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NOOR - What a confused and lazy way to make a crime investigative thriller with neither thrills nor any investigations ending on a weird note. (Review By Bobby Sing).

This Friday's One Line Reviews by Bobby Sing for making your movie plans..

When my Career Consultancy didn't work for a few strangely concerned parents. - by Bobby Sing (Few Life Inspiring Words - 23).

FAST & FURIOUS 8 (English/Hindi) - Partially enjoyable, but strictly for the fans loving the action genre. [TTP (To The Point) Review By Bobby Sing].

MANJE BISTRE (Punjabi) - It seems Punjabi Cinema is now stuck with period dramas focusing on a 'Vyah Wala Ghar' as their latest repetitive obsession. (Review By Bobby Sing).

BEGUM JAAN (Hindi) / RAJKAHINI (Bengali) - Benegal's MANDI meets Manto's TOBA TEK SINGH and Mehta's MIRCH MASALA in this bold but over dramatic effort, sadly remaining too bland to be called an epic despite its noble intentions. (An overview by Bobby Sing).

The last 2 shows at REGAL and the one man behind the event, nobody knows about. (A detailed emotional and technical description by Bobby Sing).

MUKTI BHAWAN (Hotel Salvation) - Could have been a classic, but surely deserves to be seen for its subject, performances and Varanasi in particular. (Review by Bobby Sing).

LAALI KI SHAADI MEIN LAADDOO DEEWANA - Stay away from this marriage and its tiring absurdity. [TTP (To The Point) Review By Bobby Sing].

MIRZA JUULIET - One of those strictly avoidable films that make you wonder why they got made and for whom? (Review By Bobby Sing).

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April 26, 2017 Wednesday     


In the third part of this series “The Art of making Fresh Songs derived from other Hindi Film Soundtracks”, here are the references of some memorable tracks which were just reworked from the compositions already used in a released song in a perfectly recognizable manner. But in most of the cases it’s only the opening of the song (Sthayi or Mukhda), which straight away reminds you of an another track of the past, whereas later on the composition takes a different turn altogether.
However once again I would like to remind that all the inclusions here are not mentioned in a negative sense to raise some allegations on our talented music directors of the Golden Era & present. Instead its all about the healthy & intelligent inspirations which they took either from their own earlier works or from the works of other fellow music composers as a humble gesture of mutual appreciation, which was once lovingly visible in our Hindi Film Industry prominently.
So in this Third Part of the series, here is the….
List of Songs extracted from the compositions of few already released tracks in the past, which can be easily spotted as you listen to them :
1. “Yeh Hawa Yeh Raat Yeh Chandni” in SANGDIL (1952) and “Tujhe Kya Sunayun Main Dilruba” in AAKHRI DAO (1958).
2. "Jiye Tumharo Lalna" in RAKHI AUR HATHKADI (1972) and "Kya Bura Hai Kya Bhala” in LIBAAS (1988).
3. “Kahin Pe Nigahen” from C.I.D. (1956) and “Ram Narayan Baaja Bajata” in SAAJAN CHALE SASURAL (1996).
4. “Dil De Ke Dard-e-Mohabbat Liya Hai” in MAINE PYAR KIYA (1989) and “Hum To Tere Aashiq Hain Sadiyon Purane” from FARZ (1967).
5. “Nandlala Gopala Daya Karke” in SADHU AUR SHAITAAN (1968) and “Upar Wale Teri Duniya Mein” in HAATH KI SAFAAI (1974) .
6. “Koi Baat Hoti Hai To Sab Baatein Hoti Hain” in DHUN (1991) and “Hum Jitni Baar Milenge” for KHILAAF in 1991 only.
7. “Lallah, Allah Tera Nigehbaan” from ABDULLAH (1980) and 'Jaane Jaana, Jao Kal Phir Aana" in SAMADHI (1972).
8. "Mere Saath Chale Na Saaya" from KINAARA (1977) and “Doli Mein Bithaike Kahaar" from AMAR PREM (1972).
9 “Mere Liye Zindagi Tere Beghair Kuch Nahin” in MERA JAWAB (1985) and “Yeh Zindagi Ka Safar Mushkil” in GUMRAH.
10. “Ki Gal Hai Koi Nahin” in JAANEMAN (1976) and “Bhoot Raja Bahar Aaja” in CHACHA BHATIJA (1977).
11. “Kisi Ne Apna Banake Mujhko” in PATITA (1953) and “Radha Bina Hai Kishan Akela” in KISHAN KANHAIYA (1990).
12. “Kuch Kehta Hain Yeh Saawan” from MERA GAON MERA DESH (1971) and “Kis Kaaran Naiya Doli” in DACAIT (1987).
13. “Main Teri Rani Tu Raja Mera” from LOOTERE (1993) and “Aankhon Se Tune Kya Keh Diya” in GHULAM (1998).
14. “Faqir Ki Jholi” in SHATRANJ (1969) and “Main Hun Ghoda, Yeh Hai Gaadi” in KUNWARA BAAP (1974).
15.  “Gori Ka Saajan, Saajan Ki Gori” in AAKHRI RAASTA (1986) and “Gori Ho Kaali Ho” in BIWI O BIWI (1981).
16. “O Meri Needen Churane Waale” in CHAMATKAAR (1992) and "Aa Mere Jaise" from ARMAAN (1981).
17. “Barsaat Mein Jab Aayega” in MAA (1992) and “Main Zindagi Mein Hardam Rota Hi Raha Hun” in BARSAAT (1949)
18. “Aaj Ki Raat Badi Shokh Badi Natkhat Hai” in NAYI UMAR KI NAYI FASAL (1965) and “Humne Dekhi Hai Un Aankhon Ki Mehkati Khushboo” in KHAMOSHI (1970).
19. “Pehli Pehli Baar Mohabbat Ki Hai” from SIRF TUM (1999) and “Dil Deewana Na Jaane Kab Kho Gaya” in DAAG the Fire (1999).
20. “Kaamdev Jaisi Teri Suratiya” in TUM HASIN MAIN JAWAN (1970) and “Mere Paas Aao, Nazar To Milao” in SUNGHARSH (1968).
21. “Dekh Hamein Aawaz Na Dena” from AMAR DEEP (1958) and “Yeh Mera Deewanpan Hai” in YAHUDI (1958).
22. “Teri Sanson Mein Kaisi Khushboo Hai” in SHADI SE PEHLEY and “Koi Deewana Tumhe Chahega” in TERI TALASH MEIN (1968).
23. “Aap Ke Pehlu Mein Akar Ro Diye” from MERA SAAYA (1966) and “Ek Din Hasna Jo Chaha” in BAHAAR AANE TAK (1990)
24. “De Di Hamein Azaadi Bina Khadak Bina Dhaal” in JAGRITI (1954) and “Kya Mil Gaya Bhagwan” in ANMOL GHADI (1946).
25. “Dil-e-Nadaan Ko Jeene Ki Hasrat Ho Gayi Tumse” from CHUNARIYA (1948) and “Zamane Mein Aji Aisey Kayi Nadaan Hotey Hain” in JEEVAN MRITYU (1970).
26. “Ek Main Hun, Ek Tu” in DARLING DARLING (1977) and “Kahoon Kya, Tumse Apni Daastan” in GINNY AUR JOHNY (1976).
27. “Kabhi Khud Pe Kabhi Haalat Pe” in HUM DONO (1961) and “Ajeeb Saneha Mujh Par Guzar Gaya Yaaron” in GAMAN (1972).
28. “Ae Phoolon Ki Rani” in ARZOO (1965) and “Hamin Se Mohabbat” in LEADER (1964).
29. “Ek Baat Hui Kal Raat Hui” in PREM (1995) and “Bechain Hun Main” in RAJKUMAR (1996).
30. “Ishq Samunder” from KAANTE (2002) and “Nashe Nashe Mein Yaar” from JANASHEEN (2003)
31. “Kaisi Padi Maar” in VACHAN (1974) and “Zara Zara” in MAIN KHILADI TU ANARI (1994).
32. “Kehte Hain Pyar Kisko” in BAARISH (1957) and “Kitna Haseen Hai Mausam” in AZAAD (1940).
33. “Khubsoorat Haseena Jaanejaan Jaaneman” from MR. X IN BOMBAY (1964) and “Aye Mere Humsafar” in BAAZIGAR (1993).
34. “Yaad Mein Teri” in MERE MEHBOOB (1963) and “Band Hothon Se Jo Ek Baat” in SIR (1993)
35. “Munna Bada Pyara” in MUSAFIR (1957) and “Main Raju Deewana" in LAADLA (1994).
36. “Salaam Karne Ki Arzoo” in UMRAO JAAN (1981) and “Suni Jo Unke Aane Ki Aahat” in SATYAM SHIVAN SUNDERAM (1978).
37. “Meri Kali Kaluti Ke Nakhre Bade” from APNE RANG HAZAAR (1975) and “Tere Dard Se Dil Aabad Raha” from DEEWANA (1992).
38. “Ka Jaanu Main Sajania” in HUM PAANCH (1980) and “Do Hanson Ka Joda” from GANGA JAMUNA (1961).
39. “Aaja Aayi Bahaar” from RAJKUMAR (1964) and “Dekho Na O Babu” for GORI (1991)
40. “Woh Dil Kahaan Se Laaoon” in BHAROSA (1963) and “Dil Mein Kisi Ke Pyar Ka Jalta Hua Diya” in EK MAHAL HO SAPNO KA (1975). 
41. “Do Anjaane Ajnabi” in VIVAH (2006) and “Nazar Lage Na Saathiyon” from DES PARDES (1978).
42. “Mera Sunder Sapna Beet Gaya’ from DO BHAI (1947) and “Main Tere Liye” in MAIN TERE LIYE (1988).
43. Though “Genda Phool” from DELHI-6 (2009) is said to be inspired from a traditional song but the notes are also quite similar to “Been Na Bajana” in SUNEHARI NAGIN (1963).
44. A. R. Raman’s “Latka Dikha Diya Humne” in HINDUSTANI (1996) has got the notes similar to “Har Nazar Mein Sau Afsaane” in SHABNAM (1964).
45. “Duniya Mein Rehna Hai To Kaam Kar Pyare” in HAATHI MERE SAATHI (1971) gets turned into “Do Me A Favour Let’s Play Holi” in WAQT (2005).
46. The first line of the track “Dhire Chal, Dhire Chal, Aye Bheegi Hawa” from BOYFRIEND (1961) is quite similar to “Kaatey Nahin Kat Tey, Yeh Din Yeh Raat” in MR. INDIA (1987).
47. “Yashomati Maiyaa Se Bole Nandlala” in SATYAM SHIVAM SUNDERAM (1978) completely derived from “Aayi Gori Radhika” which was in GOPINATH (1948).
48. “Hum Tumhare Hain” from HUM TUMHARE HAIN SANAM (2002) and “Dil Laga Liya” in DIL HAI TUMHARA (2002), although both have been taken from a Pakistani Punjabi Hit of HADIQA “Boohey Baariyan”.
49. “Jaan-e-Jigar Jaaneman” from AASHIQUI (1990) and “Duniya Mein Tere Siva” in AANDHIYAN (1990), both inspired from a Pakistani film song, “Bas Ek Tere Siva” in DOORIYAN (1984). But actually the basic origin of this song seems to be in “Main Chali Main Chali” from PROFESSOR (1961).
50. “Mujhe Tum Mil Gaye Humdum” from LOVE IN TOKYO (1966) becomes the basis of “Tum Dil Ki Dhadkan Mein” in DHADKAN (2000).
51. “Gore Mukhde Pe” in SPECIAL 26 (2013) reminds you of “Teri Tirchi Nazar Mein Hai Jaddo” from LOAFER and also of the Punjabi title track “Uchha Dar Babe Nanak Da” in UCHA DAR BABE NANAK DA (1982).
52. “Tera Gussa Aye Haaye” in KAREEB very intelligently uses the famous cult composition of “Happy Birthday To You” both in its opening and interlude.
53. A. R. Rahman’s “Roja Jaaneman” in ROJA (1992) has got the similar notes as used in GARDEN VARELI Advertisement (in the early 90s)composed by Vanraj Bhatia and arranged by Ranjeet Barot.
54. “Phaili Hui Hain”from HOUSE NO.44 (1955) gets reworked as "Raaton Ko Jagkar” in SATWAAN AASMAAN (1992).
55. “Vivin Lob-Ich Liebe Dich-I Love you” the English German song in SANGAM (1964) was taken inspiration from and reworked after many decades as “Sun Sahiba Sun” in RAM TERI GANGA MAILI (1985).
56. Hemant Kumar’s composition of the song “Tum Pukar Lo” from KHAMOSHI (1970) was again used for the title track of Hrishikesh Mukherjee's tele-serial TALAASH, “Jeevan Ek Pyaas Hai, Sabhi Ko Kuchh Talaash Hai” in the early 90s.
57. The Holi song in MASHAAL (1984), “Holi Aayi Re” was based on Hridaynath Mangeshkar’s Marathi song in JAIT RE JAIT (1977) which also has got traces in the original Punjabi folk tune used in SHAGOON (1964) as “Gori Sasural Chali”.
58. Runa Laila’s song 'Pukaro Pukaro' from her private album SUPERUNA (1982) and “Gawah Hain” track in DAMINI (1993) have similar compositions, although they both are actually based on a western song “Malaika” by Harry Belafonte.
59. The melody of song “Mausam Beeta Jaaye” from film DO BHEEGA ZAMEEN (1953) was adapted as the theme music of the hugely famous T.V. serial NUKKAD in the mid eighties. However that's another hard truth that this was originally composed by Lev Konstantinovich Knipper (1910-1949) as Soviet Army Chorus And Band / Meadowlands (Polyushko Polye).
60. “Aao Ni Bheno, Ral Mil Gayiye” in SHAHEED BHAGAT SINGH (2002) uses the notes of “In Hawaon Mein, In Fizaon Mein” from GUMRAH (1963) but the composition also has a traditional Punjabi folk base.
61. “Chain Aap Ko Mila” in HUNGAMA (2003) is surprisingly exactly similar to the song “Chain Aap Ko Mila” in FOOTPATH (2003) both in composition and lyrics.
62. The title song of TV Serial GUBBAREY was reworked as "Dhan Tan Nan” in KAMINEY (2009) by Vishal Bhardwaj himself.
63. The title song of TV Serial AAHA (1995) was reworked as "Dheere Dheere Chalna, Yun Na Tu Matakna" in DULHAN HUM LE JAAYENGE by Himesh Reshamiya.
64. The title song of TV Serial HUMRAAZ was again used as another TV Serial AMAR PREM’s title song and later reused as “Sanam Mere Humraaz" for HUMRAAZ (2002) by Himesh only.
65. “Jaaney Kya Hoga Rama Re” track of KAANTE (2002) is clearly derived from “Koi Na Koi Chahiye Pyar Karne Wala” from DEEWANA (1993).

Now some surprisingly inspirational collage found in more than 2-3 songs as mentioned below :
1. The song “Gori Hai Kalaiyan” was first recorded for GORI (1991), which was again heard with the same words “Gori Hai Kalaiyan” in AAJ KA ARJUN (1990) and later also inspired “Aap Jo Mere Meet Na Hote” in GEET (!992). However its notes, interestingly also remind you of “Maar Diya Jaaye Ya Chhorh Diya Jaaye” from MERA GAON MERA DESH (1971).
2. “Dil Ke Armaan Aansuon Mein Beh Gaye” in NIKAAH (1982), “Dil Hi Dil Mein Le Liya Dil from AAJ KI AAWAZ (1984), “Dheere Dheere Aap Meri” in BAAZI (1995) and “Tumse Kitna Pyar Hai” in COMPANY (2002), all have similar mukhdas resembling to a Mehdi Hassan ghazal “Rafta Rafta Aap Meri Hasti Ka Saaman Ho Gaye”
3. "Thandi Hawayein Lehra Ke Aayein" in NAUJAWAN (1951), “Tera Dil Kahan Hai” in CHANDNI CHOWK (1954), “Yehi Hai Tamanna” in AAP KI PARCHHAYIAN (1964), “Rahen Na Rahen Hum” in MAMTA (1966), “Saagar Kinare Dil Ye Pukare” in SAAGAR (1985), “Hamein Raaston Ki Zaroorat Nahin Hai” in NARAM GARAM (1981) and “Hamein Aur Jeene Ki Chaahat Nahin Thi Agar Tum Na Hote” from AGAR TUM NA HOTE (1983), all have strikingly similar mukhdas.

Link for the complete detailed article on this song :
4. “Sham-e-Gham Ki Kasam” from FOOTPATH (1953), “Mere Man Ke Diye” from PARAKH (1960), “Mann Ke Panchhi” from NAINA (1973) and “Ek Din Aap Yun Humko Mil Jaayenge” from YES BOSS (1999) all have strikingly comparable beginnings.
5. R. D. Burman’s Bengali song "Tumi Koto Je Dure” was adapted in the song “Tune Kiya Kya Jadoo” in APNE APNE (1987) and then used again as “Aaja Meri Jaan” in AAJA MERI JAAN (1992). Later it also inspired another similar song “Aaja Sunle Sada” in GURUDEV (1992) and recently its again been used as a remix RDB version with the same words “Aaja Meri Jaan” in I LOVE NY (2013).
6. “Raja Jaani Na Maaro Nayanva Ke Teer” in WATAN PARAST (1934) was also heard in LAL KUNWAR (1952) and SANSAR (1971) which later was also found in SANSAR (1987) as “Radha Rani Na Jaiyo Ri Jamuna Ke Teer”.

Link for the complete detailed article on this song is given below:
And similarly there may be many more instances where talented music directors made complete masterpieces inspired from another already released songs in the past quite amazingly.
(With thanks to ‘Rajiv Vijaykar’ & his FB group on the same subject for being the inspiration behind this series on our own internal musical inspirations.)
(Note : If you also have an information of any such instance in Hindi films then please let me know as I would love to include it as your contribution to the list.)

Tags : Complete Hindi Songs from other film's background scores, Amazing Facts of Bollywood, Unknown Trivia of Bollywood at bobbytalkscinema.com, Amazing unknown facts on Bollywood and its music, Songs derived from Antras, Preludes and Interludes of other Hit Songs, Did You Know Facts about Bollywood at bobbytalkscinema.com
30 April 2013 / bobbysing /
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100 Years of Indian Cinema at Delhi

It was the event of Centenary Celebrations of 100 years of Indian Cinema at The Sri Fort Auditorium, New Delhi (April 2013), which got an overwhelming response from the enthusiastic lovers of Indian Films throughout the week beyond expectations. Interestingly, the festival also had few panel discussions scheduled on various topics featuring prominent film personalities such as Ekta Kapoor, Karan Johar, Sudhir Mishra, Dhritiman Chatterjee, Kiran Juneja Sippy, Dibaker Bannerjee and Luv Ranjan, which surprisingly got a fabulous response probably because of the known names & the stardom related to them. So at one end it was quite encouraging and great to see the young viewers coming in huge numbers to participate in these film discussions, but on the other it made me quite sad, hearing a small conversation between a young group of boys seated just behind me in the auditorium.
Now this conversation is being shared here with all friends, as it indeed draws our attention towards a serious issue related to the worth of our Indian Cinema & its maestros in the eyes of our new generation. More importantly, it points towards the way, our good old cinema is being seen today by the net-age, energetic youth and what exactly they have in mind about those Golden Years of films in our country and its precious gems………….!
The Auditorium had just finished with a lively panel discussion and the beautiful host announced the next two screening in the adjacent halls which were of Kamal Amrohi’s PAKEEZAH and Raj Kapoor’s JAAGTEY RAHO. But just after the announcements were made, I heard the voice of few boys sitting in the row behind, which simply left me stunned and immensely sad…………….! And they said,
Ist Voice – Ab Kon Si Picture Dikhayange Yaar?
IInd Voice – “PAKEEZAH”
Ist – Yeh Kaun Si Film Hai…………..Bahot Purani Hai Kya?
IInd – Arey Yaar Yeh Woh Hai Na…….Urdu Waali…….!
------ (Then Enters a third voice) ------
– Bhai Yeh Wohi Hai Jo Pehle Hoti Thi Na….…Sad, Depressing Picturen……Negative Feeling Waali!
Ist – Achha………Kaun Kaun Hai Ismey?
IInd – Ek Meena Kumari Hai…… Aur Hero Ki Mujhe Shakal Pata Hai……….…Naam Yaad Nahin Aa Raha!
Ist - Rehne De Yaar, Pakayega Kya…………...Doosri Kaun Si Hai?
IInd – Doosrey Audi Mein Hai “JAAGTEY RAHO”……..Raj Kapoor Ki!
Ist – Achha Wahi Jo Charlie Chaplin Ki Tarah Acting Karta Tha!
IIIrd – Arey Yeh Wohi Hai Yaar……..……Jo Pehle Gareebi Ke Upar Picturen Banti Thi Na..….., Jisme Woh Chowkidaar Type Hota Hai!
Ist – Ha Ha, Bhai Yeh “JAAGTEY RAHO”…………Sula To Nahin Degi Na!
IInd – “PAKEEZAH” Se To Theek Hi Hogi…….Chalo Wahi Dekhte Hain!
And saying that they all stood up and went to the Audi next door, leaving me truly stuck to my seat like a lifeless object with so many thoughts running in my head about the frightening image of our Golden Era of Hindi Cinema in the minds of today’s young brigade.
But giving it a second thought, I couldn’t really blame those boys for such disrespectful depiction of those classic films as they and millions of other ‘cinema loving’ young minds of the country are actually neither being informed nor taught about that Golden Era of Hindi Cinema anywhere around in the form it should have been ideally done. In other words, unless one seriously opts for a film-making related course or for a professional degree related with film-making in India, he/she largely remains unaware of all those Golden Classics which are nothing less than a text book material both as a source of entertainment as well as a means of teaching you the basis essence of life & its emotions.
As a result, what happens is that only the people involved or interested in film-making (which are few in numbers) are in turn aware of these precious gems of the past in real terms and the rest (majority of our younger population today) simply go on living on whatever is fed to them in the name of cinema and entertainment in the present times. And in case some real film enthusiast gets interested to know about that Golden Years from the internet, then at the most what is available to him is either IMDB or Wikipedia portal, which only gives you a complete professional account about the film & its reviews or some individual websites & blogs which feature their personal opinion of that valuable era or films lead by their own biased interests and likings.
100 Years of Indian Cinema at DelhiIn short, we don’t really have an official, authentic & unbiased informative source which can tell the youth about the rich historical heritage of our Indian Cinema and its celebrated maestros from all its regions. So in my opinion, either there has to be an easily doable short term course which can be opted by any (18+) lover of films without any other restrictions or at least a well planned, educative website should be there, which can make the younger and coming generations aware of all our Masters Of Indian Cinema and their immensely cherished gems of the gone eras collectively. And this needs to be done not only for Hindi Films but for all kinds of Regional Cinema being made in our country which at times has proved even more important than Hindi movies in front of the world audience evidently.
To be specific, a young energetic Indian film lover should no doubt know about all the past & current big shots of Hindi Films taking the legacy forward. But along with that he also needs to be informed about our other respected veterans & their cherished film-works from Bengali, Gujarati, Marathi, Telugu, Tamil, Malyalam, Kannada, Punjabi, Asaamese, Oriya & other regional languages cinema as a must.
Coming back to the point of ‘Short Knowledgeable Courses’ teaching you the art of watching and the actual worth of films made in the past, “Film & Television Institute of India” (FTIT) Pune, “National Film Archive of India” (NFAI) Pune, “Whistling Woods International” Mumbai and a few more reputed institutions have been conducting short “Film Appreciation Courses” on a regular basis with a considerable amount of fee, from the last few years. But these are being offered in only two or three major cities like some professional courses and not as a means to educate the youngsters of today’s progressive India about the medium of cinema as an art from.
To deal with the truth, these “Film Appreciation Courses” need to be conducted in every major town (other than the Metros too) for a very affordable fee, which in turn would enable the young minds of our country to know & compare that what was being made earlier and what’s being made now, forced and lead by the financial forces of the market, quite sadly.
Plus these “Film Appreciation Courses” need to enlighten every young film enthusiast of India in clear words that actually “Indian Cinema” is not a synonym to “Hindi Cinema or Bollywood” at all. In reality, the bitter truth lies behind the curtain that there have been many equally worth watching or even more important films been made in the past in the other regional parts of the country and the tradition is still continuing till date.
Hence before moving on to experience the World Cinema and its famous maestros, the youth today urgently has to be educated about our own Indian Cinema at first (including all regions) through these widely available “Film Appreciation Courses”. So that tomorrow they can respectfully remember or cherish Dada Saheb Phalke, Raj Kapoor, Satyajit Ray, Ritwik Ghatak or Adoor Gopalakrishnan rightly for what they have contributed to the world of cinema in real terms and not for anything less than that.

On a concluding note, If you ask me to sum up in one line that “Why I am emphasizing so much to make this “Film Appreciation Courses” available everywhere in the country for the young & crazy Indian movie buffs?...................Then I would prefer to give the answer in the words of Pritish Nandy (a renowned journalist, producer and social activist), as said by him in the documentary called “Baavra Mann”, in which he says,
The problem in Cinema today is that, nobody wants to be GREAT,
but they all want to be RICH!”
And as I see it, the line says it all……………., simply all……that can be said!
Bobby Sing
Tags : The Unknown GOLDEN ERA of HINDI CINEMA, Sad Expereince at Indian Cinema Centenary Festival in Delhi, Need for Film Appreciation Courses in India for all kind of regional cinema. Articles on Cinema by Bobby Sing, Indian Cinema and its maestros.
28 April 2013 / bobbysing /
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As an essential clarification, I would like to begin with the fact that if a film is remade or its sequel is planned after decades (to en-cash the euphoria around its original title), then there are simply no grounds on which either the films or their music can be compared in any form or manner whatsoever. And the gigantic reason for this valid argument is that those two projects are purely related to two different times, distinctive eras and two diversely brought-up generations which don’t allow us to discuss any kind of comparative study related to the projects unnecessarily. Therefore the review here has nothing to talk about the original AASHIQUI released in 1990 or its extremely popular music in the paragraphs ahead.
However, the other harsh reality here remains that with AASHIQUI 2, the Bhatt camp once again proves the wide spread notion in the industry that they truly know the film business more than anybody else in the present, when it comes to making remakes, sequels and inspired movies with some hit tracks unarguably. Dealing with all similar projects only (remakes & sequels) in the last few years, the Bhatts have passed on their “HIT Formula” of making low budget, inspired movies with a new star-cast & super-hit music to their next generation too. And the new brigade is clearly making the most out of it quite evidently as visible in their latest venture AASHIQUI 2.
The film has a title fetching them an instant recognition due to its brand value, an already successful soundtrack, an interesting fresh lead pair and the whole ‘Cost-Factor’ under control like a perfectly planned business venture which has no probability of giving them losses even if the film is not liked by majority of the audience sitting in the theater. In short this is an ideal example of how successful films are now being made in our Industry like branded Soaps, Perfumes and Shampoos selling in the departmental stores displayed in some attractive packing on the shelves.
Oh! Wait, I really missed the major ingredient of film-making here in the above description, which happens to be “The Storyline or Script” in a film as required. But then, that’s never been a problem with The Bhatts since they’ve always got the English or World Classics by their side, as their truly inspiring friends, providing them everything they require from start to finish related with the storyline of their films. So following their own decades old track record, this time they pick up the 1976 version of A STAR IS BORN, directed by Frank Pierson and featuring Barbara Streisand & Kris Kristofferson in the lead.
Interestingly, the English film has its own history of remaking in both the West and the East beginning from the year 1937. After its initial release in 1937, it got remade twice in 1954 & 1976 (in the west) because of its engaging subject on music & its illustrious career struggles. In India, Hrishikesh Mukherjee made his own cult classic ABHIMAAN in 1973 featuring Amitabh Bachchan and Jaya Bhaduri (Bachchan) in the lead, which was a subtle Indianised version of a similar tale. Though the original AASHIQUI (1990) too, revolved around the same subject of musical careers, ego clashes and misunderstandings between the lead pair. But it’s the current 2013 remake of the Hit, which religiously takes its inspiration from the 1976 version of A STAR IS BORN, revolving around the life of a immensely famous Rock Star fading away from the charts due to his drinking habits & arrogant nature.
No doubt, director Mohit Suri and his writer Shagufta Rafique add their own notable insertions in the script to make it an intense emotional love saga, as always expected from the Bhatts. But in the process they push their film into an avoidable zone which is too melodramatic, extremely slow and not so happening for the young audience in particular, after its first hour. In straight words, the film begins well with all its introductory scenes and manages to hold the attention of its viewers in a decent manner. But just before and after the intermission, it loses all its pace, becomes completely predictable and offers nothing in the name of entertainment (read emotional pleasure), despite of having some good tracks playing in the background.
At times it does make you feel the ‘Mahesh Bhatt Impact’ in few of its lovable scenes (Mahesh lends his voice in the film as the Father), but along with that the film also has few directly lifted sequences from the original as usual. It begins with an exactly similar scene taken from the 1976 remake of A STAR IS BORN, the couple meet each other in a bar in almost the same settings and then the film ends too on an identical note, truly following its inspirational source from the West, unsurprisingly.
The film’s Soundtrack is already a Big Hit, its Cinematography is fine and the Background Score provides what was required from it in a decent manner. But somehow I felt the arrangement (orchestrisation) of its songs too heavy and repeatedly interfering with the otherwise melodious compositions of the tracks & their meaningful lyrics. May be it was done keeping in the mind the Rock base of the film, but could have been toned down a lot as I felt personally. Anyway, AASHIQUI 2 is sure going to be the major vehicle in the career of its singers such as Arijit Singh, Ankit Tiwari & more.
In the acting department, the fresh pair is likable and they have also acted well in their difficult roles respectively. Yet the appreciation would more go towards Aditya Roy Kapur than Shraddha unfortunately. The boy impresses you right away from his first scene itself and then seems to be at a comfortable ease with his confused character throughout the film. Shraddha looks cute and does well particularly in the second hour. She is sure going to win some hearts with her innocent feature, but still I couldn’t feel the emotional attachment with the two characters suffering together on the screen and couldn’t relate to them honestly as I wished too.
Probably one of the reasons for this detachment from the film was its story-base which in the current scenario is simply bizarre and unimaginable. Because today there is no place as such for Pop Singers or their Individual Pop Albums in Indian Music Market anymore. Yes, this was the scene in the 90s when Pop Culture was flourishing in India due to the Cable TV revolution in the country. But in this new millennium, only film music rules the nation and there is almost no scope of any Pop Artist to make such a name & fame in only few weeks as shown in the film.
In a nutshell, it has got performances and some good music too but how many times we are supposed to see the same rotten story again & again like dumb viewers. Its fine that in our part of the world if you have a Hit soundtrack then half of your box office battle is already won. But what about the entertainment factor or the emotional connect in a movie for which the viewers are there sitting in the theater. And in case that is missing in an intense love story such as AASHIQUI 2, it really doesn’t deserve any high ratings as far as this review is concerned.
Rating : 2 / 5 (Including 1 only for its soundtrack)
Tags : Aashiqui 2 Review by Bobby Sing, Aashiqui Movie Review by Bobby Sing, Reviews by Bobby Sing at bobbytalkscinema.com, Bollywood Reviews By Bobby Sing, New Hindi Films Reviews By Bobby Sing at bobbytalkscinema.com, Bollywood Movies Reviews at bobbytalkscinema.com, Bobby Sing Bollywood Reviews, New Bollywood Movies Reviews, New Bollywood Movies Released, New Hindi Films Reviews, New Hindi Movies Reviews, New Hindi Movies Released, New Bollywood Reviews, Bobby Talks Cinema Review, Reviews By Bobby Sing, New Hindi Films Reviews at bobbytalkscinema.com, Inspired Films, Copied Films, Inspired from the West, Aashiqui 2 inspired from A Star is Born (1976)
26 April 2013 / bobbysing /
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Records Music-2

In the second part of this series “The Art of making Fresh Songs derived from other Hindi Film Soundtracks” already released, here are the references of some memorable tracks which were just reworked from the antras, preludes or interludes of other existing songs very intelligently.

But once again I would like to remind that all the inclusions here are not mentioned in a negative sense to raise some allegations on our talented music directors of the Golden Era & present. Instead its all about the healthy & intelligent inspirations which they took either from their own earlier works or from the works of other fellow music composers as a humble gesture of mutual appreciation, which was once lovingly visible in our Hindi Film Industry prominently.
So in this Second Part of the series, here is the….
List of Songs extracted from the Antras, Preludes or Interludes of other already released songs, which can be easily spotted as you listen to the source tracks mentioned below, once again :
1. The song “Gharhi Gharhi Mora Dil Dhadhke' can be heard in the interlude of 'Aaja Re Pardesi' from the same film MADHUMATI (1958).
2. 'Baagh Mein Kali Khili' from CHANDA AUR SURAJ (1965) is there in the interlude of 'Saathi Re, Tujh Bin Jiya Udaas Re' from POONAM KI RAAT (1965).
3. Interlude of “Jaani Tum To Dole Daga Deke” from DR. VIDYA (1962) later gets re-composed as “O Panchi Pyare” in BANDINI (1963).
4. The Bhajan “Kaahe Apno Ke Kaam Nahin Aaye Tu” from RAMPUR KA LAXMAN (1972) can be found in the notes of interlude of “Aaj Ka Junli Raat Ma' from TALAASH (1969).
5. The antra of 'Haan Pehli Baar' in AUR KAUN (1979) are very similar to the antra of “Thodi Si Jo Pee Li Hai' from NAMAK HALAAL (1982).
6. In the song "Aapko Agar Zaroorat Hai” in HATYA (1988), the phrase "Take-Take-Take" gets composed as another melodious song in film DILJALAA (1987) as “Jaan Tan se, Tan Jaan Se”.
7. The Theme Music of MERA NAAM JOKER (1972) can also be heard towards the end of the song “Har Dil Jo Pyar Karega” in Raj Kapoor’s SANGAM (1964).
8. In the track, “Chand Sa Mukhda Kyon Sharmaya” from INSAAN JAAG UTHA (1959), the mandolin piece that follows the mukhda plays the notes of another song "Dho Ley Tu Aaj Apne Dil Ke Har Daag Dho Ley' from APNA HAATH JAGANNATH (1960).
9. One of the ‘Chorus Interludes’ from the song "Chehra Hai Ya Chand Khila Hai" in SAAGAR (1985) was re-used as the antra of "Tune Kiya Kya Jadoo" which was sung by RDB only in film APNE APNE (1987).
10. The prelude & the Ist interlude of the song “Aa Zara Mere Hamnashin” from POONAM (1981), becomes one of the main hit song of KAREEB (1998) as “Chori Chori Jab Nazren Mili”.
11. And then an interlude of the same song “Aa Zara Mere Hamnashin” from POONAM (1981), becomes the main melody of “Tu Hawa Hai Fiza Hai” in FIZA (2000) too.
12. The antra of “Rabbi Re Rali Gulaab Ki Kali” from YAARANA (1995) is exactly similar to the antra of “Dil Tera Deewana Hai Sanam” from DIL TERA DEEWANA (1962)
13. The interlude of song “Maine Rab Se Tujhe Maang Liya” from KARMA (1986) becomes the Mukhda/ Sthaya of a song in EK HI RAASTA (1993) as “Akh Mere Yaar Ki Dukhe”.
14. The antra of Ram Laxman's song from film TARANA (1949) “Gunchey Lagey Hain Kehne” gets recycled in a very intelligent manner by him only for the mukhda of “Maye Ni Maye” in HUM AAPKE HAIN KAUN (1994).
15. The interlude of “Tere Naino Ne Chori Kiya Mera Chhota Sa Jiya” from film PYAAR KI JEET (1948) suddenly reminds you of the similar notes used in the prelude of “Jiya Beqaraar Hai Chhayee Bahar Hai” from BARSAAT (1949).
16. A small musical piece in the interlude of “Mujhe Teri Mohabbat Ka Sahara Mil Gaya Hota” from AAP AAYE BAHAR AAYI (1971) at once reminds you of another beautiful song “Kuchh Iss Tarah Do Dil Mile” from BHAIRAVI (1996).
17. The song “Hamesha Hamesha” in HAMESHA (1997) very cleverly uses the theme music or signature tune of MERA NAAM JOKER and RK Films both in its composition and ending musical piece.
18. The antras of “Batao Tum Kaun Ho” song from ANMOL (1993) are composed just as it is, like in the cult classic “Yeh Sama, Sama Hai Pyar Ke” from JAB JAB PHOOL KHILE (1965).
19. The prelude of the song “Frenny O Frenny” in KHATTA MEETHA (1981) later becomes the track “Tanhayee Tanhaaye Tanhaaye” in KOYLA (1997).
And similarly there may be many more instances where talented music directors made complete masterpieces inspired from the Antras, Interludes or Preludes of other songs quite amazingly.
(With thanks to ‘Rajiv Vijaykar’ & his FB group on the same subject for being the inspiration behind this series on our own internal musical inspirations.)
(Note : If you also have an information of any such instance in Hindi films then please let me know as I would love to include it as your contribution to the list.)
Tags : Complete Hindi Songs from other film's background scores, Amazing Facts of Bollywood, Unknown Trivia of Bollywood at bobbytalkscinema.com, Amazing unknown facts on Bollywood and its music, Songs derived from Antras, Preludes and Interludes of other Hit Songs.
24 April 2013 / bobbysing /
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