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

Music and Movies are like Ears and Eyes to me and if you also feel the same, then you are going to enjoy every moment spent on my works here, for sure.

Do send in your valuable comments and suggestions as they would be my guide for all the future works.

ENJOY!

GABBAR IS BACK - The intentions are noble but the content is all stale except the hospital sequence, few dialogues and two key performers. (Review By Bobby Sing).

KEVI RITE JAISH (Gujarati, 2012) - An enjoyable family entertainer teaching a crucial lesson to the youth about their 'impractical foreign dreams'. (Review By Bobby Sing).

SPIRIT (2012 - Malayalam) - Not perfect but a fine, noble effort focusing on an alarming social problem of alcoholism. (Review By Bobby Sing).

O KADHAL KANMANI (Tamil) - A predictable yet engaging, young film, perfectly getting into the mindset of a new-age couple. (Review By Bobby Sing).

JAI HO DEMOCRACY - A good-intentioned but loud and over ambitious political satire, partially inspired from MANTO's classic short story "Tetwal Ka Kutta". (Review By Bobby Sing).

KAAGAZ KE FOOLS - Such poor, directionless attempts only make it more difficult for all upcoming small projects and their makers. (Review By Bobby Sing).

COURT (Marathi) - A must watch fearful depiction of our police and judicial system that luckily got a national award instead of getting banned. (Review By Bobby Sing) (Movies To See Before You Die - Court Room Drama).

MARGARITA WITH A STRAW - Hindi cinema takes a big progressive leap with Shonali Bose, Nilesh Maniyar and Kalki Koechlin, the QUEEN of 2015. (Review by Bobby Sing).

MR. X - How could they even enjoy writing & making such a childish take on the exciting theme? (Review By Bobby Sing).

The link between Guru Nanak's divine AARTI, Jagannath Puri, Rabindranath Tagore and World Anthem. (An insight by Bobby Sing).

 
 
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May 04, 2015 Monday     

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!

HIS BLESSINGS
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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Ek Baap Chhe BeteMahmood, the most successful comic artist in the history of Hindi cinema, whom distributors insisted to be given a separate individual track in a film despite presence of many big stars, had to deal with a tough personal life unfortunately. And not many know about the versatile actor’s unique film titled EK BAAP CHHE BETE (1978), inspired from his own life story featuring his six sons as suggested by its title and the American wife Tracy playing their respective characters.
Written (story) and directed by the legend himself, the film begins with the words “True Life of Mahmood In A Filmic Way”, boldly showcasing the veteran’s flirting nature resulting in severe personal losses giving an important social message to the audience. And it certainly needs a lot of courage and insight to accept that publically in a project featuring his six grown up sons and wife.
The film has Mausami Chatterjee playing the role of his first wife Madhu and Mrs. Tracy Mahmood herself playing the second (American) wife gracefully (the mother of his two youngest kids). Mahmood’s sons Masood Ali aka Pucky Ali, Maqsood Ali aka Lucky Ali, Maqdoom Ali aka Macky Ali, Masoom Ali, Mansoor Ali and Manzoor Ali play the six brothers in the family who were also seen in films like Kunwara Baap (Macky - 1974), Yehi Hai Zindagi (Lucky – 1977) and Hamare Tumhare (Masood, Lucky - 1979). Later Lucky Ali made a name for himself in the Indi-pop scene of the late 90s and Macky was also seen in a hit song video “Yaaron Sab Dua Karo” sung by Ram Shankar.
With its soundtrack composed by Rajesh Roshan and lyrics by Majrooh Sultanpuri & Mrs. Tracy Mahmood, EK BAAP CHHE BETE has fine songs such as “Ghadi Milan Ki Aayi”, “Daddy Don’t Go” and more sung by Kishore Kumar, Sulakshana Pandit and all kids. In addition it also has a track sung by Mahmood towards the end with the opening lines “Buddhi Teri Chaal Buddhi" along with Sulakshna Pandit, Vijeyta Pandit and Lucky Ali.
Another exciting feature of the film is the long list of entertaining cameos in it by renowned artists like Jaya Bhaduri, Kishore Kumar, I. S. Johar, Keshto Mukherjee, Yogeeta Bali, Shobha Khote, Bindu, Mukri, Mohan Choti, Jr. Mehmood and Nutan in a surprisingly modern avatar.
Produced by Ashok Shinde, though the film might not be rated as a well made attempt looking into the life of a once highly successful film-star father of six sons, EK BAAP CHHE BETE still remains a well intentioned project that makes you meet a different Mahmood willing to accept his mistakes of life honestly, ending on a thoughtful note addressing all the husbands saying,
“The End.......... BUT Be Faithful To Your Wife”
Indeed a very sincere and courageous effort from the legendary artist Mahmood.
Cheers!
Tags : Ek Baap Chhe Bete By Mahmood, Mahmood life story movie, Mahmood;s six sons and wife in a film, Mahmood's autobiographical film, Did You Know facts about Bollywood, Amazing unknown facts about Hindi films, Bollywood Trivia at bobbytalkscinema.com
 
 
14 January 2015 / bobbysing /
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Reading about all controversies over Sanjay Leela Bhansali’s RAM-LEELA and Hirani-Aamir’s PK in the recent years, if you think that we have now become more sensitive in the issues related with religion in the present times then you are gravely mistaken as this has been happening since the Golden Era of Hindi films unfortunately.
In 1961 even Dilip Kumar had to face a rather embarrassing scenario when his film GANGA JAMUNA (as actor-producer) got caught in the censor troubles and was asked to make many major cuts. Astonishingly one of those objected scenes was in the climax when Dilip Kumar says ‘Hey Ram’ as his final words before dying. And why it was objected – it should be an obvious guess for anyone knowing the thespian’s original personal backdrop with a different name. The film was later passed after being shown to the then Prime Minister, Pt. Jawaharlal Nehru along with the much needed explanations given by Dilip Kumar himself and is now considered as a cult classic of Hindi Cinema widely.
Kalyug Ki RamayanLater in the late eighties, Manoj Kumar, the man popularly known as Bharat Kumar making films representing the Indian culture brightly embracing its various religions equally, also had to face a strong opposition from the censors as well as the people when he courageously made a satire titled KALYUG KI RAMAYAN in 1987. Starring Prem Chopra, Om Prakash, Madhavi, Bindu, Rajiv Goswami and more it had music by Kalyanji Anandji along with lyrics by Maya Govind, Verma Malick and Manoj Kumar. The storyline pointed towards the changing state of our society more interested in imitating the west forgetting their own traditional values and had an interesting concept of Lord HANUMAN visiting the earth to set a family right. Directed by Babubhai Mistry and edited by Manoj Kumar, every character in the film had a name similar to the ones found in the sacred RAMAYAN and the title role of Pawan Kumar was played by Manoj himself enacting as Lord HANUMAN interacting with everyone as a common man.
In the veteran’s own words, this was one of his best scripts that went through a lot of changes and lost all its original charm in its final version. The characters were earlier called Ram-Sita and it also had a song with the lyrics, “Kalyug Ki Sita Milne Judge Ko Chali, Sau Chuhe Khake Billi Haj Ko Chali” that couldn’t be included due to the objections raised (later changed to "Kalyug Ki Kanya"). The censor board refused to pass the film (with a threat of ban) without the suggested cuts and thus the title had to be changed from KALYUG KI RAMAYAN to KALYUG AUR RAMAYAN, but the film was no longer the same as conceived post all the alterations. Interestingly this is also considered as one of the weakest films from the visionary director in his last phase that also couldn’t do any wonders at the box office despite all controversial publicity gained before its official release.
Giving you a personal account, recalling that time of the year in 1987, every theatre used to have many huge hand-painted display hoardings of the upcoming films in their premises weeks before their actual release. So there was a large hoarding of the said film too in NATRAJ theatre in our locality (West Delhi, now taken over by FUN CINEMAS) with the title written in big letters KALYUG KI RAMAYAN having a red image of Lord HANUMAN in the backdrop of Manoj Kumar standing with his hand in the pockets dressed in white (as shown in the picture above). For weeks we kept seeing that hoarding catching attention with its attractive colours standing tall along a few others.
Kalyug Aur RamayanBut just a couple of weeks before its release date, as the news of many objections raised on the film’s suggestive content came in the newspapers, one fine morning we were informed about an agitation being made in the theatre premises shouting some slogans asking for pulling the posters down. After a timely intervention by the Police officials, the protestors went back making some noise and within a day came the next news of film’s title being changed inserting an ‘AUR’ making a clear distinction between the two heavy words, ensuring its timely release.
One of our friends used to be a local banner and board painter in those days, operating from a small shop just behind the theater who was then called in by the owners after the change of title. And accompanying him we excitingly witnessed the painting of AUR instead of KI in the film’s title written on the huge hoarding converting it to KALYUG AUR RAMAYAN.
Looking back, though today many might rate the movie as a B-C grade, below average film made on an interesting concept. But admitting it honestly, I really enjoyed watching it then on the bigger screen with all those tacky special effects and love to watch it again in the present times too on the home video format quite often.
Concluding the write-up, yes we are currently into the second decade of the new millennium enjoying all the amazing developments around. Yet we still find it hard to grant such creative freedom to the film-makers/writers or painters when it comes to the subject of RELIGION ………..as always.

HIS BLESSINGS
(For friends interested in reading the original interview of Manoj Kumar given back in June 2012, do click at the link below and Enjoy!)
Tags : Kalyug Aur Ramayan and Censor Issues, Kalyug Ki Ramanyan caught in censors, Did You Know facts about Bollywood, Amazing unknown facts about Hindi films, Manoj Kumar and Censor issues with film Kalyug Ki Ramayan, Bollywood Trivia at bobbytalkscinema.com
 
 
27 December 2014 / bobbysing /
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