Total Recall's episode of Spectacular Debuts

I've already mentioned about Total Recall, the regular weekend show on Times Now once in my blog; that is a show I absolutely adore and never miss. I have lots of respect for the Times Now folks who have decided to air such a show every weekend without fail. Sometimes I even watch it about three times that very weekend (with partly a reason being to boost it's TRPs, if my watching it is going to make much difference). What started off as a half an hour show about two years back has now extended to one hour, besides having another half an hour show specifically dedicated to songs. Not only is the show very inspirational, nostalgic (in some cases) and imformative, it's biggest achievement is probably establishing a connect between the Golden Age of Bollywood and the youngsters of today who have no idea about those times.

While I've always loved each and every episode of Total Recall, there was just this one episode that frustrated me a little. This was the episode dedicated to those actors who made a huge mark in their very first film. While this list could be endless and since Times Now acknowledged only the leading actors and actresses and not character actors, I'm going to speak only about 'heros and heroines' as well.

The episode started off with Asha Parekh whose first film, Dil Deke Dekho, became a huge box-office hit - her name obviously had to be there; and so should have been the other actress who made her big Bollywood opposite Shammi Kapoor as well - in the classic Junglee, Saira Banu.
I especially liked the inclusion of both the stars of Love In Simla - Joy Mukherjee and Sadhana. I am so glad they were not ignored, as not only was the film so sweet and their acting impeccable, but like the other two names mentioned before, this pair also made it big in Bollywood after this film.
Talk about debuts, and the one name that immediately pops up is Jaya Bhaduri in Guddi. I just wish they could have spent a couple of minutes more on her section in the show. What a performance ... and what a film!
No list of spectacular acting debuts could be complete without the names of Shabana Azmi and Naseerudinn Shah, for their performances in Ankur and Nishaant, respectively. These were probably the best ever first performances in the history of Indian cinema, in my opinion; in fact these rate quite easily in the best ever performances overall, so it's no surprise that their names were mentioned. I can never ever forget these two impactful performances by Shabana and Naseer. They had left me in a daze after the movies got over. It seriously took a while to get back to reality after watching these movies, for I was still lost in the world of these two movies and kept thinking about them for a long long time.

It was the list of actors after this that had me baffled and upset.
First of all, I don't know why Anant Nag was left out from the list even though the research team had selected Shabana for the same movie.
Also, when they mentioned some of the female stars who acted alongside Shammi Kapoor in their first movie, how could they leave out Sharmila Tagore for Kashmir Ki Kali? That was such a sweet and charming performance, just as the role demanded. They probably considered Apur Sansar as her first movie; but even if they did, that was such a great debut as well. Perhaps they decided to only concentrate on Hindi debuts ...
Next, the actors who were talked about on the show were Sanjay Dutt for Rocky, Shahrukh Khan for Deewana, Preity Zinta for Dil Se and Vidya Balan for Parineeta.
I ABSOLUTELY agree with the name of Vidya Balan on that list. Her's was a stellar performance, and really deserving of all the accolades she received.
Sanjya Dutt was good, no doubt; but he was in no way 'spectacular' as the episode wanted to convey. Moreover, if they wanted to have Sanjay Dutt in that list, then why leave out Sunny Deol (Betaab) and Kumar Gaurav (Love Story), whose films were even bigger hits?
What about Rishi Kapoor? What more can anyone do to make that list??!! Rishi, as a leading actor was the first person to win a Filmfare Best Actor Award for his first movie, he became a HUGE star immediately after Bobby released and had a huge line of producers anxious to meet him right after. The only reason I can think of the show creators not including his name there is if they considered his first movie to be Mera Naam Joker, where he made a wonderful debut as a teenage actor ... but come on!!! That was such a touching and memorable performance as well!
Also, two major actresses became overnight stars with their debut movies - Zeenat Aman (Hare Rama Hare Krishna) and Dimple Kapadia (Bobby). I am SHOCKED that their names were left out. I just don't know what was going in the makers' minds when they were making their list and came towards the '70s decade.
Talking of actresses, Preity's name for Dil Se is surprising, because not only did Preity's role end with the blink of an eye, the film too came and went by without many people knowing. If at all they had to pick Preity, then why leave out Raveena Tandon for Patthar Ke Phool. That film was a hit at the box-office and Raveena was the leading lady, who went on to become a star as well.
And lastly, Shahrukh Khan for Deewana???? You've got to be kidding me! I have no comments to add on this inclusion, however I can something about one's exclusion - Hrithik Roshan for Kaho Na Pyaar Hai!!! He became a craze in the nation after his terrific double role performance in the film, and his rubbery dance moves. How could the show creators / research team forget his name, except if they considered his first movie to be Bhagwaan Dada, or his 'actual' first roles in Aap Ke Deewane or Aasha where he just appeared for a single scene, which would be a real shame.

Again, thankfully this was just a list of leading actors; otherwise if they were to mess up with a list of powerful first performances of character actors, that would be just TOO MUCH!!!

The Tragic Love Story

Movies have generally been viewed as a source for entertainment for a good couple of hours, with people flocking to the theatres (and now just downloading them) hoping to have a good time; and somehow have a smile on their face at the end. Also, there is a romantic within all of us, so people have always liked love stories that have had a happy ending, which brings that coveted smile. Yet, there are some love stories that have always stayed in people's minds, and are quite often the more appreciated ones - the tragedies!
What makes the love stories with sad endings tick? Quite surely people who come to the movies expecting to leave in a good mood would not want to watch ones that would result in tears!

The secret of the success of tragic love stories has always dumbfounded me, but there are definitely a few reasons why I think such movies work.

For one, these movies are much more closer to reality than some larger-than-life happy-ending ones. Most humans have a history of lost or unfulfilled love. Failed love - yes, in many cases; but not necessarily. There has definitely been someone in almost everyone's lives who they wish they had approached to, spoken with and won that person over. What our real-life experience (or baggage) does is make us see ourselves in those characters in the movie. We feel for them and end the movie experience on a personal note.
For the egoists, there is then that sense of elation that it was their life that was depicted in the movie, albeit in a bit fictional manner.
The sadists would always prefer such sorry endings because this is what would make them feel good.
The tough people remember these movies fondly because it is one of the few times they remember having cried (or sobbed at the least).

While the die-hard romantics definitely connect with the movie, they also tend to talk about it a bit more. The next couple of days are always spent discussing with friends and family about the sad fate of the lovers, and playing God by wishing that had this event taken place, the ending would have different and had that event taken place, the lovers would still be together.
When there are dozens of love stories being made with happy endings, this one odd film obviously stands out as being different. Love stories that end on a good note may not be always right in some cases depending on their storyline, but the filmmakers obviously have to succumb to pleasing the audience at the end, and hence take steep deviations from their screenplay. In some cases, happy endings are hard to imagine because it is a bit weird to see parents or others who had always opposed the lovers and been cruel towards them, just melt down in a minute while at the climax.
It is this whole aura of being different that makes such movies stay in our memories forever, for I am one who certainly feels that had it been the other way round, wherein there was this one odd release with a happy ending amidst scores of tragic love stories, it would be the happy ending love story that would stand out.

MAJOR SPOILERS AHEAD!!!
CANNOT EVEN NAME THE MOVIES THAT I'VE MENTIONED FOR THAT WOULD BE A SPOILER IN ITSELF.
PLEASE READ AHEAD AT YOUR OWN RISK.

There are definitely a lot of learnings one can take from love stories that could not happen. I absolutely feel families of the lovers should forget their egos or social status which they should realize by looking at movies like Ek Duje Ki Liye, Romeo & Juliet, Qayamat Se Qayamat Tak and tons of other movies.
The fact that misunderstandings have no place in families, and that they should never be extended beyond irrepairable condition is well demonstrated in movies like Aap Ki Kasam; which real-life lovers should understand. It's best to be bold and work out problems in the beginning than save them for the end, by when it's too late.
Also, each time I see Gone With The Wind, I keep thinking to myself everytime I see Scarlett O'Hara (Vivien Leigh) treat Rhett Butler (Clark Gable) badly, or take his love for granted - since I now know the ending - that Scarlett, you keep acting like this, and when at the end you will yearn for Rhett, he won't be there, and it's all going to be YOUR fault.
And this is what I felt in that crap Hindi movie - Kya Yehi Pyar Hai (you're not likely to remember this) - as well.

Roman Holiday is one of my all-time favourite movies, and this is definitely a movie that would been well loved even if the ending were otherwise, but there is logic in the ending. Sure the princess (Audrey Hepburn) had the time of her life with the charming journalist (Gregory Peck) - but at the end of the day, she is a princess with responsibilies. I have seen this movie about ten or eleven times in the last four years, but every time I see this movie, I actually feel that this time when Gregory Peck is walking away from the palace and turning back to see if Audrey's there, she is somehow going to appear and in true filmy style throw away her crown and gloves and run towards him in tears, giving up the lifestyle she is so used to, just to be with the man she loves; but this never happens. When I come towards the climax, my brain keeps reminding me they're not going to end up together, but somehow my heart keeps asking me to have hope and that time the ending will definitely be different. I know it may sound ridiculous although this happens to everyone I know as well, but the fact is - THIS is the power of a tragic love story!

However, if a film-maker wants to get good critical acclaim and leave an everlasting memory on the audience, it is still safer to make a beautiful love story with a happy ending, because if you're going to make a tragic love story - you just HAVE to get each and every element perfect! You screw up even for a minute and the ending is going to lose it's charm. When you make a love story with a sad ending, you'd better make sure everything leads up to the audience going out in tears rather than leave cursing you for the horrible ending.
This is a genre that is very hard to make, but once you have done it right, you've made a significant contribution towards cinema.

Remembering A Legend: S.D.Burman

Music is perhaps the language that has the power to directly connect to our souls and instill some rather mysterious feelings within us right away. I say mysterious because I really don't know what happens when you listen to something so soothing and wonderful, yet at times very lively - is that how people feel when in love, or is that ecstasy? In Hindi films, the music really hit the golden age in the early 50s when the style was completely reformed from that of the 40s, and the words I used in the beginning actually made sense. Shankar-Jaikishen are probably the ones to thank for that, and they are my absolute favourites for reasons more than just that. Yet, for some reason, I am writing my first 'Remembering A Legend' article dedicated to a music-director and it's for the other maestro from the 50s; one who would mesmerize us all with his soulful music for two and a half decades - Sachin Dev Burman.

There has always been something magical in S.D's music, and that was evident right from when he really hit off in Baazi - a fantastic album of eight songs, all so brilliant and different, we knew Hindi music had evolved and a genius was discovered. S.D used both the romantic side as well as the seductive side of Geeta Dutt marvellously in songs like Aaj Ki Raat Piya, Suno Gajar Kya Gaaye and the more popular Tadbeer Se Bigdi Hui and also Shamshad Begum very finely in Sharmaaye Kaahe.
The Anand family had always used S.D.Burman for their movies prior to Baazi and had S.D. perform music right from their first Navketan production. What Baazi would do is just strengthen their belief in this extraordinarily talented musician and use him for all of their 'home movies', and this colloboration would only prove to us youngsters why that time was called the 'Golden Era of Indian film music'.
When Dada Burman composed any song, you could be rest assured of something magical, but there's no doubt that he gave his best for Navketan films. The music would turn out to be evergreen and very, very endearing. Burmanda followed up Baazi with more timeless wonders like Jaayen To Jaayen Kahaan for Taxi Driver, Jeevan Ke Safar Mein Rahi for Munimji, Chup Hai Dharti for House No. 44 and some really different compositions for Funtoosh - Dukhi Man Mere, a lovely tragic song and two crazy numbers; Ae Meri Topi Palat Ke Aa and Denewala Jab Bhi Deta.
A major reason for S.D. producing his best for the Anand brothers and Navketan could be their intelligent sense of music and writing a perfect opportunity for song-setting. This was very much evident in their future collaborations, especially when Vijay Anand would take over the reigns. Some prime examples of this period were the absolute charmers like Maana Janaab Ne Pukara Nahin, which had Dev following Nutan in a cycle in Paying Guest or the more popular song from the same film - Chhod Do Aanchal. The same year had S.D. compose for the Anands in Nau Do Gyarah, and the songs that were to come out from this film would be not only superb, but also so pleasing that they can brighten up your mood any day any time! Songs like So Jaa Nindiya Ki Bela Hai and Aankhon Mein Kya Ji have got to be two of the most romantic duets in the history of Indian Cinema!
The Navketan-Burman combo then went on to provide music for films like Tere Ghar Ke Saamne, Kaala Bazaar, Guide, Jewel Thief, Prem Pujari, Tere Mere Sapne and Gambler.
Romantics still sing to Dil Ka Bhanwar, Ek Ghar Banaoonga Tere Ghar Ke Saamne, Rimjhim Ke Taraane, Khoya Khoya Chand, Hai Maine Kasam Li and Rangeela Re with fond affection and feeling. As for Guide and Jewel Thief - what is there for me to speak about music from these films? No matter how much I write, it will be very less. All I want to add is that only S.D. could do something as genius as compose the back-to-back tracks, Saiyyan Be-imaan and Kya Se Kya Ho Gaya, from the same classical raaga to depict the same song from Raju and Rosy's (the characters of Dev and Waheeda) perspectives; and yet give them a distinct feel. Also, Piya Tose Naina Laga Re is such a wonderful musical treat - one does not feel it to be as long as it really is (about 8-9 minutes). As for Jewel Thief, that is another of S.D's best albums. If there is one fun romantic number that is always on everyone's mind, it has got to be Ye Dil Na Hota Bechaara; and what fantastic, energetic music that has in the interludes! And while Rula Ke Gaya Sapna is probably one of the best sad romantic numbers, this film has probably THE best seductress song - Raat Akeli Hai; the two numbers getting the best of the talents of the two sisters Lata and Asha respectively.
S.D. always gave his best for Dev Anand; there was no denying that; whether it was for Navketan or not, didn't really matter. S.D. surprisingly (atleast to me) made Hemant Kumar sing for Dev and the results were simply terrific - be it Hai Apna Dil To Awaara from Solva Saal or Na Tum Hamen Jaano from Baat Ek Raat Ki. The songs from Teen Devian have stood the test of time and will in all likeliness, always will - some smash hits being Likha Hai Teri Aankhon Mein, Arrey Yaar Meri Tum Bhi Ho Ghazab, Aise To Na Dekho and Khwab Ho Tum. Two other amazing and timeless duets that were to come from S.D. composing for Dev would be Deewana Mastana Hua Dil from Bombai Ka Babu and the naughty Achcha Ji Main Haari from Kala Pani, which can be heard over and over again continuously. When it came to duets, Rafi-Asha were always unstoppable and they have S.D's tunes to thank to a large extent for that, considering most of their magical romantic numbers were composed by Dada Burman.

If Dev Anand knew how to use S.D. well, how could his good friend Guru Dutt lag behind? While let's not forget Baazi was produced by Guru Dutt, true magic was experienced in probably one of the best albums of all time - Pyaasa. Songs were composed for some of the most unique situations and instructions must have been very strict from Dutt to carry the story forward in tunes that not sound very 'filmy', but in fact sound so natural that the audience don't even realize that a song has been completed right in front of them while watching the movie. Yet, these "musical words or dialogues" have become immortal - Jaane Woh Kaise Log The, Jinhe Naaz Hain Hind Par and Ye Duniya Agar Mil Bhi Jaaye To Kya Ho being two examples of this. They are simply three of the most fantastically written and composed songs ever! The lyrics have such a strong social meaning, it's hard to imagine how low the level of Bollywood songs have now stooped to, when we listen or even hum these songs. Who can forget Hum Aapki Aankhon Mein - a revolutionary method of picturizing songs in those days, and a song as sweet as that was just apt! His song Sar Jo Tera Chakraye is very popular even today, and always will. Not only is the song so wonderful, it's the subtle musical touches that contribute towards it's sheer brilliance, such as the music that corresponds to Johny Walker massaging (or drumming even) someone's head. Pyaasa is a film that used songs as a means of narrative, and that is always the hardest thing to pass off! While each song in this film can itself be a topic for a separate article, there is just no bigger example of S.D's genuis than Jaane Kya Tune Kahi - Geeta Dutt in a mischevious mood, song fitting the situation to a T and the music in the background - WOW! There are just no words to describe the beats in that song; beats that I can guarantee one would have never heard of in any other song! It is indeed tough to compose for Guru Dutt's extraordinary vision, but when given your heart and soul to it, combined with the kind of innate talent that S.D. possessed, the result would always be spectacular - such magic was re-created when Geeta rendered her voice for Waqt Ne Kiya in Kaagaz Ke Phool - everything in this song spelling G.E.N.I.U.S, be it the haunting tune, the lyrics, the singing or the picturization.

S.D. continued composing some incredible numbers for films like Ziddi, Chalti Ka Naam Gaadi, Talash and Sharmeelee, wherein each song was better and now more legendary than the other.

Burmanda continued his extraordinary run of superhit evergreen songs in films like Jugnu, Anuraag and what is probably one of the most popular albums now, the legendary Aradhana! While all songs in the film stand out, the one song that deserves mention simply for being the first in the sensualism category is Roop Tera Mastana.

But if people thought that the S.D-Navketan form was just not there in his music anymore, S.D. came back with a bang when it was time to compose for Hrishikesh Mukherjee. While the songs of Chupke Chupke were all terrific and apt for the movie situation, Dada would outdo himself in two of Hrishikesh's masterpieces - Abhimaan and Mili. The best known song in Mili today is probably Maine Kaha Phoolon Se, and only S.D. could compose such a fun-loving song; a song with a zest for life like no other. Abhimaan still remains one of the most spectacular albums of all time. This was a movie that had music as the essence of the script, and it would go wrong even if one of the songs would not live up to S.D's high standards. Each song in this movie however surpassed the standard set by him. While my personal favourites remain Teri Bindiya Re and Ab To Hai Tumse, the song that made the movie what it is would obviously have to be Tere Mere Milan Ki Raina. The film was already so emotional and the ending rested on this one song alone, which would unite the separated couple by making them sing together; this song was to be the highlight of the film, the most emotional moment in the film. And what a fantastic scene it made for!

S.D's relations with the lead singers of that time were always good and friendly, except for a brief spat with Lata Mangeshkar. Thankfully, that didn't last very long and Lata was back for some soul-touching numbers for one cannot imagine songs of Guide or Abhimaan without her.Kishore Kumar never sang for any actor till the 60s except for Dev Anand, which is why most of Kishore's classics from this era have S.D's credits on the side. Mukesh, a singer who didn't geature in most of S.D's films, is known for his sad songs; and while most of them are for Shankar-Jaikishen, one cannout discount Chal Ri Sajni from Bombai Ka Babu as being one of his greatest; quite easily comparable to the other famous sad songs of his. S.D. used Talat Mahmood very effectively; and the best example is the famous "telephone song" - Jalte Hain Jiske Liye from Sujata. Hemant Kumar too, was used as well by Dada as he used himself! So nice to see a top music director use another top music director to sing for his compositions ... and they were both so much in awe of each other! Geeta Dutt, Mohd. Rafi and Asha Bhonsle's talents were utilized to the maximum by Burman. S.D however knew when the time was most right for a voice that needed to sound a bit folk and in some of the most touching situations; which is when he sang himself. There is just so much pain in songs like Mere Saajan Hai Us Paar from Bandini, Safal Hogi Teri Aradhana from Aradhana and Wahaan Kaun Hai Tera from Guide.

His immense talent is well evident from his vast range of music - while there is the soft and sweet Thandhi Hawaayein from Naujawan and Dekhne Mein Bhola Hai from Bombai Ka Babu, and the utterly romantic Mere Sapnon Ki Rani from Aradhana, there are also some absolutely madcap numbers like Hum The Woh The, Baju Samjho Ishaare and Paanche Rupaiya Baarah Aana from Chalti Ka Naam Gaadi. While Guide had a lovely happy romantic number like Gaata Rahe Mera Dil, it also had a very sad (and beautiful) number in Din Dhal Jaaye. Chupke Chupke had a song with unusual beats (the tongue used when expressing sympathy to others in a teasing manner) in the form of Ab Ke Sajan Saawan Mein, while Meri Surat Teri Aankhen had a lovely classical number, Poocho Na Kaise Maine. While S.D. had such soothing, charming numbers like Shokiyon Mein Gola Jaaye from Prem Pujari and Bagiya Mein from Tere Mere Sapne, he also gave music to a faster romantic number like Choodi Nahin Mera Dil Hai from Gambler.

S.D's contributions to Indian Cinema extend even further than his own music or voice. One of the best movie albums of all-time, Hum Dono, was the first movie which his assistant, Jaydev, composed music for; and he would go on to become a big enough name in film music as well. Then of course, his best ever contribution would be his own son, Rahul, known simply as R.D.Burman or Pancham!

I realize now it's been almost three hours since I've been typing about S.D.Burman and am scared to even check my post later simply because I think this is going to turn out to be as long as the script of Sholay! I just want to end this article speaking about an incident I heard from Amit Kumar on Times Now's Total Recall, which I follow religiously (and I hope I remember this incident right - I certainly don't want to provide any false information on my blog). S.D. was very sick and most likely on his deathbed when the recordings of Mili were going on. There was just one song left to be composed - Badi Sooni Sooni Hai, and R.D. had been given the task to go and take his place, but S.D., from his oxygen mask, kept giving instructions to R.D saying when Kishore Kumar starts singing, please make him sing exactly the way I've always talked to you about, the beauty of the song lies in it's subtlety and the way I've imagined Kishore to sing.
That is passion! Even on his deathbed, the thing that kept going on S.D's mind was the incomplete song. That is perhaps the reason for his greatness and why his songs have always stood the test of time; and why there will never be music-directors like him anymore!