A warm welcome to all friends visiting the site with a loving invitation to read my personal expressions on movies, music, poetry and life.

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Subah-O-Sham : First Hindi film shot in Iran in 1972 (Did You Know - 86).

WAITING - Do watch this beautiful, thought provoking film, particularly for its inspiring, realistic dialogues, though mostly in English. (Review By Bobby Sing).

PHOBIA - A well enacted, experimental thriller that isn't great, but still an interesting one time watch for Radhika alone. (Review by Bobby Sing).

VEERAPPAN - RGV is there only in parts, in this brutal but average bio-pic made on the criminal who ruled till decades. (Review by Bobby Sing).

KAPTAAN (Punjabi) - A more blatantly inspired and much poor second clone of JOLLY LLB released in Punjabi Cinema within a gap of just six months. (Review By Bobby Sing).

SARBJIT - Hooda remains the only saving grace in this lackluster filmy take on a real life tragedy, more interested in the STAR, using a forced mixed language sounding awful at times. (Review By Bobby Sing).

DEAR DAD - A forced & unconvincing attempt made on an underdeveloped bold plot that doesn't get any kind of support from the writing department. (Review By Bobby Sing) .

AZHAR - Keeps focusing on the court case and affair instead of any finer details of the icon's contribution to cricket, resulting in a big disappointment. (Review By Bobby Sing).

BTC's Excellence in Hindi Cinema Awards for 2015 (Articles on Cinema by Bobby Sing).

CAPTAIN AMERICA: CIVIL WAR (English/Hindi) - Excelling in its action, focusing on mutual relationships, it somehow turns out to be less exciting than expected. (Review By Bobby Sing).

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June 01, 2016 Wednesday     

Subah-O-Sham - 1

The news of our Prime Minister’s recent visit to Iran reminded me of Subah-O-Sham, the first Hindi film shot in Iran, released way back in 1972 as an Indo-Iranian project featuring Mohammad Ali Fardeen (or Fardin), the matinee idol of Iran as one of its lead actors (as mentioned in its titles) accompanied by Simin Gaffari, Loretta, Irin, Azar and more in the supporting cast.
Among the Indian actors it had Sanjeev Kumar and Waheeda Rehman playing the key roles under the direction of Chanakya (of Ram Aur Shyam fame). Story and produced by B. Radhakrishna, the film’s music was by Laxmikant Pyarelal, lyrics by Anand Bakshi and DOP by Khani, an Iranian cinematographer along with many other technicians from Iran.
Interestingly Sanjeev Kumar played the younger brother of the Iranian star in the film that actually revolved around an affair between Fardeen and Waheeda, who played an Indian-origin dancer by profession, not acceptable on any terms by Fardeen-Sanjeev’s royal family. Including a long comic sequence presenting Waheeda as a princess in front of their dominating mother, the film had all predictable twists in the script ending on a positive note wherein both Waheeda and the illegitimate child of the couple is finally accepted back into the family after a tragic incident.
Subah-O-Sham in IranIts soundtrack had Lata Mangeshkar, Kishore Kumar, Asha Bhosle and Mohd. Rafi giving voices to songs “Chhorh Mujhe Peene De”, “Saaqi Ki Zaroorat Hai, Na Jaam Ki Zaroorat Hai”, “Teri Meri, Meri Teri Nazar Lad Gayi”, “Tumko Mubarak Ho Yeh Shaadi Khaana-aabadi”, “Meri Biwi Jahan Se Niraali Hai” and “Mere Laal Aaj Tera Janamdin Hai”.
Released with the title of Homaye Saadat (Bird of Happiness) in Iran, it had many known Indian actors dubbing for the Iranian cast in the Hindi version and it was Satyen Kappu who became the voice of the lead star Fardeen. Mostly shot in indoors instead of sets or outdoors in Iran, the film is one of those lesser known and discussed films of Hindi Cinema despite being the first Indo-Iranian project to be shot in the particular country featuring its famous star.

This article was published on NEWS18.com on 24th May 2016 with the title :
“Remembering ‘Subah-O-Sham’, the first Hindi Film shot in Iran.” – By Bobby Sing
Tags : Subah-O-Sham First Hindi film shot in Iran in 1972, Articles on Cinema by Bobby Sing, Did You Know 86 at bobbytalkscinema.com, Did You Know Book Series by Bobby Sing, Published by Notion Press
31 May 2016 / bobbysing /
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Keeping the initial phase apart, if we divide the history of Hindi films broadly into two segments, namely before and post the ‘90s, when the cable and digital revolution made its foray in India, then only two legendary artists, Amitabh Bachchan and R. D. Burman, have been able to leave a mark on every generation of these times through their amazing body of work. So either we talk about people born in the ‘60s, ‘70s or the ‘90s, these two legends have millions of fans from different age groups and are still continuing to win hearts in the present decade.
Incidentally the latest proof of this continuing love affair is the release of two new films in the week when this piece went to press. Wherein one is ‘Piku’ starring Amitabh Bachchan in the key role of a cute, eccentric father and second a comedy ‘Kuch Kuch Locha Hai’ featuring a remixed song of R. D. Burman, ‘Jaane Do Na’ from the film ‘Saagar’ (with all newly conceived antras/verses) picturised on the infamous Sunny Leone and Ram Kapoor.
However, returning to our key subject, the master composer is widely known for his melodious tracks, innovative orchestrisation and wide range of compositions made for various film and non-film projects. But not many are aware of the fabulous background scores composed by the veteran in his illustrious career apart from the evergreen familiar sounds of the epic ‘Sholay’. And one of those lesser-known projects, largely depending upon its background music alone, was O. P. Ralhan’s comic-thriller ‘Hulchul’ released in 1971.
OP Ralhan creates HulchulIn fact, it’s the only film of R. D. Burman that had no songs as such but just a title track with the word ‘Hulchul’ sung by RDB and Asha Bhosle. Plus a more than seven-minute long, superbly choreographed dance sequence (beginning with the commentary by Amrish Puri) performed by Helen on a well-composed instrumental track representing various cultures of the world and our own traditional dance forms with RDB singing some abstract phrases occasionally.
Based on a mysterious plot of a husband planning to kill his wife, ‘Hulchul’ was promoted with a tag line ‘Most Unusual Motion Picture Ever Made’ introducing both Kabir Bedi and Zeenat Aman on screen (as mentioned in its titles)and had an unpredictably entertaining climax, which was never seen before in a Hindi film. The timely use of its title track at regular intervals with an apt background score did bring up the thrilling moments in the film quite beautifully and thus one has to acknowledge RDB’s evident contribution made to its mysterious story progression.
So if you are a true, die-hard RDB fan, then either you must have already seen ‘Hulchul’ or would be going for it at the earliest to witness the only project of the maestro with no songs but a powerful background score making a solid impact.
Bobby Sing


(This article of BTC was published on IBNLIVE website on 13th May 2015 with the following title)

"When an R. D. Burman film had no songs in it" - By Bobby Sing


Tags : Did You Know facts about Hindi Cinema at bobbytalkscinema, Unknown Hindi Films Facts by Bobby Sing, Lesser known facts about Hindi Cinema by Bobby Sing, RD Burman and his only film with no songs, RD Burman's background scrore, Bobby Sing at IBN Live, Rare Facts on Bollywood by Bobby Sing
14 May 2015 / bobbysing /
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Sahir Ludhianvi

In the early decades of Hindi films post-independence, when lyricists and composers used to heartily appreciate the memorable works of their fellow artists, there was a rare instance when a socially relevant song in film Nastik (1954) was answered later in a comic-parody form in film Railway Platform (1955) by an entirely different team of known creative men in all good spirits.
The memorable, realistic song depicting the inhuman aftermath of partition and hypocrisy practiced in the society was both penned and sung by the respected Kavi Pradeep in the composition by C. Ramchandra (film directed by I. S. Johar) and is still remembered as one of the most iconic songs of Hindi cinema surprisingly relevant even today in the present scenario. And its true to life lyrics go as:
Dekh Tere Sansaar Ki Haalat Kya Ho Gayi Bhagwaan,
Kitna Badal Gaya Insaan….., Kitna Badal Gaya Insaan,
Sooraj Na Badla, Chaand  Na Badla, Na Badla Re Aasmaan
Kitna Badal Gaya Insaan….., Kitna Badal Gaya Insaan!
A quite bold poetic statement for those nation-building times, the song took the entire country by storm and was answered by Sahir Ludhianvi in the next year along with Mohd. Rafi, S. D. Batish (as singers) and Madan Mohan (as composer using the same tune of C. Ramchandra) in film Railway Platform (1955) directed by Ramesh Saigal (the first movie of actor-director-politician Sunil Dutt). The song was a funny parody also shot in a comic setting on screen, mocking at the hypocrite social standards revealing the wide gap between the rich and the poor in relation to the supreme Almighty. And its lyrics using the subjects in reverse order were:
Dekh Tere Bhagwaan Ki Haalat Kya Ho Gayi Insaan,
Kitna Badal Gaya Bhagwaan….., Kitna Badal Gaya Bhagwaan,
Bhookhon Ke Ghar Mein Phera Na Daaley, ‘Sethon’ Ka Ho Mehmaan,
Kitna Badal Gaya Bhagwaan….., Kitna Badal Gaya Bhagwaan!
No doubt the lyrics of the parody presented a much more sarcastic vision of our society as an answer, blaming it all on the supreme power only in return. But at the same time, using the exactly similar thought, meter and composition of another team, certainly gives us a clear idea of the healthy creative environment existing among the talented creators of those times who mutually had an honest wish to have a better and peaceful society ahead in the independent India and did believe in “Imitation as the sincerest form of flattery” complimenting each other.
Interestingly a few years later in 1958, Sahir came up with another introspective answer to two highly esteemed poetic expressions of the most respected Urdu poet and philosopher Muhammad Iqbal (also known as Allama Iqbal), titled Tarana-e-Hind’ or ‘Tarana-e-Hindi’ (Song of the nation Hindustan) and ‘Tarana-e-Milli’ (Song of the Religious community).

To simplify the terms, we know ‘Tarana-e-Hindi’ by the countrywide popular phrase of “Saarey Jahan Se Achha Hindustan Hamara” and its opening lines go as:
Saarey Jahan Se Achha, Hindustan Hamara,
Hum Bulbuley Hain Is Ki, Yeh Gulsitan Hamara!
Whereas ‘Tarana-e-Milli’ talked about the Islamic community alone beginning as:
Cheen-O-Arab Hamaara, Hindustan Hamaara,
Muslim Hain Hum, Vatan Hai Saara Jahaan Hamaara!
Taking the two expressions together, Sahir again came up with an exceptional, hard hitting parody using similar phrases in film Phir Subah Hogi (1958 – based on Dostoevysky’s Crime & Punishment) sung by Mukesh in the music direction of Khaiyyam (film directed by Ramesh Saigal). And the answer very daringly depicted the cynical realities of life simply rejecting the optimistic vision of Muhammad Iqbal in a rebellious manner as:
Cheen-O-Arab Hamaara, Hindustan Hamaara,
Rehney Ko Ghar Nahin Hai, Saara Jahaan Hamaara!

Jitni Bhi Buildingen Thi, ‘Sethon’ Ne Baant Li Hain
Footpath Bambai Ke Hain Aashiyaan Hamaara
Soney Ko Hum Qalandar, Aatey Hain Bori Bandar
Har Ek Coolie Yahaan Ka, Hai Raazdan Hamaara

Cheen-O-Arab Hamaara, Hindustan Hamaara,
Rehney Ko Ghar Nahin Hai, Saara Jahaan Hamaara!
It is said that the song became a youth anthem at that time, just a decade after the Indian independence when all educated unemployed youngsters had no clear directions of where to move ahead with their individual careers. Considered as ‘controversial lyrics’ it was well-noticed by the authorities too for its unpleasant but true representation of the times by the one and only Sahir Ludhianvi, who till date finds no parallel when it comes to such poetic-satirical comment on the sad state of our society and its changing mindsets. For instance just look at the word “Seth” (Capitalists) used in both the songs mentioned above painting an ugly picture of the wide divide, painfully exploiting the poor.
However the biggest irony is that the meaningful lyrics written by the blessed poet in the mid 50s are still equally relevant in the present, after more than half a century gone and many generations changed. In fact that’s what perfectly represents the introspective, futuristic vision of an extraordinary poet with incomparable writing skills fondly known as Sahir Ludhianvi.
Incidentally Sahir too got a sharp answer for his “Taj Mahal” nazm by another renowned poet-lyricist Shakeel Badayuni in film “Leader” (1964) directed by Ram Mukherjee with music composed by Naushad and the track beautifully sung by Lata Mangeshkar and Mohd. Rafi.
To give you the exact phrase, towards the end of his famous nazm Sahir wrote,
“Ik Shahenshah Ne Daulat Ka Sahaara Le Kar
Hum Gareebon Ki Mohabbat Ka Urhayaa Hai Mazaaq,
Meri Mehboob Kahin Aur Mila Kar Mujh Se!”
And in answer to that Shakeel expressed it in his lyrics as,
“Ik Shahenshah Ne Banwa Ke Hasin Tajmahal
Saari Duniyaa Ko Mohabbat Ki Nishaani Di Hai,
Iske Saaye Mein Sada Pyaar Ke Charchey Hongey
Khatm Jo Ho Na Sakegi Woh Kahaani Di Hai”
Again two exceptionally talented poets/lyricist of our ‘Golden Era’ at their creative best!

Bobby Sing
© Bobbytalkscinema.com April 2015 
Tags : Sahir Ludhianvi answers Kavi Pradeep and Allama Iqbal, Did You Know facts about Hindi Cinema at bobbytalkscinema, Unknown Hindi Films Facts by Bobby Sing, Lesser known facts about Hindi Cinema by Bobby Sing
09 April 2015 / bobbysing /
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