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!

 
 
  Directors I Love  
  Alfred Hitchcock  
  Mehboob Khan  
  Woody Allen  
  Akira Kurosawa  
  Basu Chatterjee  
  Bimal Roy  
  Charlie Chaplin  
  Chetan Anand  
  Govind Nihalani  
  Gulzar  
  Guru Dutt  
  Hrishikesh Mukherjee  
  Kamal Hassan  
  Ketan Mehta  
  Mrinal Sen  
  Quentin Tarantino  
  Raj Kapoor  
  Richard Attenborough  
  Sai Pranjpe  
  Satyajit Ray  
  Shyam Benegal  
  Steven Spielberg  
  Vijay Anand  
  Ram Gopal Verma  
  Ashutosh Gowariker  
  Mani Ratnam  
  Aleksandr Petrov  
  Saeed Akhtar Mirza  
  Shekhar Kapoor  
  Yash Chopra  
  Frank Capra  
  V. Shantaram  
  Billy Wilder  
  Rajkumar Hirani  
  Vishal Bhardwaj  
  Tigmanshu Dhulia  
  Dibaker Banerjee  
  Rajkumar Santoshi  
  Majid Majidi  
  Ritwik Ghatak  
  Clint Eastwood  
  Prakash Mehra  
  Manmohan Desai  
  Shoaib Mansoor  
  Anurag Kashyap  
  S. S. Rajamouli  
  B. R. Chopra  
  Stanley Kubrick  
 
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January 30, 2015 Friday     
Gulzar SaabIt was the last quarter of 1996 and the first night show of MAACHIS at Liberty cinema, the still operational single screen theatre in the famous Karol Bagh region in New Delhi. This particular Friday was one of the most awaited ones especially by the Sikh community since many months, as everyone was more than eager to see how Gulzar has depicted the sad state of Punjab and its people in the film with reference to the infamous terrorism, the invisible sufferings and exploitation of the youth ruining numerous families of Punjab in the ugly decade of 80s and early 90s.
The Punjabi community had many hopes from the film mainly because MAACHIS was directed by Gulzar, who with a Sikh background was expected to understand the core issue much better than any other director of Mumbai as a logical deduction. Thankfully the expectations were largely fulfilled for a major part of the audience all over making a solid impact and the hit song “Chappa Chappa Charkha Chaley” played a key role in it unarguably. The track was widely being used for Bhangra performances in colleges, schools or private functions and mind you it was still not the time of DJs coming for every small family party or get-together without an exception.
The song was one of our favourites too and by ‘our’ I mean my group of friends who used to meet every Friday night for the new Hindi film released unconditionally (whatever it takes to be there at the theatre, at any cost). And therefore that night too we were all sitting in the back rows of Liberty cinema, excited enough to watch the film with no information about what was in store for us next offering a surprisingly pleasant gift to be cherished for long.
A few advertisements were running on the screen as usual before the film when suddenly the lights came on again and there was a strange unrest in the hall with whispers all over. After a few moments, the person in our next row said,
“Koi Aa Raha Hai Kya?”
And then the other said, “Hero Kaun Hai Film Mein………Main To Pehchaanta Bhi Nahin!”
To this the first man replied, “Hero To Gulzar Hi Hai, Wohi To Nahin Hai Kahin!”
I was excitingly hearing their conversation and was feeling the goose bumps too with the name of Gulzar coming up in their talks. Was he really coming and am I going to see him in person tonight all of a sudden? The thoughts were fast running in my mind looking at the doors in the front when few people started rushing in hurriedly. And in the group behind were two young boys dressed stylishly (Chandrachur Singh and Jimmy Shergill as I can remember) along with a person in complete white attire who had to be the man I was looking for. As they all stepped on to the small stage in front of the screen, there was a huge roar of applause and I got the first glimpse of the maestro waving towards the crowd and then standing with folded hands on the stage till the compere asked the people to settle down.
Making many repeated requests the compere was unable to control the crowd and in no time big shouts of ‘Bole So Nihaal, Sat Sri Akal’ were all over the theater since almost 70% of the audience were Punjabis and students of Khalsa College situated quite close to the theatre. With the young ones not interested in calming down, the organizers decided to make it short and gave a quick introduction of the stars and then Gulzar Saab, asking him to say a few words. As the mike was passed to him he started addressing the people calmly and in no time I found myself rushing towards the front pushing everyone coming in the way quite rudely. Few of my friends accompanied me and in just a few seconds we were standing right behind the crowd gathered around the director and his cast willing to shake hands with them as their true fans (there were no mobiles at that time to click pictures......making it more beautiful & real).
Noticing the crowd becoming restless inching ahead slowly, the compere asked the cast members and Gulzar Saab to move out and they once again waved to the audience before stepping down. During these few minutes, I didn’t even notice what was being said on the stage as I was only interested in being close to the master once and touch his feet too if possible. With the same intention as they all came off the stairs, I just bent down stretching my hand from within the people standing ahead of me and somehow managed to reach Gulzar’s Saab’s feet feeling the magic touch. The maestro probably realized someone has touched his feet and was willing to see the face for showering his blessings too. But by the time I managed to come up again to make an eye-contact, he had already moved ahead and just turned away not having found the face who touched his feet from within that crazy crowd as a passionate, loving fan. And watching him move out of the door, I found myself standing still like a stone with a big wish fulfilled all of a sudden without even making an eye contact with my beloved magician of words – Gulzar Saab.
Cut to, today after so many years gone by, I decided to share the personal experience here with all friends of BTC because of a loving inspiration coming from Sh. Pavan Jha and I truly hope this honest expression of mine somehow reaches the maestro too as another respectful, pyar bhara Charan-Sparsh after a gap of two long decades since 1996.
HIS BLESSINGS
Tags : Gulzar The Magician of Words, When I touched the maestros feet, Those cherished cinematic moments By Bobby Sing, Nostalgia, Nostalgic Hindi Cinema of the 90s, Liberty Cinema Karol Bagh, Maachis, Gulzars film on Punjab Terrorism, Chappa Chappa Charkha Chaley, Articles on cinema, Articles on Music, Poetry and Life, Vinage Films and Articles.
 
 
27 January 2015 / bobbysing /
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Continuing the Exclusive BTC series travelling back in time when the film magazines had quality articles not written by the routine journalists or columnists but by the veteran artists themselves, this is the second article in the series penned by the thinking star NARGIS herself, before she became NARGIS DUTT and even before her cult film got released titled MOTHER INDIA.
The article pleasantly showcases the thoughtful persona of the actress where she is very much aware and concerned about how a woman is being portrayed in Indian films with the changing times.
              Mother India Onshoot Rare Pic

Man’s Better Half : As depicted on the Indian screen
(FILMFARE – November 9, 1956) 

(Click on the following links to open the high quality scans in a different window that can easily be read by enlarging the text with the zoom option.)

Page 1 /  Page 2 
With a hope that the effort would be appreciated by all dear friends of BTC, I really wish this valuable treasure entertains and enlightens maximum number of friends through the social networks and may it also encourage many other collectors to share their possessed gems too making a serious effort.
Cheers!
Tags : A Vintage Article by NARGIS, When the veterans used to write themselves, Bobby Talks Cinema Exclusive, Vintage Filmfare Magazine, Old Vintage film Magzines, Old Scans of Bollywood Magazines.
 
 
05 January 2015 / bobbysing /
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Tere Bachpan Ko - Bobby Talks CinemaTo begin with, its not easy to pen a situational song for a Hindi film made on a difficult subject such as MUJHE JEENE DO (1963) based on the life of a revolutionary dacoit and his surrender post an emotional twist. Plus it becomes even tougher when that twist has to be the song itself sung by the dacoit’s wife and a thoughtful mother predicting the probable future of their child who will never be accepted by the society as a fellow human, being the son of a known and wanted criminal.
However, the way Sahir Ludhianvi expresses the fearful mother’s emotional dilemma through his simple yet introspective words, composed in a haunting melody by Jaidev and flawlessly sung by Lata Mangeshkar as a perfect rendition certainly makes the track as one of the most exceptionally written, composed and sung lyrical gems from a Hindi film soundtrack unarguably. Moreover with the onscreen contribution of Waheeda Rehman, Sunil Dutt and their director Moni Bhattacharjee, it becomes even more precious treasure of our Hindi film music not to be missed at any cost.
Coming at the most crucial stage of the film, the song has a mother thinking about the future life of her child, who yet doesn’t know about the family he has born in and how that is going to affect his entire life adversely in the coming years. And such is the power in those poetic lines penned by Sahir, that the child’s father, a known dacoit has to take the major decision of surrender with a heavy heart going through a major transformation.
Tere Bachpan Ko - Bobby Talks CinemaSharing my personal experience, years back when I first heard this unforgettable creation watching the film on DVD, I couldn’t move ahead the song for at least an hour and kept on watching it in a repeat mode with twinkles in the eyes and a lump in the throat. The song gives me goosebumps even today whenever it is played and I am sure many of my friends here would be feeling the same while watching it even in this new millennium.
Talking about its worth-praising execution on the screen in those times of no computer graphics and technological advancements, just notice the way the director begins the song after a tragic moment with a meditative couplet.
Witness the way a mother forcefully has to express these scary thoughts with tears in her eyes for her own son.
The transformation of the child from a toddler to a 6-7 years old kid living in those rough conditions with his ‘wanted’ parents.
The pensive look at the face of Sunil Dutt throughout the song along with his silent group members.
The way, the director uses the studio sets with paintings, religious symbols, their shadows and other props so beautifully through innovative camera angles.
Tere Bachpan Ko - Bobby Talks CinemaIn short, just stop and contemplate after each new couplet of the song and experience the depth in the poet’s heart wrenching thoughts predicting the future of such child waiting for the tragedy to happen any time, any moment in his uncertain life ahead.
To end on a thankful note, I am grateful that I could witness this kind of simplicity, truthfulness and brilliance on screen before it all went out to the fakeness facilitated by the graphics and advanced technologies of the present times. I consider myself lucky to be able to feel the magic in these black and white figures expressing many life enriching moments on the screen with such purity, ease and elegance. And sharing the immortal gem with a hope that the song reaches the heart of every friend of mine too reading this honest piece with HIS BLESSINGS!
Video Link for the precious song : https://www.youtube.com/watch?v=ECphye5BvqY

Tere Bachpan Ko Jawaani Ki Dua Deti Hun
Aur Dua Deke Pareshan Si Ho Jaati Hun
Mere Munne Mere Gulzaar Ke Nanhe Paudhey
Tujhko Haalaat Ki Aandhi Se Bachaane Ke Liye
Aaj Main Pyaar Ke Aanchal Mein Chhupa Leti Hoon
Kal Yeh Kamzor Sahara Bhi Na Haasil Hoga
Kal Yeh Kamzor Sahara Bhi Na Haasil Hoga
Kal Tujhe Kanton Bhari Raah Pe Chalna Hoga
Zindagani Ki Kadi Dhoop Mein Jalna Hoga

Tere Bachpan Ko Jawaani Ki Dua Deti Hoon
Aur Dua Deke Pareshan Si Ho Jaati Hoon
Tere Mathey Pe Sharaafat Ki Koi Mohar Nahin
Chand Bosey Hain Mohabbat Ke So Woh Bhi Kya Hain
Mujhsi Maaon Ki Mohabbat Ka Koi Mol Nahin
Mujhsi Maaon Ki Mohabbat Ka Koi Mol Nahin,
Mere Masoom Farishtey Tu Abhi Kya Jaane
Tujh Ko Kis Kis Ke Gunahon Ki Saza Milni Hai
Deen Aur Dharm Ke Maare Hue Insaano Ki
Jo Nazar Milni Hai Tujh Ko Woh Khafa Milni Hai
Tere Bachpan Ko Jawaani Ki Dua Deti Hoon
Aur Dua Deke Pareshan Si Ho Jaati Hoon
Berhiyan Leke Lapakta Hua Kanoon Ka Haath
Tere Maa Baap Se Jab Tujh Ko Mili Yeh Saughat
Kaun Laayega Tere Vaaste Khushiyon Ki Baraat

Kaun Laayega Tere Vaaste Khushiyon Ki Baraat,
Mere Bachey Tere Anjaam Se Ji Darta Hai
Teri Dushman Hi Na Saabit Ho Jawani Teri
Kaanp Jaati Hai Jise Soch Ke Mamta Meri
Usi Anjaam Ko Pahunchey Na Kahaani Teri
Tere Bachpan Ko Jawani Ki Dua Deti Hoon
Aur Dua Deke Pareshan Si Ho Jati Hoon
(Salute to Sahir Ludhianvi for writing it and to Jaidev, Lata Mangeshkar, Sunil Dutt, Waheeda Rehman and Moni Bhattachjee for adding more meaning to it with their valuable contributions.)
Cheers!

(Note :
The film MUJHE JEENE DO (1963) also features in the "Movies To See Before You Die" List at BTC.)
Tags : Tere Bachpan Ko Jawani Ki Dua Deti Hun, Mujhe Jeene Do Immortal Songs, An emotional gem by Sahir Ludhianvi, An overview by Bobby Sing, Jaidev Gems, History of Hindi Film Music, Hindi films from the Dacoit Era, Must Watch Gems of Hindi Cinema.
 
 
26 November 2014 / bobbysing /
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