There are many iterations of Devdas all over Bollywood, and Anmol Ghadi is also one of them. The writers just switched Devdas and Paro’s affluence; in what results in an overly melodramatic adaptation.
Now having watched Highway after Tamasha, I cannot simply dismiss the cinema that Imtiaz Ali makes. I will make it a point to never miss his movies at the cinema.
Satyajit Ray is truly a master story teller; Pather Panchali cements this sentiment; it is a sensitive film about relationships and life itself. The reality that is shown in this movie is scary, it’s like Ray was just filming a common family and showing the world what goes on in some corners of the world, which they probably never thought existed.
Like All A. R. Rahman soundtracks, the entirety of the album doesn’t hit you right away; it takes its time to absorb into your mind, and once there it embeds into your soul. Tamasha’s music will sustain through the long term, and that makes me smile.
Bajirao Mastani is based on the love story between Peshwa Bajirao I and his second wife Mastani; set in the time period between 1720AD – 1740AD; the epic also depicts the angst and sacrifices of Kashibai (Bajirao’s first wife). The music, while staying relevant to the time period, has to also cater to the titular characters Marathi heritage and be fresh enough to cater to the current audience.
After a while we get a soundtrack that sounds completely new but remains loyal to old school bollywood. Full of melody, great music arrangements by Vishal Bhardwaj.
Mughal-E-Azam’s music has truly played an important role in its phenomenal success. In this epic love story, Naushad’s melodies paired with Shakeel Badayuni’s lyrics were unbeatable. K. Asif took a decade to create his grand epic, “Mughal-e-Azam”. He made sure that each and every part of his baby depicted emotions on an epic scale. They say that the music is the soul of the film and it is no surprise then that K. Asif and Naushad made sure that the songs were unforgettable and luxuriously romantic. “Mughal-e-Azam” reminds us why we still have the song-and-dance formula in Hindi films. The music and poetry can add so many depths to a legendary romance and make many people want to revisit that film again and again. No wonder then that this film is now accepted as the definitive version of the Salim-Anarkali story.
The film about a singing couple was inspired by a real-life couple from showbiz. The husband couldn’t bear the fact that the wife was more talented. No prize for guessing their names. This wondrous creation of musical harmony as originally entitled ‘Raag Raagini’. Burman dada almost did a ‘Guide’ with Hrishikesh Mukherjee’s best film ever.
Another highlight of the film was its music by the duo Shankar Jaikishan, then at the peak of their career, who gave a highly restrained yet fully Indian classical music-based score in the four songs, another rarity in the period film of the era to have so few songs. All the song were sung by Lata Mangeshkar who also has some of her career’s finest among them.
Raamlaxman had commanded the whistles and hums from the audiences of Hum Aapke Hain Koun…! The sweet syrupy melodies he constructed for the film has immortalised its status as one of the best wholesome entertainers ever.
Seems like the magic of the days gone by has not left me as yet. Had a listen to the genius of Naushad, Mohammed Rafi and Lata Mangeshkar coming together in Baiju Bawra on Vinyl. The songs are exemplary!!
I had an intense listening to the Soundtrack of Nikaah and without a doubt, i can say melody is king. The soundtrack released in 1982 and i am sure at the time created ripples across the music world.