas was inspiring but her eventual loss in the end was disheartening. As an actor, Tabu undoubtedly raised the standards of acting in Bollywood but the effect of the movie was rather depressing. In-fact Fashion presented a contrast of mixed feelings. Meghana & Shonali were two strong individuals; while the former rises from a disastrous relationship and the dark secrets behind the glamorous career, the latter succumbs to it. Priyanka Chopra & Kangana Ranaut fetched their National awards for this movie and proved that sheer Female talent could successfully carry an entire movie on its shoulders.

Vidya Balan arrived as a lady in armor on screen with “The Dirty Picture”. A Side Actress’ struggle to rise from her slot to the top was portrayed brilliantly. Her achievements and eventual failures were depicted so well that it was hard to imagine anyone else as “Silk”. In “Kahani” she searches for her husband’s murderer and kills him disguised under pregnancy. Finally, a trend of movies with strong Female Protagonists began [thanks to her immaculate talent & ability to provide “spine” to such scripts].

But for me, the beginning of “The Queen Era” is what I would name as the “Revolution” for female viewers as it has not only changed the perspective for entertainment, it showcases those little facets of our own lives lying deep [hidden] within us. Vikas Behl did not falter in providing Entertainment, boasted less of Feminism while displaying a woman’s struggle to live a dream minus the man she dreamt of accompanying her. Rani did not provide us with solutions – she simply showed us how women fare when they have understanding/supporting parents. Anand L. Rai’s Datto is my personal favourite. She brought me closer to the women born in my native region; girls/women who aren’t conditionally pretty and have a natural inclination towards sports; who are nick-named “Tom-Boys” but in reality are stronger than many men. Their simplicity is their Man-Force. Datto does not have any complexes when she faces Tanu, who is prettier; she considers true love & affection higher than age-bar & status; yet she refuses to be a part of a married life full of confusions. Imtiaz Ali’s Veera [Highway] was an un-glamourized portrayal of a caged childhood- A girl who gathers the courage to leave the fake support system of her parents. Her love for her abductor gives her a voice to scream out her pains and begin a fresh life. Alia Bhatt’s role helped me revise the lessons of Motherhood for I have a daughter of my own. Veera alerted me. I raise a toast for Juhi Chaturvedi who could weave a story around “Piku”– a Modern Contemporary woman who tolerates her father’s tantrums besides sharing an amazing rapport with him [full of conflicts]- a daughter who doesn’t hesitate in demanding her own space while informing him of her own personal needs. Piku reminded me that I should continue bearing my Father’s Moods for he is equally adorable.

Datto, Rani, Veera & Piku are cheerful, alive, brave & educated women whom I look up-to with affection. Hats-off to SLB as well for presenting Kashibai as the dignified wife of Bajirao; a Royal Lady who doesn’t waste her self-esteem in melodrama and stands tall with pride & dignity to retain her title. Her character doesn’t lose its shine amidst the love-story of Bajirao-Mastani.

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The “Pre-Queen” Era had Writers and Directors who showcased Women amidst social traumas, personal conflicts and turbulent relationships. They definitely stood out but achieved lesser in presenting glitters of hope & offering sweetness to the feeling of being a Woman. This “Queen” Era offers me Jubilation. I gleam with Pride [after I have shed numerous tears] while watching “Shashi” [English Vinglish] complete her course in English language. She is a timid house-wife who overcomes a complex instead of fighting her husband & child, without revolting or creating unnecessary Drama. She rises in her own eyes. She stirs me with her Triumph.

I thank the artists behind this change. Gauri Shinde, SLB, Vikas Behl, Anand L. Rai, Juhi Chaturvedi & R. Balki [who proved earlier that 40 is no less an age to fall in love with a 60 year old man] for beginning this Joyful Era of Positive & Hopeful cinema, which gives a woman seated in a cinema hall, radiance of Happiness. They don’t remind us of the century old norms through their work – they simply give us a glimpse into another woman’s life which seems realistic & inspiring. They don’t leave us engulfed in pathos & sorrow – they show us how wonderful a woman’s Tale can be.

Looking forward to Rekha, Rani, Madhuri, Kajol & Karisma stepping alongside the “Queens” of Today.

 

My Bollywood Wishlist 2016.

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Over the years, January has been considered “Jinxed” for Bollywood, with an exception of Baby [last year] & Race 2 [2013]. Despite the Holiday-mood hangover, movie lovers eagerly await the delightful offerings from Bollywood right from the beginning of the New-Year. 2015 was a year of content based Cinema. It was ,a sort of, continuation of 2014 with some strong female-oriented Movies being offered to us. The ones with Khan’s & Kapoor’s & Kumar’s [with the exception of Bajrangi Bhaijaan] did not leave much of an impression and left us wanting for more of “masala” which is normally attached & associated with them. We have reasons to cheer as “The Three Khan’s” have magnificent projects for us to relish as viewers this year. Likewise for the “Kumar’s” [the month of January offers “Airlift”] whereas the “Kapoor’s” have an entire Movie titled after them [Kapoor & Sons]. Out of almost a 100 plus movies releasing this year, I present my Wishlist of “Most” awaited ones. [Sports seems to be the favorite topic this year.]

Mohenjo-Daro 1.  Mohenjo Daro

The most “Illegaly” good-looking & Talented Actor Hrithik Roshan was missing in action last year but returns on screen this year with this Epic-Romance Film by Ashutosh Gowarikar. Co-starring Pooja Hegde, this periodic film is set in the ancient city of Mohenjo Daro[2600 BC]. Ashutosh takes us to the era of Indus Valley Civilization with this gigantic project. Expectations are high from the team after Jodha Akbar.

images 16-Raees-srk-poster 2.  Fan/Raees

ShahRukh Khan fans have a “Double” reason to cheer themselves this year as “The King khan” arrives on screen as Fan & Raees. In the former, he plays Himself & his own fan; a young boy from Delhi [In a Double role]. With the help of 3D scanning & prosthetics, we will see him in a brand new Avatar along with Ileana D’Cruz & Vaani Kapur. Oscar Winning Make-up artist “Greg Cannon” has developed his appearance to present him like a younger Look-alike. In the latter, he plays a bootlegger based in Gujarat in 1980s. Pakistani actress Mahira Khan makes her debut in Bollywood with this one.

383670-sultan-crop Dangal_first_look 3. Sultan/Dangal

Wrestling is the latest field in sports being explored by the movie-makers as we have Salman Khan collaborating with the Yash Chopra banner for Sultan. It’s a Sports Drama with Randeep Hooda playing the role of his coach. Rumours have been suggesting the names of Deepika or Anushka playing the lead opposite him but the final announcement is yet to be received. Aamir Khan takes up Mukesh Tiwari’s biopical sports drama Dangal. He plays the role of Mahavir Singh Phogat who taught his daughters the game/technique of wrestling [Babita Kumari & Geeta Phogat are India’s 1st female wrestlers to win Gold & Silver at the Commonwealth Games in 2010]. Sakshi Tanwar plays the role of his wife. Both are training intensively for their respective roles.

mi-dulp-1 4. Mirziya

The long awaited debut of Anil Kapoor’s son Harshvardhan Kapoor along with Saiyami Kher will happen with Mirziya. Rakeysh Om Prakash Mehra directs this contemporary love story inspired by the tale of Mirza-Sahiba. Gulzar has written the screenplay & the Movie is shot majorly in Ladakh. The trailor looks promising and so does the Young Kapoor lad who is all set to blaze the screens like his father & sister.

2015_12_30_03_19_30_fitoor5 5.  Fitoor

Based on Charles Dickens “Great Expectations”, Fitoor is directed by Abhishek Kapoor with Aditya Roy Kapoor, Katrina Kaif & Tabu [Rekha shot a few scenes for this prominent role but decided to quit] playing the lead roles. A fresh pairing raises the hopes for those who await spakling Love sagas.

arjun_47_0_0_0 6.  Ki and Ka

A Romantic Comedy by R.Balki has Arjun Kapoor & Kareena Kapoor Khan playing the title roles of a young couple facing challenges of marriage. The Movie focuses on the gender roles placed upon men & women by the Indian society. Balki’s reputation assures “quality”; Kapoor Kids step out of their personal/family bonding, on to the silver screen.

unnamed-45.jpg 7.  Rangoon

A period-romance Film by Vishal Bhardwaj, starring Saif Ali Khan, Kangana Ranaut & Shahid Kapoor,  Rangoon is a Casablanca type Love story set in the World War 2 period. Shahid’s bearded look for the film has already gone viral.

alia-sidharth-fawad_640x480_71427274542 8.  Kapoor and Sons

A Dharma production flick has youthful star-cast of Alia Bhatt, Sidhhartha Malhotra, Fawad Khan & Rishi Kapoor and is directed by Shakun Batra. Most likely Sanjay Dutt will return to screens with this one.

Ae-Dil-Hai-Mushkil 9.  Ae Dil Hai Mushkil

This Movie is in the limelight as Ranbir Kapoor pairs up with the gorgeous Aishwarya Rai Bachchan for the first time on screen. Anushka Sharma & Fawad Khan feature in the supporting roles and Karan Johar takes his seat behind the camera. Undoubtedly, the most awaited feature film of this year [going by the reputation of the banner].

maxresdefault 10.  Udta Punjab

Shahid Kapoor & Kareena Kapoor Khan work together after the Blockbuster “Jab We Met”[sadly not paired opposite each other], along with Alia Bhatt & Diljit Dosanjh, the Punjabi Super-Star who marks his debut in Bollywood. The movie is based on the subject of substance abuse in Punjab.

This year we have Films based upon the Sport-stars of India like Azhar[based on the controversial life of Mohammad Azharuddin, with Emraan Hashmi playing the title role & Nargis Fakhri as Sangeeta Bijlani], M.S Dhoni:The Untold Story [a biopic based on the Cricket legend, with Sushant Singh Rajput in the lead & Kiara Advani as his wife] and A Biopic on Neerja Bhanot, Neerja [a real life hero & the youngest recipient of the Ashoka Chakra] played by Sonam Kapoor as well as the one on Sarabjit Singh,who was convicted of espionage in Pakistan, titled Sarabjit [Randeep Hooda & Aishwarya Rai Bachchan in lead roles]. We have sequels like Housefull 3, Rock On 2, Ghayal Once again, Force 2 & Jai Gangaajal and some interesting ones like Befikre[Ranveer Singh & Vani Kapoor], Dishoom[Varun Dhawan & John Abraham], Wazir[Amitabh Bachchan & Farhan Akhtar], Jagga Jasoos[ Katrina Kaif], Baar Baar Dekho[Katrina Kaif & Sidhhartha Malhotra], etc. There are small films like Haraamkhor [Nawazuddin Siddiqui & Shweta Tripathy] & Chalk And Duster [Juhi Chawla & Shabana Azmi] which look promising indeed. Happy Cinema Days to all movie buffs.

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Best of 2015 in Bollywood

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2015 has been a year of “Content-backed” Cinema. This year Bollywood presented an ensemble of unique stories to its viewers. Movies like Roy, Bombay Velvet, Katti Batti, Shaandar & Shamitabh failed to stir the audience despite their original concept & heavyweight Star-cast; on the other hand Films like Baby, Dum Laga Ke Haisha & NH10 were impressive on the grounds of their authentic screenplays. Even the dubbed Epic-Adventure Baahubali:The beginning was a surprise packet with the public eagerly awaiting its sequel next year. The stock of typical Bollywood masala features like Dilwaale, Jazbaa, Prem Ratan Dhan Payo, Hero, Drishyam & ABCD 2 was successful as well, while Tevar, Phantom, Mr. X, Detective Byomkesh Bakshi, Brothers & Gabbar is Back flopped.

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Zoya Akhtar’s Multiple-starrer Dil Dhadakne Do was modernistic with Anil Kapoor & Ranveer Singh’s superior endowments as actors coupled with Priyanka Chopra & Anushka Sharma proving their forte once again. Off-beat Movies like Masaan [a winner at Cannes], Titli, Margarita with a Straw, Manjhi-The Mountain Man, Hunterr were able to draw selected audiences to the theatres & gained acclaim worldwide; Talvar proved to be a minor-miracle because of its sharp narration & received appreciation. The “low-budget” [B-grade] movies like Pyar Ka Punchnama 2, Welcome Back & Hate Story 3 fared well at the Box-Office owing to their content for the target audience.

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2015 can be termed as “The” year of Female-Power show- The beginning of the “She-roine” era, with Kangana Ranaut & Deepika Padukone rising to the epitome of Show-biz. Datto[Kusum]/Tanu became the “ChulBul Pandey” for contemporary women. The standards of Acting as a craft were elevated by this “Natural-Born actor” Kangana Ranaut. Mastaani/Piku/Tara mesmerised the nation whilst matching her natural beauty with sheer talent [also inspiring those who deal with domestic “Gastric issues”]. Priyanka Chopra’s flawless portrayal of “Kashibai” won her accolades as she did not falter in presenting the Pride & Prestige of the historical figure. Anushka Sharma’s elegance & confidence in front of the camera was evident in NH10 & DDD and Kajol gathered more whistles than others for her comeback. Aishwarya Rai Bachchan could never escape one’s memories & her Jazbaa rejuvenated the demands for her return to silver-screen. And last but not the least the year gave us an A-typical debutante Bhumi Pednekar[DLKH] who gave us a glimpse into an ordinary over-weight woman’s life.

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Coming to the show-stealers, Varun Dhawan provided a new definition to the word revenge & vendetta this year with Badlapur. His eagerness/zeal to reach the top was manifested after he played a man “double” his age waiting to avenge his loss. Nawazuddin Siddiqui, with his peculiar body-language & personality provided a niche to the “supporting actor” category; he displayed the dark/hateful side of a cunning man in Badlapur & the innocence of a rural journalist in Bajrangi Bhaijaan, giving us tears in the end. He showed us the heroics of an old man who cut a mountain out of love for his wife in Manjhi. Ayushman Khurana deserves more than a trophy for his role in DLKH for he revised the 90s Kumar Sanu period; playing a young failure of a man who ricochets b/w his overbearing father & his bothersome pals and dreams of a pretty bride for himself. Akshay Kumar gave an incredible performance after a long time in Baby proving yet again that the Khiladi can be a good actor once given a good role minus the monkey tactics. Our nations Pride- Amitabh Bachchan did not leave a stone unturned to prove his Stature in Piku & Shamitabh. He was grumpy & cantankerous as a Bengali father who surrounded his daughter with ample melodrama; he was arrogant & mean as a failed actor who cannot rise from obscurity. Ranveer Singh left us spell bound with his method acting as Bajirao & transported us in a historical era with his stupendous acting skills. He was the only breathing factor in the otherwise over-crowded DDD where he played subdued & idle. Ranbir Kapoor emerged as a winner with Tamaasha. His Astonishing work revived the constant tireless voice which resides in our head, reminding us to rebel against the rules laid by the world. The credits are incomplete without mentioning Salman Khan who delivered an outstanding performance as Bajrangi Bhaijaan, where he maintained his innocent personality throughout the movie. He has not been considered as a great actor but this particular role reminded us of the adorable Samir & Prem from the past. Alas! ShahRukh Khan & his original/individual appeal fell between the cracks created by the buffoonery of everyone around him in Dilwaale.

2015 gave us good & bad-big & small films. Movies that made us fall in love with the art of Cinema all over again. It revised our passion for Bollywood & its Stars. According to me, the “Best 10 Entertaining Movies” of 2015 are:

images   1. Bajirao Mastani

images (3)  2. Tanu Weds Manu Returns

images (6)   3. Bajrangi Bhaijaan

images (1)   4. Tamasha

images (4).jpg   5. Piku

MV5BMTg2Njg1OTg4OV5BMl5BanBnXkFtZTgwMjczNzM2NDE@._V1_SX640_SY720_   6. Dum Lagga Ke Haisha

images (5)   7. Baby

images (2)   8. Badlapur

images (11)   9. Dil Dhadakne Do

images (14)   10. Shamitabh

 

 

The SRK-SLB War recurs after 8 years.

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After 8 years the most Powerful Actor & Director of Indian Cinema today, ShahRukh Khan & Sanjay Leela Bhansali, battle once again at the Box-office on a Friday. My Back-to-Back rendezvous with Bollywood on 18th Dec 2015 brought back the memories of the week when Om Shanti Om & Saawariya were released in 2007. An ardent fan of Bhansali’s craft, I could never graduate to being a true SRK fan. The only time I ended up praising his work was for Bhansali’s “Devdas” [2002] in the past.

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OSO was Grand and possessed all the elements required for a Blockbuster. SRK displayed his talent to excel outside the Prestigious “Yash Chopra” banner along with his newly acquired Six-pack Abs. It introduced the current “Heart-throb” Deepika Padukone. The “Karz” era was re-visited with Farah Khan taking charge behind the cameras. Saawariya on the other hand was experimental. The Blue theme & the Dreamy narrative in an imaginary city proved to be a rare cinematic experience for me. It remains, till date, the “Moulin Rouge” of my dreams. Its scintillating music was an orchestra redefined for screens. Ranbir Kapoor’s debut was awaited for long & he was presented like a “Dream Lover” straight out of “Operatic” Fairy tales. Sonam Kapoor was nothing but a fresh Lotus in this kaleidoscopic Pond of contemporary Rhapsody. Salman & Rani [in their supporting roles] were like true parents to these two anxious birds fresh out of their cages. But Bhansali failed to capture the attention of the mass audiences who rejected the Movie. OSO went ahead at the ticket counters and grossed all the success that was anticipated.

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This week I proudly seated myself in the Cinema hall for the “First day First show” of Bajirao Mastani with a gleam of pride. I have grown up with the tales of “Mughle Azam” which I have repeatedly seen on the DVD’s and all this while I was awaiting a Fresh Historical Epic which I could view in my own era. A movie I could narrate as my individual/personal perception allowed me to. Bajirao Mastani is the story of a crusader for love; a fearless warrior amidst a society full of hatred & bigotry. It’s a tale of The Passionate Mastani – a princess; a soldier; a lover who equated Ishq with Ibaadat; who bore the humiliation & brutality for being the Maratha legend’s lover. Every single moment in the movie is like an immaculate recitation of a wonderful saga lost in history. Ranveer Singh excels & executes every pivotal scene like no other can. A die-hard Salman Khan fan like me failed to remind myself who the original choice for the role had been. Meticulous Cinematography makes the narration flawless. The costumes & Shringar have elevated the standards of Bollywood & the Art Direction [The Lamps, The Blood-soaked/barren landscapes & the grandeur of the Aina Mahal] is out of this world. The biggest challenge must have laid with Bhansali who has taken upon himself to present a story from a different era which has lacked familiarity. The movie is a tragedy indeed & the romantic theme seems fragile but when you compare it with the second release of the day “Dilwaale”, the terms “for the classes” & “for the masses” are clearly defined. Dilwaale is senseless. It’s a typical Rohit Shetty film which is a mere extension of his “Golmaal” series. His Goa fixation & mid-air blasts of branded cars, cacophonus balderdash of side actors, over-lapping sequences & a stereotype comic script ended up irritating me because I was drawn by the No. 1 onscreen pair of Bollywood- SRK-Kajol to the theatre. Their comeback was bland; perhaps the expectations were too high! They featured together in bits & pieces and there wasn’t a single power-packed scene which could carry their legacy ahead. They seemed lost in the buffoonery created by almost everyone around them [pink jackets & ponytails with branded-humour]. They did lighten up the sparks for the moments they looked at each other & when SRK out-stretched his arms for her but it was short-lived for all that was happening around them stole their branded Romantic chemistry.

The clash b/w these two Powerful Stalwarts is surely going to produce a verdict soon as the Box-Office collection will be calculated within this week but as biased as I may sound, My personal pronouncement favors Sanjay Leela Bhansali. Its “Star Wars” in India. I hope & wish & pray that the classes outdo the masses for once. Keeping the awards and the profits aside, the Indian audience need to appreciate the efforts put together by this “Showman” who has definitely provided growth to the country’s biggest stars- right from Amitabh Bachchan to Ranveer Singh, from Rani Mukherji to Deepika Padukone.

Speaking of yours truly, i promise to repeat my “First-day First-show” tryst with his next release. Sanjay Leela Bhansali  sir, you are indeed the Showman of my times.

 

 

 

 

 

 

 

 

 

 

Smita Patil:Remembering the most accomplished Actor of Indian Cinema.

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The original actor of the new-wave movement in Indian Cinema; the “Parallel Cinema”, would have been 60 yrs old today had it not been for her untimely sudden death at the age of 31 in 1986. She was one of the finest & the most graceful artist our country has ever produced. An actor with supreme “Matchless” talent in Theatre & Cinema- Smita was the recipient of 2 National Awards, a Filmfare award & a Padmashri. When I think of the female protagonists represented in Indian cinema, her name spells a woman who was triumphant; who never succumbed to society & its norms; a fighter who shook the yolk of male patronage; an intelligent matron not restricted by illiteracy. She did not emblematize a “Mother-India” under the hypothetical disguise of a typical traditional “Indian woman” but presented the psyche of those under siege of male dominance. Smita Patil was a true “Active” feminist who illustrated the cause of Social Up-liftment of Indian women. Her phenomenal contribution in her field can never be replicated.

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She was not a trained actor as many would believe. Bestowed with an inborn natural instinct for the craft Smita was an ace photographer before being discovered by Shyam Benegal. In reality her friends remember her as an astute urban person [it was mentioned that while working as a news reader for Doordarshan she would hurriedly drape her sari over her jeans]. Being born to parents of acute social awareness, she was an Idealist. Her dusky complexion added “Panache” to her unique personality which was equally gifted with a strong command over her voice. She appeared utterly disciplined in her work & it was hard to imagine that she had a slightly bohemian personal side.

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Bhumika[1977] established her in the film-industry as the Queen of parallel cinema. Its story was inspired by 1940s Marathi actress “Hansa Wadkar”- a woman who is out to discover herself, often falling off the rails, yet back on her tracks- fighting loneliness, creative dis-satisfaction, her intimate fears & complexes; struggling in her middle age for self-fulfillment. At the age of 22, to portray such a complex character was a remarkable achievement indeed. How encouraging it must have been for the directors/writers who dreamt of creating a podium for meaningful cinema which gathered appreciation internationally as well? To have an artist who wasn’t conventionally bound! Someone who did not consider it obligatory to run around trees & shed tears of helplessness on screen! For 5 years Smita Patil refused to do commercial cinema. In Chakra[1981] she proved her forte once again where she essayed the role of an un-glorified, rural “migrant” laborer who fights for her survival in Mumbai. Her ability to accept the roles which had the shades of grey was clear when she worked in Arth[1982]. Her finesse as an actor stood out in front of the other stalwart of parallel cinema- Shabana Azmi. It is impossible to imagine any other artist who could have portrayed Praveen Babi’s insecurities, possessiveness, delusions, guilt & obsession for her man – as impeccably shown by Smita Patil. Her high-octane acting in the final confrontation scene between Pooja & Kavita can-not be shaken off from the minds of those who value the Stature of “Arth” in Indian cinema.

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She proved her versatility once and for all when she ventured into commercial cinema with none other than Amitabh Bachchan in Namak Halaal[1982] & Shakti[1982]. She carried the roles forward with her own intelligence as she could not be seen as a woman of no substance- she efficiently played her roles opposite AB, never once seeming out of place -even providing her own signatory “class” to the rain songs with grace. I refuse to dismiss Aakhir Kyon[1985] simply for the reason that she attempted to bring forward the cause of an urban woman. It was not the village or the slum but the modern society this time – The “Plight” of a simple housewife who is left at the mercy of her husband who crumbles upon adultery. She tamed herself; carried make-up while excercising her original control over her capabilities as an actor. It is believed that she was disillusioned after a while with her progress in parallel cinema because of monetary factors; we did see her attempting “inconsequential” roles in DanceDance , Kasam Paida Karne Waale Ki (etc) and the only one which I can name as a solid one was that of Anil Kapoor’s Lawyer sister in Thikaana[1987]. She forayed back into her initial passion in 1985 with Mirch Masala – A cult performance where we witnessed on screen the querulous relationship between women in the labor groups. We had the feisty, fiery Sonbai who stood up against lechery while uniting her co-workers with “Mirch” powder in their bare hands to throw in the lewd eyes of the lecherous tinpot. She acted in over 80 Hindi & Marathi Movies including Bazaar[1983], Mandi[1983], Ardh-Satya[1983] Aaj Ki Aawaz[1984] Manthan[1976].

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Smita  remained true to heart when it came to relationships as well. She fell in love with Raj Babbar & they both got married . Overnight she turned into a home-breaker; the critics labelled & targeted her as the latest vamp. And it didn’t take her long to succumb to an ill-fated post natal complication. She passed away on 13th Dec 1986. The actor who motivated film-makers to explore the role of women in Indian society; who endorsed their cause & issues through her impeccable work; who stood for the true empowerment of women in India left us with a legacy which can never be cloned. She left the country [ I would not attempt to state the film industry as the sole mourner] with a void which can never be filled. Smita Patil [ Oct 17, 1955 – Dec 13 1986] will remain the “pioneer” of world class acting in India. An actor who never makes me feel inferior as a cinema-lover when I witness the work of international Stars. She left us after “WAARIS”– without one from her own fraternity.

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Kajol/ShahRukh Khan: The 7th Wonder of Bollywood

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The Queen & King of Hearts, The no. 1 “On-Screen” Jodi, The wondrous Pair which spells magic on celluloid is back this December with “Dilwaale”. Kajol is staging a come-back after Fanaa while SRK’s movies have endured B.O success conventionally. His recent releases Chennai Express & Happy New Year have been mediocre as far as their content and bearing on the fans is concerned. They were more of Entertainment flicks than Power-Packed packages which leave an everlasting impact. He worked with the biggest Stars [Katrina, Deepika, Anushka] but the audience were left craving for the Spectacle he once created with Kajol & Madhuri earlier.

The Charismatic Pair of Kajol/SRK is re-uniting after delivering My Name is Khan & will light the screens on fire with Dilwaale on 18th Dec. The Chemistry is reprived as we have witnessed in the “Gerua” song released last week. Both have maturely aged but look as fresh as ever together. The song brings back the nostalgia – The spell of “Suraj hua Madhham” seems to have a new Flavour. The Romance, The chill, The magnitude of their Chemistry is evident in this 4 min song. She wears “Orange” [Gerua means “Orange/Ochre/a bit like saffron] & he is draped in “Blues”; Egypt has been replaced with Iceland & VFX/Special effects; the wrecked plane, boat, waterfalls take your breaths away.

The feeling of being in love is synonymous with them. Raj & Simran are two names embedded in the minds of every film-lover and are like a Frontispiece preceding the title of every Young woman/man’s Favourite “Love story”. They administered their 1st appearance together in Baazigar” which was a Thriller. SRK took a risk by starring as an Anti-Hero & Kajol complemented him perfectly [After her debacle of a debut in Bekhudi]. They exhibited their individual talent impeccably without a hint that their Pair would go down in the “Bollywood Hall of Fame” as the “Numero Uno Couple”. It was followed by “Karan Arjun” which was a revenge saga based on re-incarnation; they had fewer scenes together but the song “Jaati hoon mein” was adequate to establish them as the most “sought-after” Duo.

The year 1995 is a landmark in the history of Indian Cinema. It is the Year of “DDLJ”The Biggest Blockbuster of the Century. Raj & Simran became household names. Their Gilt-edged Chemistry sizzled the screens & they were universally accepted as “The Golden Pair of Bollywood”. He was restless; she was firm: he was fearless; she was docile; his jocularity was matched with her intensity. The entire Des-Pardes was shaken & after 20 years the impact is intact. “Kuchch Kuchch Hota Hai”  gave us our own Archie & Betty; hearts bled to see them separate- rejoiced when they united. Kajol transformed from a “Tom-boy” to a Graceful “Chic”. [Salman & Rani failed to gather any sympathy this time]. In “K3G” he was Suave – she was loud & they became the most adorable son/daughter in law waiting to be brought back home. The chiffon clad Kajol & SRK in brown “leather” ensemble created the immortal scenery of Romance with the Pyramids of Egypt in backdrops.

“My name is Khan” was an intense Movie- an unusual tale of a single mother & a man suffering from Asperger’s Syndrome. It was a delicate venture, yet it created a substantial effect in our hearts. Kajol proved to be a Dynamite in her Powerhouse performance which matched SRK’s subtle act. She appeared briefly in the song sequences of “Om shanti Om” “Kal ho na Ho” “Rabb ne Banna di Jodi” – the audience desperately waited for that 30 sec “Special appearance” with equal zeal.

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We heard of tiffs between Ajay Devgan & SRK over professional differences off-late. Rohit Shetty managed to conceive a project with the two of them together in Dilwaale and its launch was a breather for fans. The pair has an infinite “repeat” value for certain. I am anticipating a plethora of Sparkles which only the Genuine “rawness” of these maestro’s can guarantee.

“Dil toh sabbke pass hota hai…lekin sabb Dilwaale nahin hotte”.

“Lux” and Bollywood: A “90 year” Bond.

Lux: “Filmi Sitaron ka Saundarya Saabun”

Bollywood has been associated with this term ever since Advertisements were introduced in India. Actresses endorsed Lux on Billboards, over the radio & T.V, in newspapers & magazines [on their centre-spreads]. It was launched in 1925 as the new Pearly-White “Star” & in 1926 Hollywood dancing-diva “Ginger Rogers” was the first star to appear in its Commercial. It found its permanent Home in L.A with almost all of the sensual/pretty names [Elizabeth Taylor, Sophia Loren, Raquel Welch, Michelle Pfeiffer etc.] swearing by its creamy lather.

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The first “Bar” was made in India in 1934 and was sold for 2 annas. “Leela Chitnis” was the First Indian Star to Appear in its commercial. Lux was Pure & White till the 50s: Kamini Kaushal, Nargis, Meena Kumari, Nimmi, Vyjanthimala & Nigar Sultana were chosen to promote it with their individual charms.

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Lux changed its colour from white to pink, blue, green & yellow in the 60s. Asha Parekh with Pastel Pink; Mala Sinha with a touch of blue; Waheeda Rehman with simple green, before Sharmila Tagore revealed to the world the secret behind her “Chand Sa Roshan Chehra”. In 1969 Hindustan Lever Ltd. decided to give a new look to the Product and Simi Garewal & Sonia Sahni launched the new Avatar. In 1983 Lux was Hema Malini’s “Dream come true” while Swaroop Sampat declared “I have what it takes…thanks to Lux” after winning her Miss India Crown.

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She looks like Sonia Sahni to me.

Facing competition from Hamam, Ria & Oasis, HLL decided upon a re-launch in 1985. Meenakshi Seshadri [with her ethereal natural beauty] & Sridevi [with her Sizzling Pout] declared “Now there’s a Soap I love more than Lux”; Poonam Dhillon said “I have found a soap with a better perfume” & Zeenat Aman affirmed that “This new soap is a great improvement on Lux”. Regional actresses like Debashree in East & Revathy in South loved the New “Modern” Lux. A series of Advertisements were released– where Rekha described the new Star as “Captivating”; Sridevi as “irresistible”; even the Realistic stalwarts of parallel cinema Shabana Azmi & Smita Patil confessed on their allegiance to the brand.

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She looks like Sonia Sahni to me.

She looks like Sonia Sahni to me.

Madhuri Dixit & Raveena Tandon introduced the new “International” Lux. “Chirpy” Juhi Chawla, “Rangeeli” Urmila Matondkar, “Charismatic” Karisma Kapoor & “Elegant” Tabu revealed how bagging the Prestigious Commercial helped them in their respective careers. It was considered as a big Accomplishment to be chosen for the endorsement of Lux, no lesser than bagging a Yash Chopra/Subhash Ghai Movie.

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The new Milleneum presented Aishwarya Rai & Amisha Patel as the “Face” of Lux after 77 years.

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The rules were bended for the first time ever- “ShahRukh Khan” became the maiden “Male” star to feature in the advertisement. Surrounded by Hema Malini, Kareena Kapoor, Juhi Chawla & Sridevi in a bath tub – he declared “I am The biggest Star” [and later with Katrina Kaif in “Bekaboo” Lux Ad campaign]. Abhishek Bachchan followed in his footsteps and appeared with wife Aishwarya in the brand’s all new Cool/Crazy/Comfort offering.

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Lux- is a Latin word for “light” & is suggestive of “Luxury”. It has been an intimate partner of these dazzling divas. Lux. An ode to their beauty, an announcer of their stardom, a constant influence in the ever changing world of Cinema. Currently Priyanka Chopra, Deepika Padukone & Asin are the Brand-Ambassadors.

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Anushka Sharma: The “Supporting Actress” Marvel all set for “Ae Dil Hai Mushkil”.

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Anushka Sharma is one of the finest actors we have today. She is undeniably the best when it comes to supporting the main lead cast in Hindi Movies today. In “Dil Dhadakne Do” she stood out in spite of an ensemble of cast which had Priyanka Chopra, Ranveer Singh & Anil Kapoor as the main protagonists. Her character shined as a Strong, Independent & an Alive Woman who was perhaps the strongest character among the baggage.

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A constant target of cricket fans & media, who blamed her & flooded the social media with criticism over beau “Virat Kohli’s” poor game recently – she has stood tall; never once retaliating and not shying away from the camera while supporting him during his games or elsewhere. It’s tough indeed to be an Icon in your own field and yet to be treated as a mere Bean-Bag by the masses who want to sit on a big name and tear them apart over a slight “under expected” performance of a Cricket Star. In fact they both compliment each other as far as Achievements on sheer personal calibre is concerned. They are Teen-Icons indeed. They look in each other’s eyes easily when clicked socially. A beaming Anushka doesn’t shy away from calling him “He’s my very very good looking arm-candy!” From wearing identical clothes [Wimbledon] to blowing affectionate kisses in air for each other – Anushka & Virat represent True Love. [A bona fide supporter further in her own way off-screen.]

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Year 2008 – Anushka punched the clock [on screen] opposite the country’s biggest Star SRK. A little chubby but confident to the “T” she didn’t let it come across that it was the nation’s Biggest Production House [Yash Raj Films] trying desperately to re-launch themselves with the comfort of SRK’s presence. She shared equal space in the movie & arrived in the Elite club of performers with her genuine Talent. “Bindass” is the word attached with her Stature. In “Band Baja Baaraat” [with Ranveer Singh] she presented the new face of an independent “Bold” entrepreneur who is young & ambitious. It was a cake walk for her to fit in “Punjabi” roles. Her acting is Crisp; her confidence in front of the camera is transparent on screen. Her dialogue delivery is immaculate and she completes the Dramatic/Emotional scenes with precision. She is quiet fluent in her confrontation scenes especially and doesn’t seem bohemian while portraying these Bold/Brave/Modern Indian characters.

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She earned a Film-Fare nomination for her very first film; starred in a Crime-Caper “Badmash Company” & swept the audiences which tagged her as the Latest “Bindass Babe of Band Baja Baarat” [she won her 2nd nomination for it]- Though her presence could not save “Ladies v/s Ricky Bahl” from crashing at the Box Office. Perhaps the overdose of Ranveer-Anushka pairing didn’t match with the script. In “Matru Ki Bijli Ka Mandola”  she emerged as a strong headed “Jaatni”- it’s definitely not easy to portray Vishal Bhardwaj’s lead roles as they have dark shades but “Bijli” was the soul of the script.

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I loved her in Yash Chopra’s “Swan-Song” “Jab Takk Hai Jaan”. Akira was Spunky, Vivacious, Romantic: I fail to recall any remarkable moments from the Movie where Katrina Kaif excelled more than her. For a “Yash Chopra” admirer- the confrontation scene said it all where she stole the limelight from under Katrina’s shoes [and walked away with the FilmFare trophy finally]. Critics have often labelled her as “Stereo Type” – for being loud & loquacious on screen but I would blame it on her energy. It suits her personality & she held her role in “PK” with Aamir because of that. In fact she did tone down a bit in “NH10” and showed variety from moody to vulnerable to being violent & fearless. Recently, she was a delight to watch, as the Jazz singer in “Bombay Velvet” – a disaster of a movie but very few would have noticed how aesthetically she displayed the “fake” Eyelashes – “mascara laden” tears & perfect Lip-Sync co-ordination as a Jazz Star of the 60s.

From walking the Ramps to supporting the N.G.O “Our Girl Our Pride” campaign and Animal Rights on social media – Anushka Sharma commands respect in this Male-Dominated Industry. She defies the rules of being in good books of the big & influential by speaking out her opinions; be it praising her contemporaries or speaking about wage disparities; Poking her colleagues- she is active & visible in our minds off-screen as well. Undoubtedly one of “The best Dressed Actress” who casually strikes a chord with people of all generations “Anushka Sharma” is an under-exploited Star who deserves at least one author-backed role & a genuine executioner of the script today. Eagerly awaiting “Ae Dil Hai Mushkil” which has gone on rolls. Aishwarya Rai/Anoushka Sharma – what a contrast! What a challenge! I am speculating another “Clean Sweep” from this “Smooth Operator”.

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“Love” as Described by the Indian Lyricists: “Ishq Binna Kya Jeena Yaaro!”

My life is full of fantasies. I believe every cinema-lover has his own “Atlantis” hidden in the depths of his mind & soul. Love stories are my passion and I strongly give credence to this wonderful creation of God called “Love”- universally expressed “simply”; in fewest words possible, at times. After having read numerous fables and literary masterpieces on this subject, the lines which I chose to express this feeling as mine are by “Gulzar” penned down for “Khamoshi” [1959]:

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“Humne dekhi hai unn ankhon ki mehekti khushboo

Haath se chhoo ke isse rishton ka ilzaam na do

Sirff ehsaas hai ye rooh se mehsoos karro

Pyar ko pyar hi rehne do koi naam na do”

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Love was described by the biggest lyricists of our nation in their own style of composition. Shailendra penned down the dismay of 2 lovers who face each other in acceptance of having surrendered to one another [SHREE 420] (1955), as

“Raatein dusson dishaon se, kahengi apni kahaniyaan

Geet hamaare pyar ke, dohraeingi jawanaiyaan

Mein na rahoongi, tum na rahoge

Phir bhi raheingi nishaniyaan……pyar hua ikraar hua hai, pyar se phir kyon darrta hai dil

Kehta hai dil rastaa mushkil, maaloom nahin hai kahan manzil…”

These words are unforgettable for those who understand their essence. After nearly 60 years the scene is immortal where Nargis sings these lines and raises her finger towards Randhir, Rishi & Ritu Kapoor walking down the road in raincoats; where Raj Kapoor beams in his innocent smile holding an umbrella over her……… it doesn’t take a minute for the nostalgia to convert into optimism.

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Shakeel Badayuni converted the folk song of U.P “prem kiya, kya chori karri hai” into a ghazal where Anarkali defies the orders of Akbar and announces to the world [Mughle Azam] [1960]:

“ishq mein jeena ishq mei marrna, aur humein abb karrna kya

Jabb pyar kiya toh darrna kya

Pyar kiya koi chori nahin ki

Chhup chhup aahein bharna kya…..”

It was shot in the “Sheesh Mahal” of Akbar’s court [a heavy set was built with numerous Belgian mirrors crafted by workers from Firozabad] where Anarkali [Madhubala] is brought in front of the court to humiliate Salim’s Love for her. She rises in front of the emperor and declares, what Meerabai similarly did for her Kisna in our folklore, “Chhup na sakega ishq hamara, chaaron taraf hai unka nazaara….. parda nahin jab koi khuda se bandon se parda karrna kya” and we witness the spectacle;  Salim’s proud image in the mirrors above her own head swinging with the pride of love. These impeccable lines have provided courage to many and there must not be a single person bestowed with love who hasn’t sung these words to himself “Pyar kiya toh darrna kya…”?

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The black & white era was replaced by the colored one; Bobby [1973] brought in the teenager love in limelight with Rishi Kapoor singing “Main shaayar toh nahin, maggar ae haseen, jabbse dekha- meinne tujhko mujhko- shayari…. Agayi”[Shailendra]; simple yet apt lines for a boy who crosses the lines from boyhood towards manhood while looking at the girl who brought this change. Amitabh Bhachchan recited “Kabhi Kabhi mere dil mein, khayal aata hai…ki jaisse tujhko bannaya gaya hai mere liye….tu abb se pehle sitaron mein bass rahi thhi kahin, tujhe zameen pe uttara gaya hai mere liye” – which make a mature man climb up the staircase to heavens of love with his beloved hand in hand. Sahir Ludhianvi brilliantly composed this modern day “Ode” to love & it remains a pioneer when it comes to an admirer expressing his ardour for his dearest. It’s probably one of the rarest Composition which my father could recite 40 years back & I can sing the same with similar passion today. For these lines aren’t merely for the one reciting them; they hold equal significance for the woman who is listening to this fable with her eyes closed. Ranjeeta professed a girl’s feelings with “Akhiyon ke jharokhon se, meinne dekha jo saware,baddi door nazar aae…baddi door nazar aae. Bandd karrke jharokon ko, zara baithhi jo sochne, mann mein tumhi muskaae, mann mein tumhi muskaae” [Ravindra Jain]. Innocent & naïve notes dipped in subtleties of love. “16 barras ki baali ummr ko salaam, ae pyar teri pehli nazar ko salaam” are the lines by my favorite lyricist ANAND BAKSHI [Ek duuje ke liye[ [1981] which speak a lot with a deep message in them.

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Lyrics like “Harr kissiko nahin millta yahan pyar zindagi mein, khushnaseeb hain who jinnko hai milli yeh bahaar zindagi mein” – Jaanbaaz[1986] [Indeevar] ; “Tere binna zindagi se shikwa toh nahin…..tere binna zindagi bhi lekin, zindagi toh nahin….”Aandhi [1975] [Gulzar]; and the ones by Jaaved Akhtar [Namastey London] [2007] “Main jahan rahoon, main kahin bhi hoon, teri yaad saath hai…..” have been attempted to portray the dilemma of the broken-hearted; the sorrowful ones who remain in grief, yet choose to stand for the search of true love.

“Mera kuchch saaman tumhaare pass padda hai, saawan ke kuchch bheege bheege din rakhhe hain

Aur mere ik khatt mein lippti raat paddi hai

Woh raat bujha do, mera woh saaman lautta do”

Penned by Gulzar for Ijaazat [1987]- is the most sensitive piece of writing which depicts a possessive wife’s love for her husband, who would rather give him up than share him. It’s a rage till date among women- after all is there a single one who would subscribe to sharing her man?

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In an integrated contrast we have a young, buoyant Anil Kapoor singing “Ek ladki ko dekha toh aissa lagga, jaisse khilta gulab, jaisse shayar ka khwab jaisse ujjli kiran jaisse vann mei hirran……….” [Jaaved Akhtar] [1942- A love story] . A joyful symphony for men who have discovered their dream lover…. An innocent cheering of a sort.

“Tu meri zindagi hai, tu meri harr khushi hai, tu hi pyar tu hi chahat tu hi Aashiqui hai….” & “Bahut pyar karrte hain tumko sanam, kasam chaahe lelo khuda ki kasam..” by Sameer [Aashiqui & Saajan] were simple declarations; easily adaptable till ShahRukh, Madhuri, Karisma & Akshay announced that “Hansaata hai yehi, yehi rullata hai…. Dil toh paagal hai, Dil deewana hai” [Anand Bakshi]. Hearts slightly ached though when Aamir sang in Rangeela [1995] “Pyaar ye jaane kaissa hai, kya kahein yeh kuchch aissa hai, kabhi dard ye deta hai kabhi cheinn ye detta hai kabhi ghamm deta hai kabhi khushi detta hai…” [Mehboob].

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Another milestone was reached when Jaideep Sani epitomised the feeling one carries for his/her beloved placing him/her next only to God. “Tujhmei Rabb dikhta hai, yaara main kya karoon….Sajjde sarr jhukkta hai, yaara main kya karoon” [RNBDJ] [2008]. The Maestro “Richard Clayderman” chose to strike the notes of his piano for “Uff Kya Jadoo Mohabbat Hai” [2004] “Khud ke alaawa ikk gaer pe, hum ko yakeen kyon aane lagga……..apne sheher se usska nagar, ittna humein kyon bhaane lagga” [Mehboob] & recently our nation received the ultimate Anthem which said “Tera mera rishta hai kaissa ikk pall door gawaara nahin…kyonki tum hi ho… Zindagi bass tum hi ho……cheinn bhi mera dard bhi meri AASHIQUI bass tum hi ho” [Mithoon].

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Pyar/Ishq/Mohabbat : The emotion captured so naturally; gracefully & tastefully caged in ink by our country’s renowned Lyricists who have presented our very own plight in their chosen words. “Anand Bakshi” has remained my personal favorite lyricist. His words were Indian, his rhymes were Earthy. He simply said Ishq binna kya jeena yaaro, ishq binna kya marrna yaaro… gudd se meethha ishq ishq, immli se khatta ishq ishq…. Dhaaga ye kachha ishq ishq, vaada ye pacca ishqand concluded by gifting these eternal lines to the Lovers Jo tera haal hai who mera haal hai…iss haal se haaal milla…taal se taal milla”. How best does a lover convey his state to the only one that matters?

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Our nation has paid tribute to Sufism as well. Here are the lines which have been embedded in my soul ever since I realised the connotation of true love over the years. Written by Irshad Kamil for Cocktail [2012].

Je main teinnu Bahar Dhoondhan te mere andar kaun samaya

Je main teinnu andar dhoondhan te bahar kisse di maya

Andar tu hain bahar tu hain

Wekhaan harr thhan tera saya

Main vi tu hain te tu wi tu hain

Ratta farakk nazar naa aya”

Finally you may ask what lessons do I learn while staying in my Atlantis? Which is the biggest of them all?

“Sachcha Ishq taan o rabb hi hai jo mere andar wasda hai……..Jhalla ki labbda phirre???”

The Eternal One-Liners/Punches/Gags from Bollywood

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Recent years in Bollywood have established female actors with Power-Packed roles in the industry. Kangana Ranaut commanded the Box-office in 2014-2015 & her few dialogues have become like those remarkable oneliners we have been reciting since aeons. “Adrak ho gaya hai yeh aadmi, kahin se bhi badhh raha hai..” [TWM 2] sounds befitting for a woman disgusted with her partner. She hopelessly declared her own plight in “Queen”- “Mera haal na Gupta uncle jaissa ho gaya hai. Gupta uncle ko na Cancer ho gaya hai. Unhonne kabhi sharaab nahi pee, cigarette nahin pee, phir bhi ho gaya. Is-sse achha toh pee hi lette..” . Previously we had [The “Cult” one-liner statement of Today] Sonakshi Sinha announcing “ Thhapadd se darr nahi laggta sahib, pyaar se laggta hai..” [DABANGG] after the Raunchy statement from Vidya Balan “ Filmein sirff 3 cheezon ki wajah se chalti hain, Entertainment, Entertainment, aur Entertainment..” [THE DIRTY PICTURE]. Priyanka Chopra delivered one as well; “Ittna bhi matt darao ki darr hi khatamm ho jae..”  [MARY KOM] while Amrita Singh taunted Arjun Kapoor with “Makhhan khaane ki cheez hai laggane ki nahi..” [2 STATES].

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Hindi Film Heroines have delivered some memorable Dialogues along with equally catchy statements which have been appropriately/in-appropriately used by many. Bollywood fans have a variety of cheesy gags in their kitty. From Hema Malini’s “Chall Dhanno aaj teri basanti ki izzat ka sawal hai…”[SHOLAY] & “Bhaagne ka naam jawaani aur thhamm gayi toh thhehra paani…” [DHARMATAMA] to Rakhi’s “Mere Karan Arjun aaenge…” [KARAN-ARJUN]; Sridevi’s “Mein madira nahin peeti g..” [CHAALBAAZ] to Madhuri Dixit’s “Kyon .. Hum aapke hain kaun” [HAHK]; Tabu’s “100 kutte bhi mill karr sher ka shikaar nahin karr sakkte…” [JEET]; Aishwarya Rai’s “Sameer… hawaa ka jhaunkka” [HDDCS] & Kajol’s “Ek daa wadda dil te dooje de wadde wadde bill…” [K3G]: these quotes have floated universally. Kajol’s “Kuchch Kuchch hota hai Rahul.. tum nahin samjhoge…” [KKHH] is an evergreen Quote. Deepika Padukone’s “Ek chuttki sindoor ki keemat tum kya jaano Ramesh baabu…” [OSO] & “Kahan se khareedi ittni Bokwaas dictionary….” [CHENNAI EXPRESS] are an integral part of Mimicry by children today. And once Kareena Kapoor said Mein apni khud ki favourite hoon…” [JAB WE MET].
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Our very own “Dabangg” Singhams [Heroes] have had their own share in launching “Bhaari-Bharkam” Fauladi punches on cinema-screens. Salman Khan threatened “Chhedi laal” with “Hum tum mein ittne chhed karenge ki confuse ho jaoge; ke saans kahan se lein aur $@@$ein kahan se..” ; claimed with Elan “Ek baar jo meinne commitment karr di, usske baad toh mein khud ki bhi nahi sunnta…” [WANTED] ; “kicked” his fans with “Mein dil mein aata hoon, samajh mein nahin” [KICK]. His maiden punch-line was “Dosti ka ek usool hai madam, no sorry no thank you..” [MAINE PYAR KIYA]. ShahRukh Khan is credited with giving the “mantra” to desperate lovers in “I Love you KKKkiran…”; “Palatt..”; “Rahul..naam toh sunna hoga…”; “Marr gaya Rahul…” ; “Aur pass…Aur pass..” ; “Badde Badde shehron mein aissi Chhoti Chhoti baatein hotti rehti hain, senorita…” and his “ 70 minute hain tumhare pass…” speech is a landmark in motivational “Dramatization”. “Don ko pakkadna mushkil hi nahi naamumkin hai…” [DON] was perfectly revised by him. Aamir Khan has a few unconventional lines credited to him ; “Aal izz well Aal izz well..” [3 IDIOTS]; “Bhabhi hogi teri, shaadi hogi meri..” [ANDAAZ APNA APNA]; “Aailla…”. He tried his hands at poetry for a change [Fanaa]; “Kehte hain pyaar mein neend udd jaati hai, koi humse bhi mohabbat karre.. kambakhhtt  neend bahut aati hai ..” became an all-time favourite of “Dil-phenkoos”in India. Sunny Deol has a long list attached with his name when it comes to the Most “Thunderous” of them all; “Ye Dhaaii killo ka haath jab paddta hai na, toh aadmi uthhta nahi…uthh jaata hai” , “Tareekh pe Tareekh, Tareekh pe Tareekh millti rahi judge sahib parr insaaf nahi milla…” [DAMINI] ; “Hindustan zindabaad thha, zindabaad hai aur zindabaad rahega..” [GADAR] ; “No iff, No butt, sirff Jutt…” [JO BOLE SO NIHAAL] ; “Uttar do yeh vardi aur pehen lo Balwant rai ka patta…” [GHAYAL]. Ajay Devgan came up with the silliest of the stock recently in [Bol Bachchan] ; “When elder get cosy, don’t put nosy..” ; “My chest has become blouse…” & “Jo sheeshe ke ghar mein rehte hain, woh basement mein kapdde badalte hain..” but he had already established “Aata Maazi sattakalli….” [SINGHAM] as the outcry of a man touched at wrong ends. Akshay Kumar has had a share of equally bizarre ones: “Bachhe ki jaan lega kya…” ; “Don’t Angry me..”.

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The most original punch came in [RANJHANNA] where Zeeshan Ayub said “Mohalle ke laundon ka pyaar aksar Doctor ya Engineer uthha ke le jaate hain…”. Bollywood’s cutest star Shahid Kapoor impressed us with his “Silent ho jaa warna main violent ho jaunga…” in RRajkumar.

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Apart from these, there are numerous dialogues which are embedded in our minds which don’t necessarily need a revision. They are like those nursery rhymes we recited in school; for-ever implanted in our memory. The Bollywood “Stalwarts” have various punch-lines associated with their phenomenal Personalities. AMITABH BACHCHAN is an Idol when it comes to dialogue delivery; be it comic, tragic or dramatic. Besides “Moochein hon toh naththulaal jaissi…”, “Mere pass Maa hai…”, “Aaj shaam maut ke saath apunn ka apinnment hai,apinnment…”, “Khush toh bahut hogge tum..” , “Tum hotti toh aissa hota, tum hotti toh waissa hotta..” my personal favourites are “Jabb takk baithhne ko naa kaha jae sharafat se khadde raho, yeh police station hai tumhare baap ka ghar nahi..” [ZANJEER]; “Rishtey mein toh hum tumhaare baap laggte hain, naam hai Shehenshah…”; “Mein aaj bhi phenkke hue paisse nahin uthhata davar seth…” [DEEWAR] ; “Hum jahan khade ho jaaen line wahin se shuru hotti hai..” [KAALIA& “Mard ko dard nahin hotta..”.

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Amjad Khan is next in line with his immortal “Gabbar Singh” caboodle. “Kittne aadmi thhe..” ; “Arre o sambha…” ; “tera kya hoga re kaalia..”; “ Bahut yaarana laggta hai…” ; “Soowar ke bachho…” ; “Ye haath mujhe dedde Thaakur…”; “Jabb takk tere paer challenge isski saans chalegi…”; “Abb goli khaa…” ; “Yeh raamgarh waale apni betiyon ko kaunsi chakki ka aata khilaate hain re…” : the list is endless from Sholay. Till date these are used as common slangs by all struck with Bollywood Masala Fever. We have the irreplaceable “Ajit” Dictionary handy, passed on from generations to its next. “Mona darling…” ; “Saara shehar mujhe loin ke naam se jaanta hai…” ; “Lilly don’t be silly…” & “Raabertt…”  have been translated into numerous jokes. Villains arrived with a variety of sense & non-sense in the middle of the story. Pran subtely narrated his plight in Upkar with “Ration parr bhashann bahut hai parr bhashann pe ration nahin..” . And who can forget “Prem naam hai mera…Prem Chopra” [BOBBY] & “Main woh balla hoon jo sheeshe se pathhar ko todtta hoon…” [SOUTEN] by the meanest of all Prem Chopra.

The most hilarious ones came from Kader Khan. “Makkari ki mitti se janam lenne waale gaddari ke paudhhe…” & “Hosh mein aa zaalim gareeb jaagne waala hai, taiyyar raho bhaiya abb yeh khujjane waala hai..” [HUM] ; “Tumhaari yeh baat sunnke dil Hyderabad ki tarah aabad ho gaya..” [HIMMATWAALA] ; “Yam hain hum, Hum hain Yam..” [TAQDEEWAALA]; his dialogues flowed with the perfect comic timing he possessed on camera. Shakti Kapoor was the notorious of them all with his “Aauu Lollitta..” sounding as the perfect tone causing repulsion. He came with good ones later; “Main hoon nandu sabbka bandhu..” ; “Main ikk nanha sa, pyaara sa, chhota sa bachcha hoon…” & “Crime master GoGo…Mogambo ka bhatija”. Gulshan Grover was re-named the “Bad Man..”  after RamLakhan. He was loathsome with lines like “Ganna choos ke..” & “By God, dil garden garden ho gaya..”.

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Amrish Puri was versatile as the country’s most dreaded Villain as well as the finest supporting actor.“Mogambo khush hua…”; “Aissi maut maroonga ki bhagwaan yeh punnar-jannam waala system hi khattam karr dega…”[KARAN ARJUN] were followed by “Jaa Simran Jaa…. Jee le apni zindagi”.[DDLJ]

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Some unforgettable ones are by Asrani [ “Hamari jail mein surangg…haha”; “Hum angrezon ke zamane ke jailor hain…” ; “Aadhe idhar jao, aadhe udhar jao.. baaki hamare saath aao”:] all from Sholay. Paresh Rawals “Ye baburao ka ishtyle hai..”  is another memorable slang and not to forget the legendary Utpall Datt who innocently roared “Tum uss laddke se shaadi nahin karogi jiss se tum pyar karrti ho, tum uss ladke se shaadi karogi jiss se Main pyar karrta hoon…” [GOLMAAL]. And last but not in the least “Ek machhar saala aadmi ko @$&@@ banna detta hai” by Nana Patekar [YESHWANT].  Did i forget to mention the only phrase that defines MR. SHATRUGHAN SINHA? “KHAAAMOSHH!!!”

Now to present the list of “GHISSE PITTE” immortal one liners which were Dramatically highlighted in movies one after the other.

  1. Main tumhaare bachche ki ma bann ne waali hoon.
  2. Rukk jao, yeh shaadi nahin ho sakkti.
  3. Aaj shukrwaar hai aur court do dinon ke liye bandd hai.
  4. Kutte Kamine mein tera khoon pee jaunga [DHARMENDRA’S SIGNATURE WORDS].
  5. Bhagwaan ke liye mujhe chhod do.
  6. Boss maal pakkda gaya.
  7. Police ne tumhein chaaron taraf se gher liya hai. Apne aap ko police ke hawaale karr do.
  8. Log kya kahenge Beta.
  9. Ehsaan faramosh!
  10. Mein kahan hoon?
  11. Mujhe kuchh dikhayi nahin deta doctor!
  12. Door ho ja meri nazron se.
  13. Mein aapka ehsaan kabhi nahin bhoolongi.
  14. Pati parmeshwar hotta hai.
  15. Aaj karwa chauth hai.
  16. Bhabhi tumhare haath ka khaana….
  17. Mein kissi ko munh dikhaane layak nahin rahi.
  18. Ghar mein vidhwa maa kunwaari behnein.
  19. Kanoon ke haath bahut lambe hotte hain.
  20. Kya issi din ke liye paal poss ke badda kiya thha?
  21. Mein tumhare binna jee nahin sakkti.
  22. Gandi naali ke keede!
  23. Tum mere liye marr chukke ho.
  24. Khabardaar mujhe haath lagaya toh.
  25. Tumhari maa hamare kabze mein hai.
  26. Beti paraya dhann hotti hai.
  27. Maaaa mein pass ho gaya.
  28. Kaan kholkar sunn lo.
  29. Aardder Aaarder!
  30. Judge saaheb….[Mee lardd].
  31. Heere kahan hain?
  32. Barsaat ki kaali raat.
  33. Duniya ki koi taaqat humein judda nahin karr sakkti.
  34. Kanoon jazbaat nahin saboot dekhta hai.
  35. Mujhe maaf karr de beta.
  36. Naajayaz…..[Baap, Beta, Aulad]
  37. Babuji nahin rahe.
  38. Gawahon ke bayaanat aur sabooton ko mad-de nazar rakhte hue mujrim ko ba-izzat barri kia jaata hai.
  39. Hamare purkhon ki jaydaad.
  40. Abb sabb oopar waale ke haath mein hai.
  41. Zamaane ki thhokaron ne mujhe aissa banna dia.
  42. Babuji hum college mein ek saath paddhte thhe.
  43. Mujhse burra koi na hoga!
  44. Mein apne bhai ke khoon ka badla lekar rahoonga.
  45. Meinne do din se kuchh nahin khaya.
  46. Arre isse toh tez bukhar hai.
  47. Kaash tumhaare baabuji zinda hotte.
  48. Isse dhakke maar karr ghar se bahar phenkk do.
  49. Ho sake toh mujhe maaf karr dena.
  50. Bachaooooooo…..

To end this journey behind memory lanes……………

HUMKO MITTA SAKKE WOH ZAMAANE MEIN DUMM NAHIN, ZAMAANA HUM SE HAI…. ZAMAANE SE HUM NAHIN”- “RAJ KUMAR”

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