From Dard-e-Dil to Dard-e-Disco

Preface: On op/ed on the demise of Indian music. Please note that I am not attributing Karan Johar as the first to use the dreaded concoction of a language below but rather one of the key contributors to the trend of said concoction as a "must have" in each modern-day album...

From Dard-e-Dil to Dard-e-Disco: The Evolution of Hindi Film Music
The ‘When’ and ‘How’ of the transformation of those romantic ditties we once cherished into present-day Hinglish anomalies, minus the ‘Why’…

By Sabrina Siddiqui

Do you ever recall the dreamy duets of yore with your favorite hero and heroine running around trees and through the fields of Switzerland in gay abandon, and subsequently heave a sigh of exasperation at the current state of Hindi film music? Perhaps you wonder when popular wordings along the lines of “tu mile dil khile” turned into “with you, my dil just khils”? Ok, maybe that abomination of a lyric is yet to surface, but it is only a matter of time, my friends!

The truth of the matter is, or so we are led to believe, love songs are out, and disco beats are in. Now we have no problems with dance numbers, and they are by no means new to Hindi cinema. Shammi Kapoor did a “yahoo yahoo” almost 50 years ago in the film that more or less defined his career (Junglee, 1961). Everyone from Amitabh Bachchan to Rishi Kapoor knew how to shake a leg under multi-colored disco balls, and let us not even get started on Mithun “Disco Dancer” Chakraborty.

But who said that the audience no longer wants the soothing, classical Indian percussions that accompany lyrically pleasing love ballads? I, for one, can recall the early incorporation of that must-have Hinglish number, but I cannot for the life of me remember when it became the mandate for every other track on an album.

First off, as is with most modern-day contrivances, you can point your fingers at usual suspect Karan Johar. What started with a simple You Are My Soniya in Kabhi Khushi Kabhie Gham (2001) continued in his 2003 reworking of Pretty Woman and mother of all disco songs to follow, It’s the Time to Disco, in Kal Ho Naa Ho (2003). And yes, he merely produced the latter, which was actually directed by Nikhil Advani. And double yes, Shankar Ehsaan Loy were behind the music. But the more important yes, Johar was likely behind the major shot calling, including that of the final music product.

So we embraced the frivolousness that is typically associated with most Dharma Productions’ films, but little did we know that it marked somewhat of a turning point in Hindi music. Because what has followed is five years of ever declining quality of music, said to be catered to a larger (read: global) audience without taking into account the fact that no one ever asked for a ban on the simple and solid tunes about pyaar, ishq and mohabbat.

If my memory serves me correct, the Salman Khan/Sushmita Sen/Katrina Kaif starrer Maine Pyaar Kyun Kiya (2005) took the trend to new heights, where all but two songs on the entire album were spared the insertion of Hinglish, deliberately silly lyrics. I will repeat here that this is not an attack on the notion that poorly written dance numbers are fun. Yours truly has those absurdly catchy item numbers from Billu Barber (2009) on repeat on her iPod.

Instead, it is somewhat of a cry for at least some soulful, meaningful music. Because A.R. Rahman is just about the music industry’s own version of a bailout, and even he wants to prove to the world that Pappu Can’t Dance. At least in his case, the tune is subject appropriate and not the summation of his entire album.

In summary, somewhere music directors are missing the cue that many of the most popular songs today remain the Hindi/Urdu-penned, rustic-feeling compositions that most of us have grown up on. Let us not forget that Haule Haule and Guzarish/Kaise Mujhe were the unanimous standout tracks from Rab Ne Bana Di Jodi and Ghajini (2009) respectively. Or the fact that among the top three best-selling albums of the last decade lies one of the greatest gems to have come in recent times, Veer-Zaara (2004), an accumulation of the Late Madan Mohan’s unused tunes dating back to decades prior to his death.

We the people are fine if the music is meant to get us Rocking and Reeling, but an old-school musical intervention is also of the utmost need.

Original Link: http://www.desiclub.com/desimusic/desimusic_features/music_article.cfm?id=279

A Tale of One Too Many Bachchans

I must begin by saying I found the original Sarkar to be highly overrated. Before the vast majority of you reach for your daggers, I will admit it was good. But to try and remake something so epic as The Godfather series would always leave one treading thin waters, even if that someone was Ram Gopal Varma. Once an esteemed storyteller and director known for delivering critically-acclaimed films like Rangeela, Satya and Company, he for some godforsaken reason lost his marbles and, somewhere along the way, the consequences were ghastly: Darling; Ram Gopal Varma Ki Aag; Nishabd; and Darna Zaroori Hai. While Sarkar Raj, the follow-up to the overblown Sarkar, is a decent attempt at salvaging a fading director's career, it sadly falls extremely short of what could have been.

If Sanjay Leela Bhansali took the color blue in Saawariya and really ran with it, RGV opts for extreme close-ups and shadowy locales in Sarkar Raj. Unfortunately, that is about all he does - shower the audience with playful camera angles, most of the time giving the filming of his story more importance than the characters, dialogues and actual proceedings.

And so we have the Bachchan family, complete with papa Amitabh, beta Abhishek and bahu Aishwarya, coming together for a confusing and seemingly pointless two hours. There is no need to delve into the plot, as it is widely known and can easily be found on the Internet. Essentially it is a concoction of the mafia, a power plant and some caricaturish politicians, with a few Gandhian morals thrown in. Confused? So was I.

Because we are constantly barraged with faces, an overbearing (and repetitive) background score and a number of those splendid moments where RGV chooses to drown out dialogue for music, it is hard to really follow what is happening in the circus that is the Sarkar household or feel for any of the characters, for that matter. From a film-making perspective, RGV's experimentation with the camera is most welcome. But as was the case with Ajay Devgan's directorial debut U, Me Aur Hum, after a while you really have had enough.

The best scenes are often those that draw on the original, such as Amitabh and Abhishek's discussions on Kay Kay Menon's death in the first film (the latter played Amitabh's elder son in the first installment, whom Abhishek himself had to shoot down). Other than that, the climax may come as a surprise, but then the last couple of reels lack any real power.

The worst of the scenes are those in which the tears shed, and RGV opts for the Amitabh Bachchan show, complete with the Yashraj sitar booming alongside his heavy words. Why RGV thought it necessary to transport us to the world of Kabhi Khushi Kabhie Gham and Mohabbatein is beyond anyone's guess. Isn't this the crime world we're talking about? Surely this is no place for the old headmaster of Gurukul...

Nonetheless, Amitabh of course performs with conviction. He is softer (for the most part) and really takes over in the last half hour or so. Still, one was hoping RGV would have in this case stuck with The Godfather theme and shifted the focus more on Abhishek.

Although it could be that this was made impossible by Abhishek's obvious boredom from start to finish. For any emphasis to occur on his character, the man would have to first actually speak, but God forbid he was made to utter more than a 'no' here and a threat there. Bachchan Jr. can act. He proved so in Yuva and excelled in those affable, Bunty Aur Babli sort of roles. But here, the man simply looks uninterested. He sleepwalks through his role, relying heavily on piercing the camera with his eyes, but let's face it...he is not his father, and it takes a little more than that to garner the audience's empathy.

His wife, on the other hand, is tolerable from an acting standpoint, yet suffers from the most poor character sketch of them all. When she first appears in the film, Aishwarya is depicted as a tough, unyielding sort of businesswoman who has every intention to get what she wants. Cut to all of two scenes later, and she is a teary-eyed lass who falls for the junior Sarkar and suddenly seems to be present in his house, morning, day and night, sitting in on his conversations with senior Sarkar, casually batting her eyelids without so much as two lines. It almost becomes evident that she is there for the sake of being Abhishek's real-life partner, although Mr. RGV would have done well to note that of the pair's five films together, only Guru sent some ripples through the box office.

The rest of the supporting cast comes and goes. Tanisha Mukherjee should very well quit the film industry or take some fast acting tips from sister Kajol. She doesn't really do anything wrong in the film, but at the same time she lacks any screen presence whatsoever (and we all saw in Neal n' Nikki what happens when the girl does try to act).

Verdict? It may be worth the DVD rental, given it is slightly better than the larger amounts of garbage out there at the moment. On the other hand, do we not see enough of the Bachchan trio in the press as it is? You may just want to revisit the old Sarkar or - even better - the old RGV, i.e. the films mentioned at the start of this review.

Conjugal Clothing?

Abhiwariya have done it again. After their choreographed salsa dance at Aishwarya's recent birthday, better known as Ash-Bash 2007, the couple we all love to hate graced the audio release of Gangotri in ...matching denim jeans and white collar shirts. The staple yet stale fashion statement notwithstanding, one can only assume they firmly believe that 'the couple that dresses together...stays together'. Cheesy much?

The good news is that the two are looking fit, and Abhi baby is on his way to outgrowing wifey's hair.

P.S. - We neither know what Gangotri is, nor do we particularly care.

A Spoonful of Sugar

While it is quite common to hear people argue that Mr. Amitabh Bachchan is now overexposing himself by appearing in one too many films, one cannot help but deny that there is still an element that draws you into watching him on-screen. Indeed, he will always be one of the finer Indian actors, and that is precisely why it is hard to resist a film that pairs him with one of the country's finest actresses, Tabu.

Touted as "A Sugar Free Romance", Cheeni Kum is precisely that. A film that, without the conventional hero/heroine, college campus setting and barrage of background dancers, tells the simple tale of how two individuals share a couple of chance meetings and proceed to fall in love. Only there is no real declaration of their love - no shouting from rooftops or pouring buckets of tears while mouthing the standard 'Main tumse pyaar karti hoon' shannanigans - but a simple mutual admiration that develops over time.

The catch is that these protagonists share an 30-year age gap (Bachchan is said to be 64 and Tabu, 34). Bachchan works as a scrooge-like head chef at "Spice 6", the top Indian restaurant in London, while Tabu frequents his joint and teaches him a thing or two about real zafrani pulao. All the while, they are surrounded by a wise-beyond-her-years cancer-striken child (Swini Khera), a bumbling kitchen staff, Bachchan's Sex and the City-obsessed mother (Zohra Sehgal) and Tabu's drama queen of a father (Paresh Rawal).

What works for the film is the fact that each individual enacts his or her role with utmost ease. Yes, we could have gone a lifetime without having to witness Bachchan shop around a drug store for contraceptives, but the truth is that he is good in any role he takes on. This is also an uncharacteristically understated performance from the senior, complete without the echoing baritone voice and piercing looks we are so used to.

Tabu interprets her role with the perfect element of sarcasm and wit. It's a shame we don't see more of her, and it really is a loss to the industry that they do not give her the credit she deserves. After The Namesake, she continues to show why she is one of the best in the business.

Fans of Paresh Rawal who enjoy him at his over-the-top, Hera Pheri best will be disappointed that this is not such a role. He does have moments of humor, but his purpose is more to provide conflict in the otherwise casual love story.

Newcomer Swini Khera is very impressive as the smart-talking child. It's nice to see Indian filmmakers finding less annoying children of late (other welcome additions include Ali Haji from Fanaa/Ta Ra Rum Pum/Partner and Angelina Idnani, also from Ta Ra Rum Pum). Zohra Sehgal is just right for her role.

The music dominates the background and is not really something you pay much notice to, even if it does sound reasonably ear-pleasing.

Of course, there is a downside. At times the film fails to hold your interest. You find yourself flipping through a magazine or getting up to grab something from the kitchen - in other words, it's no film that you feel the need to give your 100% attention to.

Also, there is an overall feeling that something is missing from the film. It's one of those ventures where you don't really feel like you're watching a film. It's almost like watching an hour of Eastenders ...

Nonetheless, it's something different - not at all to be compared with Nishabd, another recent film that paired him with a significantly-younger actress, as the two films are poles apart in terms of theme and content.

Verdict? What harm can a little sugar do?

Why God Why?

Some films should never be made. They may have all the elements of a good film - a competent director, a reasonably exciting star cast, a couple of catchy tunes and visibly high production values. Nonetheless, I repeat, they should never be made.

Now it is one thing if the script on paper seems like a worthy idea. There are many instances when you watch a not-so-great film and, while you are disappointed with the outcome, you can see how the original plan seemed fine but the execution was flawed.

In the sad case of Jhoom Barabar Jhoom, one can't seem to comprehend how the idea ever seemed appealing to begin with. The film tells the sorry tale of four blithering idiots: Abhishek Bachchan, a smart-talking and good-for-nothing pendu, most commonly found standing around the corners of Southall; Preity Zinta, an absurd and so-called Muslim who simultaneously shouts out in defense of Pakistan and Muslims while also chanting about how she has slept with some ridiculous amount of men; Bobby Deol as a very wooden millionaire who talks in a monotone, clearly reading from the script voice; and Lara Dutta, a French/Indian hotel manager whom it is difficult to understand more than half the time.

Ah yes, there is also Amitabh Bachchan as a horrendously-clad gypsy of some sort - you know, the kind your parents once told you to avoid at all costs? The very sight of him in this film is shocking and frankly, completely unnecessary.

Maybe the characters are somewhat unique, but they are for the most part incoherent and intolerable. The first half of the film - where Abhishek and Preity are telling one another about their (not-so) respectable love interests - is downright unbearable. You almost contemplate switching the film off, but something inside of you wonders if it could possibly get better. Instead, the story goes no where and instead you encounter a 30-minute dance marathon with the same title song reappearing for a second and third outing in this blasphemous enterprise.

One would hope the star quality would lift the film, but the performances leave much to be desired. Abhishek tries very hard, but it's not some fantastic role that can lift the film from the dumps in which it resides. Bobby is a poor excuse of an actor in the first half, but his Mama's boy routine in the second half is far more appreciated. Preity is loud, obnoxious and Botox-ed like there is no tomorrow. It's sad, really, given one of her better performances just came last summer in the form of Kabhi Alvida Na Kehna, but it seems that was nothing short of a diamond in the rough. Lara somehow manages to speak in French-accented Hindi and sound plausible - sadly, the act itself is so irritating that it overbears her effort. She's done quite well in the film, but once again - no single actor is about to salvage this disaster.

The music consists of the same song, Jhoom Barabar Jhoom, in three forms. The best two are those showcased in the dance contest - JBJ and Jhoom Barabar Jhoom. Bol Na Halke Halke is a very nice song, but the entire sequence involving the song is completely nonsensical and one of the worst attempts at triggering romance in a Hindi film. The less said about songs like Ticket to Hollywood and Kiss of Love, the better. The titles themselves say enough.

The biggest question mark in the film? Shaad Ali. For someone who made his directorial debut with Saathiya, something that was unique, consistent, laden with fine performances and, of course, a musical gem, Shaad has certainly catapulted into an almost B-grade venture. There was an all right Bunty Aur Babli in the middle, thanks to the charm of Abhishek and Rani, again a fun musical score and, barring the climax, an enjoyable ride. Yet how the same director could create such a massacre will perhaps remain the unsolved mystery of his career.

Verdict? Don't even THINK about it.

Treading the Fire

It was many years ago that Ram Gopal Varma announced himself as one of the most skilled filmmakers in the industry. He is perhaps most fondly remembered for giving Aamir Khan an unforgettable role in Rangeela, a film that also turned Urmila into an overnight star. His Satya undoubtedly won him the most critical acclaim, but it remains difficult to single out just one film from a director whose resume reads of Sarkar, Company, Kaun or even a Bhoot and a Mast. And so far we've only talked of direction. The list of creative films he has written and/or co-produced and the many assistants who turn director and attempt to mimic his style is rather endless. And now, after much talk, hype and controversy, his Sholay-inspired RGV Ki Aag is finally set to release this Friday.

Let it be said right now that the intention of this post is not to undermine Varma or any of his skills. I think the introduction rather proves that I am fully aware of his talent and also believe in his ability as a director. Nevertheless, Sholay is, in my most humble opinion, a film best left untouched. Especially when, as is this case with this endeavor, copyright laws are restricting you from using the same title or repeating character names, thus you end up with names that make your project sound more like a parody than a tribute.

With that, let's have a look at the casting, and where it all went wrong...

Ajay Devgan as Heero (Veeru)

We all know if there is one thing Ajay Devgan cannot do, it is comedy. He has tried and tried again, be it an Ishq or a Golmaal; or how about the recently disastrous Cash (see second post)? And for some reason beyond the world, RGV thought Ajay a good fit to Veeru.
True, Dharmendra was an action hero, too. But Dharmendra also had a flair for comedy that Ajay does not possess. On the contrary, Ajay would have been a perfect choice for Amitji's character, Jai. He's brooding and he's sarcastic - that is, if I'm not wrong, what defines Jai. Ajay getting silly drunk and climbing a tower to declare his love for the chatterbox Basanti? Yeah, I see it as a potential massacre, too.

So who should have been cast as Heero? Good question. I understand Varma's reservations about casting either of Dharmendra's actual sons. Let's face it - neither Sunny nor Bobby are good enough actors. And sure, like I said, you don't have to be a great actor to play the part. So maybe someone like Salman Khan or Akshay Kumar could have very well done it. The character is that of a drinker/skirt-chaser - last time I checked, that was Salman Khan as we know him. As for Akshay, the flirtatious quality + impeccable comic timing also would've made him a good candidate. Plus - both in both age and physique - they are in the right place to make a good Veeru/Heero.

Prashant Raj as Raj (Jai)

I'm sorry, who? While I am all for launching new talent, casting the first runner-up of Mr. India 2004 in a role even the most accomplished actors could have difficulty with is a recipe for disaster. Don't get me wrong - I'm not writing the guy off without even seeing him, but his boyish looks already render him too young for the role and certainly far too young to be playing Ajay Devgan's partner. And why create a cast of strong names like Amitabh Bachchan, Mohanlal, Ajay Devgan and Sushmita Sen, and then throw in a random newbie into the equation?

Young Prashant could turn out to be a surprise package, but he looks like a carbon copy of that James fellow Varma was so adamantly (and unsuccessfully) trying to push into the industry at one point. So who should have been Jai? I know what all of you are thinking - two words - Abhishek Bachchan. But let's face it: while Abhishek is turning out to be a fine young actor, he very much likes to imitate his father. It's only natural. But casting Bachchan junior in a role that his father originally played could really just end with him trying to literally reproduce his father's work. I could just see him playing it the same way his father did. Like I said earlier, Ajay should have been Jai. Even Akshay Kumar could've played Jai - he has that sarcastic humor in him, too.

Nisha Kothari as Ghungroo (Basanti)
RGV seems to have this strange tendency to latch onto one actress and milk her for all she's worth. In the case of Urmila, she actually turned out to be an underrated talent. With Nisha Kothari, I get more of a 'waste of space' impression than I do serious actress. Last I saw her, she was doing what she seems to be known for so far - shedding off clothes and calling it a performance. I don't want to make rude comments on why Varma is so obsessed with her, because well...yeah, I think I just implied it. But he gives her roles that she really shouldn't have.

Again, I understand apprehensions about casting Esha Deol in place of her mother. Esha, too, would probably mimic Hema Malini's classic performance, and given her limitations as an actress she probably would not even mimic all that well. My picks? Kajol, for starters - she could be that fast-talking, borderline annoying but funny village belle. She did it quite well in Kabhi Khushi Kabhie Gham, for that matter. I would even call Madhuri Dixit out of retirement to play a role that probably fits her to the T. Sadly, due to the decreasing amount of actresses in the industry who actually know how to act, there is no one younger I can even come up with. Yes, Rani Mukherjee is a great actress. But no, her take on comedy is not her forte. Which is what takes me to the next bit...

Sushmita Sen as Durga (Radha)

Sushmita Sen is a very capable actress. But does she give off a vulnerable, almost weak vibe? Not at all. If anything, the lady is known to play strong, independent women. And here she is cast in Jaya Bhaduri-Bachchan's place as a widowed woman who says and does very little in the film. Now, I'm sure Varma has changed this, because no fool casts Sushmita in a quiet role. But honestly, Sushmita could have been Basanti rather than Radha.

I would have brought the aforementioned Rani in to play a role that is all about giving an understated and soft portrayal. She has that sense of traditionalism that sums of the essence of Radha.

The Ones We Allow

Amitabh Bachchan as Babban Singh (Gabbar Singh)

This one, we will condone. Of course Amitjit is one of the greats of Indian cinema. Nonetheless, he appears in so many films/TV commercials/who knows what else these days that he seems to suffer from overexposure. And, as a result, I worry that people are growing sick of him and will therefore not appreciate his reprisal of India's most celebrated villain as much as they normally would have. Still, if there's anyone who can even try to do what Amjad Khan did, it is Mr. Bachchan.


Urmila Matondkar as Mehbooba Mehbooba dancer (as played by Helen)

Finally, a good match. I was almost worried that Varma would fall into Farhan Akhtar's trap and give the cameo to...Kareena Kapoor. It is well known that Ms. Kapoor was perhaps the worst choice to do a Yeh Mera Dil in last year's remake of Don. With her two left feet, it was almost like an unwarranted ambush toward the audience.

Urmila, on the other hand, can dance. So age is no longer on her side and she no longer carries the hour-glass figure, but she is a fair enough choice to fill Helen's shoes. Abhishek Bachchan as the male dancer, on the other hand, will be interesting. He's good at the nautanki style dancing, but his pairing with a visibly older Urmila is rather odd.

Verdict? Watch at your own risk. If you are a fan of the classic, you'd best keep away. If you have not even seen the original, don't even think about laying eyes on the remake before witnessing the masterpiece itself.

Who knows? We may love it. This is all just a cautionary post. I will most definitely share a real review once the film is released.