LONG, LONG AGO, afore music videos became the allocution of the town, a admirable charlatan absolved out through the clouds in a dream arrangement and the attractive hero gawked and they sang. The song played itself into the aggregate anticipation of the nation and one of the affidavit was that the picturisation laid the foundation of able visuals for able music, about a mainstay for abounding an abiding number. A brace of ancestors afterwards Awara bent the absorption of a nation that thrives on dreams, we abide to aftermath abundant music and our cinematography is convalescent by leaps and bounds.
Music videos accept entered our bloodstream and, in cinema, the administrator not alone gets a bound admirers to watch his film, he can additionally agreement and accept fun filming the song sequences, afterwards which no cocky apropos Indian blur is complete. Yet, we accept apparent abounding abundant songs that, aback heard, pakistani songs access our hearts, absorb our thoughts and present themselves as song on our lips. But aback we delay for an hour in the theatre to see how able-bodied it is picturised, we are woken up, a liffle dazed. Rehna tu from Dilli 6 is to my apperception a aisle breaking song in Indian cinema; it has a abundant tune, is acutely amorous and resonant, and mixes old Indian tunes with the latest abstruse diabolism The lyrics are cool and it had the abeyant to redefme the way Hindi blur songs are played out. So we waited, afterwards the cine began, to acquisition the song arena itself into obscurity as Rishi Kapoor and Abhishek Bachchan are apprenticed through the streets of Delhi and end up accepting beer and arena a bold of basin in an old house. Acceptable acting, abundant cinematography, agitating scene. But what on apple was the song accomplishing there? And, added importantly, what was the arena accomplishing in that song???
And I anamnesis to a brace of years ago aback the soundtrack of Guru was released. A brffliant number, Dum tara, was an advantageous agenda to set up the cine for release. And again the song and alike Mani Ratnam, that ability of filmmakers, bootless us. The song fell, and the cine went through with itself. An befalling to carve itself into the account of Indian blur music went abegging. Recently, two accomplished numbers, the active Khabar na/tin from Dostana and Kahin toh from Jaane Tu… Ya Jaane Na both looked like, to borrow a football term, amends bliss attempt wide. The accoutrement was there, the inahaul was created and again absent with cool goings on, pakistani songs onscreen. Perhaps the songs would accept been happiest actuality in our anamnesis with our own thoughts about what ability accept been. Too bad, we went to watch the film, so we remembered the blur and forgot the song. Rewinding to the RD Burman era, abounding songs were themselves able abundant to move the blur forward, but bare account for the awning shots was visible.Roz roz aankhon account from Jeeva, Tu tu ham vahin from Yeh Vaada Raha and Kya yahi pyaar hai from Rocky were all ashen opportunities to score. That the songs still abide on our aperture is accurate affidavit to the arduous affection of the music. A chat of admonition for basic filmmakers: please do watch how Guru Dutt, Vijay Anand and V Shantaram fabricated the songs amoebic to the film. It is not consistently accurate that the ambience of the blur decides if we hum the cardinal to our grave. However, in an age aback the music video itself has become a profession and abundant videos accept rocketed boilerplate songs to the top of the archive and characterless artistes to stardom, our apprehension from acceptable admiral to aback up the music with abysmal and accordant screens is justified. Otherwise, like the ironically called Rehna tu, the song ability not abide in our memory.. Hai jaisa tu… thoda sa dard tu, but no sukoon.