Gali mein aaj chand nikla tune.pk
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In “Kashmir Ki Kali” (1964), the effect was playfully euphoric as Shammi Kapoor lip-synched S.H. As Guru Dutt serenaded Waheeda Rehman by comparing her countenance to the Moon and her locks to clouds in the sky, the impact was poetry in motion.
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The title song of “Chaudhvin ka Chand” (1960) had Shakeel Badayuni strike vintage form, and his burst of imagination was duly harmonised by Ravi’s tune and Mohammed Rafi’s voice. “Chaudhvin ka chand ho ya aftab ho” and “Yeh chand sa roshan chehra” remain the obvious recalls in this genre of songs.
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Describing one’s lover remained the most common form of symbolism while using the Moon in a love song. The presence of chand and chandni naturally started becoming lesser in our film songs, like all other symbols of mush.Īs a motif for romance, the Moon has meant different things to different poets penning Bollywood hits. While romantic numbers were still very much a part of the angry young man’s universe, triggered off by the rise of Amitabh Bachchan, songs had become less poetic. Among lyricists to follow, Anand Bakshi, Indeevar, Anjaan and Yogesh were notable in their retaining the classic pattern of songwriting.īy the time Gulzar and Javed Akhtar were experimenting with the idiom of love in the seventies and the eighties, romance was no longer the most popular genre of the Hindi screen. Those were the decades when Bollywood songs were penned by towering poets including Sahir Ludhianvi, Shakeel Badayuni, Hasrat Badayuni, Majrooh Ludhianvi and Shailendra. In this context, it is interesting to note that some of the best romantic songs featuring symbolism of every kind - including the Moon - were written between the forties and the sixties, when love and love marriage weren’t things meant to be discussed openly. Symbolism in the depiction of romance was important, because mainstream Hindi cinema has never really been mature discussing the concept of love as a natural human process between two individuals. The Moon, flowers, the rains and the season of spring were common motifs. In turn, since romance had to be rendered with gentle imagination, lyricists looked to symbolise the emotion with anything that could represent soft moods. Cinema itself was more poetic back in the day than it is now, and a nuanced romantic track or two were always a must in Hindi films, irrespective of the overall theme and plot. Not surprisingly, it didn’t take long for the concepts of love and the lover to be equated with chand and chandni (the Moon and moonlight) in Hindi film music.īollywood’s dependence on the Urdu shaayar and the Hindi kavi for lyrics is a reason we find a widespread obsession with the Moon in love songs of yore. Over time, the gorgeous sight of a full-Moon sky became the mascot for romance and the muse of poetry. Human curiosity about the Moon has been unabated since time immemorial. The Bollywood shaayar discovered the worth of the Moon long before Elon Musk, Jeff Bezos or Richard Branson were battling to colonise earth’s friendly little satellite for big benefits. Over the decades, after all, the Hindi film songwriter’s imagination has been to the Moon and back only a few hundred times. As Chandrayaan 2 crept into Moon’s orbit slowly but surely over the past few days, the one person who could perhaps afford a sentimental smile is the Bollywood shaayar.