HO KOI AAYEGA AAYEGA

Song 87:

Asha and Lata together are a delight in this song. What is it about sisters singing in unison? Lends a song a special sweetness. It's almost like music sung by mysterious, mystical 'gene-ies' with a special dna code that connects with your soul. 

What I love even more in this song is the ambience, some picturesque hill station. My guess is it is somewhere in the North East of India with a stunning view of Kanchenjunga as I saw recently in the Darjeeling area. Each state and region in India welcomes visitors with a special flavour and style. I had not seen much of North East until recently. I had heard a lot about it from my father who was posted in very treacherous areas way back in the 80s and 90s. Often due to our school, we had to stay put with Mom in some more hospitable and comfortable city.

But Papa would write us long letters regularly and really motivate us to do well in studies and other activities. Perhaps it was the distance that made my relationship with Papa even more special than it already was. He was always close, yet had to go away when he had to. Fathers have to be gone to places unimaginable but the time they do spend with kids is precious and worthwhile. There was this adventurous and very sturdy streak in him. I for one have never seen him tired or ever saying that something is tough. I have never seen him wanting anything for himself. He would always bring us very exotic gifts from these faraway places. We would imagine days in advance what his bag full of goodies for us would contain.

Once he was posted in Arunachal Pradesh which is almost the Eastern-most tip of India. It was a snow covered, tough terrain. A Himalayan Red Panda that was slightly unwell and injured started coming to him. Papa started giving it some food and tending to him. Soon the panda was healed and some time later Papa got posted out. He had got so attached to the panda that he got him along and we moved to Ahmedabad which was a bustling metro.

Soon our house became full of inquisitive visitors who would walk in to have a look at a Himalayan Red Panda. We would boast about it in school and feel very nice if that gave us extra attention from people we wanted to get it from. The panda would eat bamboo shoots and feel very warm in summer months. We had coolers that time, no a/cs. Soon my brother and I let him have our cooler also so that he was comfortable, we were so enamoured by our special and precious guest from the North-East. Then one day Papa learnt that WWF was getting particularly active in India and any endangered species could not be kept at home as a pet. He firmly told us we had to let the panda go. So very tearfully we donated it to a wild life sanctuary nearby. But the official looking after that place was so touched by our gesture, he gifted us a beautiful Labrador Retriever pup that stayed with us for many years.

Thus at every step, life with Papa was and is exciting. It is to him that I owe whatever little wanderlust I have. The vagabond in me is routed in Papa's thrilling tales. Nothing gives me more pleasure than exploring an all new place with it's cultural diversities, flora, fauna, food and typical lifestyle. No wonder my recent trip to North-East was especially pleasurable as I almost saw it again, recollecting each detail as I had heard from Papa but seeing for myself this time round. Not even for a moment I felt as if I was in a new place as I had heard it all from Papa. Thank you for being you, Papa. Happy Birthday Papa! :)

SANCHA NAAM TERA

Song 86:

Asha Bhosle and Usha Mangeshkar too when sang together brought a rare peace, tranquillity and calm to this beautiful bhajan. Wonderful composition by Rajesh Roshan. All songs of this movie were runaway hits and still very hummable. I can listen and listen to 'Julie' and 'My heart is beating' over and over again. Who doesn't want a little romance in life! Out of all those, this song seems forgotten. Yet every song has a mood and setting and time. Early morning, nothing soothes the soul like a bhajan. It is to God or whatever spiritual power that we believe in that we turn to when feeling restless and are unable to find answers.

Women in India are getting immense opportunities in terms of careers and freedom of expression. But that freedom does not give anyone the permission to blatantly flout dignity and decorum and personal space of a woman at will.  It is sad that many men still do not understand that a no is a no is a no. So whether you are in a  powerful position or you are a self -confessed saviour of people on the margins or whatever, you are not above the law of the land yourself. It has been particularly disappointing to discover thought leaders and evangelists developing feet of clay. But this is our collective fight.

The song has a small hint of female power too. When women's voices come together and ask for justice, it has a delicate but convincing effect. When lies and falsities and manipulation take on the world, relief is found only in the truth. A young woman's life and faith in the system is at stake. She has taken a bold step. To those who even hint that different versions can be to an incident, why would anyone concoct such a story in the first place to invite such public scrutiny into her life if it were even in the slightest bit consensual?  In that case she would have played along and been very happy. All we can do is laud the courage of this young woman  to confront the system and pray that she gets justice. No, we will ensure she gets justice!

CHURA LIYA HAI TUMNE JO & AAP KE KAMRE

Song 85:


Zinnie Baby's B'day and how could I forget this. When it comes to super romantic duets, this one cannot be forgotten.  The movie is long forgotten but this song, the pure white ensemble of Zeenat, the jet black hair, the guitar, R D Burman's music, Asha's silken voice and Rafi's warmth. What's there not to love.

Sang this song in many many college and work place functions. Will admit unashamedly that I have a picture of mine of around 18 years ago where I am singing this song on stage with white loose parallel trousers, a fitting white full sleeved T, straightened black hair, a big hippy style pendant and a guitar in tow. Of course it helped that I had a 24 inch waist back then! Hahaha! I crack up looking at that today. But that is what youth is all about! Experimenting and doing what you love! :-) 

Song 86:


Now from 24 inch Kamar to Kamra!  No, no I am not talking about my kamra. I am talking about this song. I find it very cute. It plays out the whole jealous and inquisitive bit about someone you're interested in. It so nicely describes the stage when you are still making up your mind. You yourself don't want to commit and therefore keep on finding faults and excuses in the other. You imagine your love interest in all types of precarious situations in a closed room with someone else. The very thought is creepy. But since there is no possibility of you being in a room with that person, you choose to make song and dance of it. Zeenat once again looks super hot in a red mini and cool boots! There is a nice jamming feel to the song. Reminds me so much of college auditions when you let go of your inhibitions and find your hidden talents. Here's to youth, here's to youth anthems and here's to everlasting youth icons such as Zeenat Aman!

DUM MARO DUM

Song 84:

So when Zeenat Aman backed by Asha Bhosle's voice announced 'Dum Maro Dum' in 1971 with the amazing alacrity of a bohemian hippy in a movie that essentially had an anti-drug message and also a sharp comment on outcome of kids of broken homes, it became a youth anthem. The song is as powerful today owing to Zeenat's apt depiction of a lost girl straddling two worlds of personal discontent and psychedelic euphoria, R D's timeless music and Dev Anand's nose for avant garde themes. Bold as it was, the theme was handled with maturity and balance which is the reason why Zeenat still remains a sex symbol till date and the song much loved. But the newer version of the same song sadly went into such details of morning ablutions, that Deepika Padukone- hot bod she maybe- couldn't match up! The result of senseless boldness is short term ratings but big loss as far as the longevity of the theme goes. It is bad enough that you are copying a classic blatantly to begin with and on top to give it such a disgusting turn. Showbiz is a lot about glamour and sheen, about gloss and grandeur. Reality is not always picture perfect. For once let's not get so real that it hurts the eyes and ears.

O TUMKO PIYA DIL DIYA

Song 83:

Lata and Asha have another sister Usha Mangeshkar, who too is a singer. She has had some very popular numbers but she could never reach the giddy heights reached by Lata and Asha. But sisters have a way of standing by each other and giving strength to each other. The result is some fabulous duets that Usha Mangeshkar sang with either of the two more successful sisters. Usha's voice which is otherwise a little on the shrill side, somehow blossoms beautifully when supported by Lata or Asha. The effect was always electrifying, in ways even better than say Lata and Asha together.

Those days films also had these typical dance duets where two exemplary dancers would be pitted against each other to win the heart of some Maharaja! In many songs there was some East verses West rivalry going on. These were probably the earliest item numbers. This one such song that became very popular. Even both the dancers, Helen and Ragini (who too was the youngest of the famed Travancore Sisters-Lalitha, Padmini and Ragini) match step to step. I am sure the filming technologies were not so advanced and unlike today where dances are choreographed in a highly digitised, scene by scene, cut by cut format, they often had to execute the dance in one shot. Often they made their own steps on the spot. But at the same time only genuine dancers with either a classical dance training background or with a rare natural dancing talent would perform these numbers. There was a lot more fluidity and synergy in the steps. The kinship and camaraderie was evident.

Sisters too have a special way of easing out all your worries and being the best stress busters. Often even sharing your clothes, cosmetics and crushes at times, there is no topic or no request that is taboo for sisters! I do not have a real sis but am close to some cousins who, whenever I am getting listless, a day spent with them can be a great stress buster. You can pour your heart out and air those little heartaches! Bonding on food, music, fashion or plain bitching can be cure to many issues. That reminds me of one of my didis who has always nurtured my quest for exploring arts, literature and music. We may not talk everyday even being in the same city but every few weeks she takes me to a concert(one of her own or otherwise) or a mushaira and soon the event is just an excuse to connect sans the families necessarily. Once she had called me for a Jagjit Singh concert and as expected there was huge queue. We waited for almost half an hour in the line so oblivious to anybody else. We were taking snide pot shots at all the distant relatives or friends we find weird or funny besides venting out about the significant others. After about a half an hour of that we noticed there was a newly married lovey dovey couple behind us. But the look on their faces seemed as if they had been chastened all of a sudden. We had certainly exploded their love bubble for a while with our cutting and brutally honest commentary on relationships in general! Hahaha Then we didn't know where to look!

Anyway enjoy this song which is all good. Ooh both these two sets of women I think have outdone each other both in terms of singing and dancing! 

CHORI CHORI MERI GALI AANA

Song 82:


It's not that Lata never sang in the Asha-Geeta mode. In some of her rare happy earlier songs, she sounds remarkably close to Asha. I have always loved Geeta Bali for her exuberance on screen and predictably all her songs were sung by Geeta Dutt. There are a few sad ones sung by Lata such as 'Hum Pyaar Mein Jalne Waalon Ko' which is beautiful but yes, sad. One day I set out looking for a happy Lata song enacted on Geeta Bali relentlessly and chanced upon this. I was stunned by the playfulness, mischief and carefree attitude that Lata has managed to exhibit in the song.

Set in Goa, it shows a typical carnival dance setting. Geeta Bali who was an untrained but natural dancer hailing from Amritsar almost seems metamorphosed into a typical Goan catholic girl. This is one reason I love the magic of movies. How actors let go of their conditionings and aquire new body languages and mannerisms. The creative process is so satisfying and fulfilling that sticking to the conventional norm is not necessary. You can be free of your identity and mould yourself into what you like. You can take on new forms and figures, live the life of another being. I am sure it is very cathartic and stimulating. Quicksilver forays into the unknown. It could be highly edifying or equally catastrophic. This movie too was a complex web of twists and turns where the suave but dangerous Dev Anand fools the gullible village belle Geeta Bali into a vortex of deceit and betrayal. She gets pulled by his magnetic charm into loving him foolishly where she reaches a point of no return but he, he had a life and plan and motive of his own. It was Guru Dutt's first directorial venture and quite an engaging movie.

Enjoy the song that evokes the intoxicating rush of sun, sand, surf and surging emotions on a faraway palm fringed Goan beach, created by Sahir and S D Burman. It is Lata of course but the Asha-Geeta magic is not to be missed! 

JAWAN HAI MOHABBAT

Song 81:

I am sure that both Asha and Geeta and pretty much every female singer in India had a lot to thank for and to learn from Noor Jehan. She was undoubtedly the biggest singing star of the sub continent at one point in time. Even Lata remained in her shadow for years. Although extremely talented , Lata was unable to make the cut for many years. Many music directors found her voice too feeble compared to the robust maturity of Noor Jehan. Lata was probably still very young and her voice was different from the trends that time. Then once Dilip Kumar took Lata aside and kind of snubbed her about her accent that was overpoweringly Maharashtrian. That goaded Lata into taking Urdu pronunciation lessons. And there was no looking back once she sang the memorable Aayega Aanewala from Mahal.

I was somehow not a great fan of Noor Jehan as I had seen her mostly in her later PTV avatar, with heavy unrecognisable make-up and sequinned sarees on a rather bloated figure. But my father would insist that Noor Jehan was something else. In fact earlier in my childhood every year we would go to my (Tayaji) uncle's house in interior Punjab for holidays. Things were very different there from our modern army upbringing. When male guests would come to the drawing room (called Baithak) women would not go in there. My mom would suddenly start covering her head with a dupatta. Urdu newspapers were subscribed daily that all my uncles read. Food was made on chulhas. Some dal or saag would be simmering in a corner all day. There were cows and buffaloes and we would get to see an entire milk processing routine everyday from milking the cows to churning lassi in an earthenware pot with a hand held rope pulley, straining thick blobs of fresh, white butter. We would roast corn ourselves and make a snack.  Or just go out and pluck a mooli (radish) slit it and sprinkle it with lemon and salt and have it. Instead of watching TV all kids would enact Ram-Leela in the huge courtyards.

Now my uncle was a bit of a terror. He rarely smiled. Perhaps the partition, losing all material belongings and later re-setting up and supporting an entire family all over again with limited resources had left him a bit battle weary. When he would return from his office in the evening, he would just clear his throat loudly outside the main door once. That was a signal for all us kids to stop doing whatever we were, promptly take out our books and attempt a charade of studying very seriously. All the ladies would cover their heads and enter the kitchen. Uncle's room was spic and span. We couldn't enter and untidy it or touch his proudest possession, his transistor. Frankly I found his fixation with his transistor very irritating but we would dare not say that in front of him. Maybe after a drink or two he would loosen up and show his affection to us by ordering some nice tandoori chicken. And then on his transistor he would listen to Noor Jehan songs with a wistful look in his eyes.....at that time you could ask him for anything and your wish would be granted!

My uncle is long gone now. One day remembering him recently, I searched for Noor Jehan on Youtube and finally saw this song. What a performer and what a beauty. That day I knew what the fuss about that transistor in my uncle's household was all about! :-)

TUM MUJHE BHOOL BHI JAO

Song 80:

There are long forgotten singers who may not have acquired cult status but in one or two of there songs shone so bright that they paved the way for the 'Asha-Geeta' style of singing. In fact Sudha Malhotra almost sounds like a young Asha Bhosle in this song, perhaps a tad bit sweeter even. Her sweetness of course came from real love. What a pleasure it would have been to sing a song, the lyrics of which were penned by her amour Sahir Ludhianvi! Yes, amongst the many loves of Sahir, Sudha Malhotra was one. He also had a much deeper relationship with Punjabi poet Amrita Pritam. Unfortunately both the alliances did not get the consent of the respective girls' parents as he was from the other religion. Which is a pity because Sahir was in fact an atheist.

Yet so hopeful and optimistic was his poetry:

Nafraton ke jahan mein humko pyaar ki bastiyaan basaani hain
Duur rehna koi kamaal nahin, paas aao to koi baat bane...

This song too has a mood of reconciliation. There is a sense of loss at not getting your love. But it is done with a certain grace and gratitude. There are times in life when you know the other person is committed to his cause more than any person. There are issues larger than love. There are definite shades of that other masterstroke of a ghazal-'Mujh Se Pehli Si Mohabbat' by Faiz Ahmed Faiz'. This is almost like a female reply to that song. Women often tend to make their love their everything. Men on the contrary consider love to be one little aspect of life. Which is fine. Extreme of anything is bad. The energies of Yin and Yang balance the universe. Once you see the bigger picture, it is best to let go. It is best to feel fulfilled with what you experienced.  You know you wouldn't have wanted it any other way or with anyone else.

Full marks to Sudha Malhotra for rendering this song perfectly, assisted by Mukesh aptly too.
 

MERE PIYA GAYE RANGOON

Song 79:

Perhaps the foundation of the Asha-Geeta school of singing had been already laid by spirited, spunky singers such as Shamshad Begum, Suraiya and many more. These were the girls who made song and dance of everything. They were natural performers, crooners and divas. They saw the positive in the grimmest of situations. Shamshad Begum was the voice of many a memorable lady, played well here by the beautiful Nigar Sultana. She was neither sugary sweet nor subservient. She was nuanced and vain, confident and fun. When her beau was out on a business trip to a foreign land, instead of moping around singing 'dard bhare geet' she turned that occasion too into a reason to celebrate. She created and belted out a song that would be remembered for it's piquant ambience of long-distance love, feted for its wired vibrancy. This song was avant garde for sure.

Perhaps it was the precursor to the robust social media of today that connects lovers and friends doomed with distance. We are far, we are separated by borders, continents, time zones but at least we have a common TL we can peep into and get a dekko of what the other is upto. We can connect the dots and decipher the plot. We can surmise if the other person is gallivanting on a beach with sarong clad beauties or actually downing lonely shots at a bar in your memory. We can take calculated guesses and decide if we should be waiting anxiously for someone or take each day as it comes. We can conjecture and contemplate.  Unless of course the other person has gone for a holiday behind the iron curtain.

As the world becomes more complicated and distant, these few and glittering beams of communication sent across the seas by a loved one can often decide the pace, mood and flow of our day. Viva La connectivity!

TUMHE HO NA HO

Song 78:

So if there were an 'Asha-Geeta' school or style or 'gharana' of singing, then over the years many singers tried adopting it and adding new, forbidden flavours to Hindi songs. I feel these were all the singers who challenged the status-quo, who did not conform to the high-pitch, sedate and classical expectations. These singers etched out characters that were vulnerable, fragile, quirky, faulting, flawed and therefore deliciously interesting. I don't think Lata or her many clones could do justice to these characters. The very first condition for these characters was non-conformity.

These singers and these songs talked of imperfections and disappointments, of hope and despair, of the shadows that lurk behind formality and convention. These songs opened a Pandora's box of images and impressions. They were not black and white. They delved into the inner recesses of human nature, the truths, the half truths, the lies, the make-believes, the self denials and the assurances. They were not so boring and mundane as to say 'I love yous' in so many words. They said the 'I don't love yous' and the 'I don't miss yous' and the 'I don't need yous' and the 'I am not god-awful crazy about yous'! While meaning exactly the opposite. Runa Laila is one such name that comes to mind. What a voice! As if made out of textured honey. Of the silver lining in a grey cloud, of candyfloss induced candour, of the longing for mangoes in mid February or the wait at a crowded pani puri/chaat stall, of the first high heels bought for prom night. This song takes me to a different zone and thought process. I just love it. But this song does not remind me of you. And of course I don't love you and I never never miss you! :)

ANKHON SE JO UTARI HAI DIL MEIN

Song 77:

And then some days the dawn was brighter than others. Everything was crystal clear. The fog had cleared. There were no ambiguities. No confusions. The early rays of the morning sun itself had given her the unmistakable message. The clouds had dissipated. She no more wanted to fool herself with 'testing' and 'trying'. It would be a waste of time and energies to even look elsewhere. The crooner knew she had found her ultimate soul mate. Her eyes had seen the splendour of his form once. His warmth had left a glow on her face even if her soul was a bit scathed. But then some scars are so appealing. She was ready to live with those scars. As long as he promised to caress them once in a while. As long as he promised to come and renew their warmth again. As long as he would kindle that spark every time she set eyes on him. She was nothing without him. Maybe a vague shadow of herself. Her beauty remained un-encashed without him. She had loved him inside out. Loved every nuance, every expression, every mission he had accomplished. She was smitten by his quietly self-assured manner, the depth of his commitment to issues, the way he walked into a room and started owning it by his sheer presence. 

Her life would never be the same again. Yes, there was pain! But at the same time there was so much gain. She did not regret anything. He had given her more than she could have ever asked for. She would forever thank him for all his love, all his warmth, the stamp of his special attention, his special indulgence.  She was blessed to be his.  

AE DIL MUJHE BATAA DE

Song 76:

Then there were times when the crooner was restless and excited. She needed no intoxication as in the previous song. The times were intoxicating enough. The now hot now cold weather played on her mind. It was the best of seasons after all. Neither too hot to sweat and pant, nor too cold to turn blue. The cool breeze filled her parlour with the scent of anticipation. Her flowing gown billowed with joy and mischief. Her sparkling eyes hid many secret plans and her tresses yearned to ensnare him. The million dollar smile was but for him and her arms ached to embrace him. While he silently watched her from afar, she went berserk unaware of his attention. She couldn't wait to be with him. Her heart seemed to leap out of her bossom and her tiny waist did a jig of it's own. Her feet wouldn't stay still and broke into a dance time and again. Oh only to get a glance of him. She knew it would be a sleepless night. And the day would be special. Her dreams led her on. One day they would celebrate each day with abandon. For now she was happy greeting each day even if with a hint of the giddy passion and ardour of her dreams. 

AAJ YEH MERI ZINDAGI

Song 75:

Asha essayed some complex moods and themes in her songs pretty early on in her career. This song from the same movie as yesterday's song is so different from that one. Pretty dark and macabre, the song depicts a slow degeneration into a dangerous stupor where you don't know what you're doing. So while most drinking songs are about bonhomie and partying, this one definitely stands out as being evil and intense. The story of course is well known. The movie was based on the true story-The Nanawati case.  It created quite a stir and peeped into a risqué terrain back then. People used to make movies with conviction and passion. They were not necessarily made with a check-list of all commercially viable formulas. I am sure it took courage to make such cinema. The movie may not have been a commercial success but it sure left an impact. It left a huge impact on my mom for sure! She created such a hue and cry throughout my angst-ridden teen years about the movie in hush hush tones, but the moment I would ask her to reveal some more about the story, she would say no it's not meant for you! Haha I grew up with some kind of psychosis about this movie!:)

Anyway, I decided to exorcise my demons and caught it on you tube recently. Yes, the dialogues are a bit laborious and preachy for this day and age and the sermonising gets to you but the music and the actors stand out. Sunil Dutt always the perfect gentleman and well suited for all fauji/defense type roles, Rehman who was such a deliciously evil character and the beautiful, fine boned Leela Naidu, half Swiss-French, half Indian, so dainty and fragile. She could not speak Hindi very well but gosh was such a beauty to behold. She was Femina Miss India 1954, was voted one of the 5 most beautiful women in the world by Vogue and featured on the covers of Mags such as Vogue and Tatler. In this song, she has done full justice, managing to look innocent, drunk, graceful, evil, manipulated and macabre at the same time. And that's no mean feat.

YEH KHAMOSHIYAN YEH TANHAIYAN

Song 74:

Sometimes they got away from it all and rushed to the mountains. Off to the slithery slopes of infinity. Snow covered, mysterious and silent mountains were witness to their love. They sang and walked in perfect unison. Taking cues from each other and bolstering with each step. The carpet of pristine snow at their feet cushioned the love-filled spring in their step. If one slipped, the other was there to hold on to and get your bearings. They did not want to return to any place. They were Adam and Eve in their garden of Eden. Oblivious to anyone else, they became one. There were no barriers and no boundaries. They were alone. They were together. They were complete. And that was all that mattered.....

DEEWANA MASTANA HUA DIL

Song 73:

Gosh, it's been ages since we last communicated. My wi-fi at home had gone kaput and there was no way I could get round to blogging at work. It's been one helluva busy time at work. But now I am at peace. Taken a decision and sticking by it. I have never been scared of following my heart, both in my career and relationships. And somehow God has been kind and always shown me a new path, exciting and fun, at each step. 

Looking forward to this little breather. Will surely do things that a 9-6 job often doesn't allow you the time to pursue. These breathers have always helped me grow and evolve, cultivate new interests, develop new faculties. It is important after all to revel in the beauty of a cloudy sky, to smell a rose, to take a deep breath and patiently watch a golden sunset. Yes I was earning well and now I will have to be more careful with my spending. But there have been times in the recent past when I have not had the time or the inclination to enjoy my money, so tired and stressed out I used to be.

Now this song has the typical joie de vivre, as if sung on a lark. Yeah, I am not done with Asha-Rafi yet. I had but given you a glimpse of their talent through the decades picking one song per decade, but there is a wealth of songs still unexplored. I am back from a walk through a breezy, merrily moist night. This was the first song that sprung to my mind. Suchitra Sen is simply gorgeous. What a smile! Dev Anand is well, just being himself. The story was pretty avant garde, pretty bold but very deftly handled. And I have a little memory attached to the song. We had a Phillips Karaoke Competition in 3rd year of college. They came with a list of songs. We had to choose a song on the spot and sing in front of a packed auditorium. Out of the blue I selected this one and sang it. Now I am an untrained voice but dabble at singing as music is pretty much steeped in my maternal family. Sure enough, I won the first prize (I have just been insanely lucky in most singing competitions all my life) and I got a lovely Phillips music system. Well that system still lies, creaky and old in some little alcove seating corner of my parent's home in Chandigarh and my mom dusts it lovingly once in a while. That's why visits to your parents' homes are so important. They bring back the child in you and remind you of your hidden joys.

CHAND ZARD ZARD HAI

Song 72:

Proxy song on 19th Sept 2013. Sorry no write up

CHAYN SE HUMKO KABHI

Song 71:

As in this segment we are exploring some of Asha's sombre songs that delve into emotions other than pure fun. She was best known for her effervescent songs and the music director who gave her that identity was definitely O P Nayyar. They had a scintillating partnership, creating bestselling music that made you want to sing and dance and smile and tease. But there were other moods that Asha essayed well in her songs. We started with the one from Bandini expressing longing, the one from Lekin expressing jealousy, yesterday's song was about incomplete love. Today it is an even deeper one about parting ways after having loved deeply. But it's a 'been there done that' song. Sometimes you acknowledge it was great while it lasted, the amour gave her what no one else could but still the relationship brought more anxiety than peace.

It is well known that Asha was involved with O P Nayyar and this is the last song she sang for him. You can almost feel the remorse and pain of parting in every word of the song. I think its one of Asha's best songs, gentle, mature and introspective. Yet this song was never picturised as the Producer of the movie 'Pran Jaye Par Wachan Na Jaye'(1974) for which it was composed, did not like it! So its one of those songs that remained undefined and intangible.

It is believed they split on August 5, 1972. It is not clear what made them part their ways. On being asked the reason for their parting, O P Nayyar once said, "I know astrology very well. I knew that one day I had to part with her. Something also happened, that upset me, so I left her." Nevertheless, he also said "...now that I am seventy-six, I can say that the most important person in my life was Asha Bhosle. She was the best person I ever met."

The parting of Asha Bhosle and O.P. Nayyar was bitter, and probably therefore she has hesitated to give Nayyar his due. While talking about O.P. Nayyar in an interview with TOI, she once remarked - "Whichever composer gave me work, it was because my voice was suited to his music at that point. No one musician did me any favor by asking me to sing for him." She gives the credit for her first big break to B R Chopra, the producer of Naya Daur.


 

KITNA RANGEEN HAI YE CHAND

Song 70:

And then some love stories remain intangible. You're almost there and yet an elusive air pervades. What is lacking? Two great people, perfect setting, similar thoughts, simmering chemistry. A full moon may be shining on an ink blue night, you would be deserted on a yacht in the middle of nowhere, cool breeze blowing. Yet something prevents the two to get together. It is almost as if there is an invisible chasm between the two. They flit in and out of each other's lives, ruffle a few feathers, flutter a few eyelashes, utter a few words of love and passion but the relationship never develops to consummation. What is left is just a few memories, a whiff of the special scent of that woman, a faint shadow of that glint in his eyes. Perhaps these relationships are meant to fade away into the horizon, almost like a fable or a myth.

Perhaps they were too perfect together. Perhaps they were not meant to experience the ennui of routines, of those in between periods of nothingness and boredom. Destiny had spared such romances the ordinariness of a snoring partner, the puffiness of the morning after, the puking after the two champagnes down drive, the PMSs and the unshaved legs, the outburst of sudden acne and the mood swings. This could be the only reason that some loves come into our lives and remain a bit incomplete. They retain a freshness and anticipation. They fill in the blanks.There's no 'been there done that' dead end here.

Just the way some projects, movies, programmes made with the best of efforts and intentions fail to see the light of day due to unexplained reasons. They just do not take off in spite of all the hard work and planning and spade work that goes into them.This beautiful Asha Bhosle-Rafi duet is from one such movie that never got released. I think Sadhana looks her best ever (though I say that in every song of hers!) and Guru Dutt too looks devastating. An almost ethereal setting. Beautiful music by N Datta. What a pity it never got seen in a movie hall. But such is life. At the end of the day you can just resign to your fate and accept that we can't control everything. Better to have made that effort and failed than to have never tried. Better to have loved and lost than to have never loved at all.

JHOOTHE NAINA BOLE SANCHI BATIYAN

Song 69:

Today is noted lyricist and writer Gulzar's Birthday. Right from his first song 'Mora Gora Ang Layile' from Bandini, Gulzar in every movie has set new benchmarks of excellence. His songs straddle the tough tight rope of cultural depth and popularity with consummate ease. He has always renewed typically Indian folk and rural idiom and given it an alchemist's transformation, that entertains and enthrals. To choose Gulzar's top 10 songs would be a tough task. From the languorous peace of 'Mausam' to the jagged recklessness of 'Maachis', from the simmering passions of 'Dil Se' to the pop raunchiness of 'Omkara', from the timelessness of 'Aandhi' to the earthiness of 'Lekin' and 'Rudali', from the permissiveness of 'Ijaazat' to the kitschy madness of 'Bunty Aur Babli', Gulzar has given Hindi cine-goers vivid wings of imagination. The balance and the bravado, the piquant flavours and the pathos, the innuendo and the intimacy, weave tales textured in myth, mystery and mysticism.

My pick for the day is this Asha Bhosle number from Lekin, with a classical setting. Hema in all her folk regalia and effortless dancing (no one could do better justice to these costume dramas than her-she is 42 in this song by the way and so resplendent, handling Kathak in spite of being a Bharatanatyam dancer), a decadent era, exquisite music by Hridayanath Mangeshkar, a mysterious tale that leaves many unanswered questions but awakens the supernatural, sub conscious in you. The gentle complaining, the jealous accusations, a manifestation of the deepest love itself. The prodding and the provoking that establishes some truths you're dying to know. Yet done so artistically, with no rancour or TV serial dramatics. Love the line 'Ab lipti lipti banao na batiyan'! May the magic of such movies live forever. Long live Gulzar Saab!

AB KE BARAS BHEJO BHAIYYA KO

Song 68

If you thought all Asha and Geeta excelled at were vivacious, efferevescent songs, you've got another one coming. For both Asha and Geeta belted out some heart-rending numbers. In some ways these songs are even sweeter and more haunting than their 'happy' songs.

This song is a sad version of a typical saawan song, sung brilliantly by Asha Bhosle. Great music (as in minimal music) by S D Burman and lyrics by Shailendra reminiscent of the pure dialect of Bihar UP belt of India. Monsoon was the time when a lot of festivals associated with familial bonding appear on the Indian calendar. It was time for married girls to start sending messages and feelers to her 'maika' to send her brother who would chaperone her to her parents' place for a few days. Rakhi and Teej were eagerly awaited by women as they got to dress up and visit their parental homes and meet their long lost childhood friends.

The drudgery of their hardworking routine in the marital homes made them seek the luxury and pampering of parental homes. The significance of the love between a brother and a sister is immense. They are like friends for life and give you an honest perspective from the opposite sex, something that can always come in handy in your relationships.

In olden times sisters would travel miles to be able to go and personally tie Rakhi on her brother's wrist. If not possible they would be posted with loving letters well in advance as the postal services would often goof up during this season. We also used to post 'Rakhis' to our cousins living in other cities. I remember we were often told not to write the address with an ink pen as it would invariably get washed in the rainy season. So we would use a ball point pen. Not getting Rakhi on the right date made the day incomplete and sisters would worry about the wellbeing of their brother. This song though depicted in a jail has a befitting mood, the mood of yearning, the mood of getting away from it all and being with your loved ones.

Well Rakhi is around the corner but the mood is marred by the News of 5 brave Indian soldiers having been killed ruthlessly. My heart goes out to the sisters and families of those jawans who would be witnessing their valiant sons being brought in in such a state. Also the terrible News of innocent kids in Lyari being killed for playing Football? In the holy month of Ramzan and just before Eid? Unbelievable! Hope people everywhere realise that at the end of the day relationships are the same on every side of the border. The day we start respecting and valuing human life more than any piece of land or deviant ideology, perhaps this world would be a better place.

BACHPAN KE DIN BHI KYA DIN THE

Song 68:

Today is Happy Friendship Day! While I don't believe in such randomly anointed days for relationships or issues or causes, it is still worth while to at least sit calmly and recollect what that day means to you. What has friendship meant to you over the years. We find friends in the strangest of circumstances. The truest friendships, I feel were formed when we were kids. Straight forward and direct, without any agenda or worldly motives, we connected with friends naturally. The attachment totally depended on our affinity to that person. There were no boundaries of rich and poor, caste or creed, political correctness, or 'what will I get out of this?' syndrome. Giving was natural and sharing was unpretentious, pleasures were simple and lasting. Through school, college and neighbourhoods these buddies were our 'run to' pals at any odd hour.  Be it to go sneak some mangoes or shehtoots (Mulberries) from the trees in the garden of that ill tempered old man around the block, or to cover up for 'homework not done' with a totally fictitious story for a friend as to how you actually saw your friend's Alsatian gobble up his entire homework!

My earliest friend was my bro, two years younger to me. We'd fight and box each other in the nose (both of us have slightly crooked noses coz of that!) But over the years we had such a beautiful bond that we can share almost any problem, any issue with each other and basically just sharing solves half of the problem. I had to change almost 10 schools thanks to my Dad's transferrable job. So every new station, one had to make new friends quickly. There was no facebook or twitter or mobile phones. Each one of those 'best friends' has left a little vignette of a special friendship in my heart. Over the last few years one has connected with many college friends through Facebook, but some from my school years are still untraced. But the memories will always remain, each more precious than the other.

Remembering the ones I didn't find. Kanu from Presentation Convent Jammu for that huge tree under which we'd lie and gaze at the beautiful red school building, Chunmun from St Joseph's Sagar, MP for those green tamarind beans we used to pluck and eat together and hold our hand going down that dark chapel staircase, Swati Sharma from St Joseph's Ferozepore for the best tomato cheese sandwiches in your tiffin that I later learnt how to make from you, And for reading our first book together in the school library that we totally fell in love with-'The Magic Faraway Tree' by Enid Blyton, Shailja Kamra from Seventh Day Adventists Convent in Ganganagar for those trips to your Dad's Campa Cola factory and the souvenirs we'd get and Shalini Sharma for just being so cool (Can't forget the first day you walked into class in a strappy, red polka dotted dress and hat, making me fall in love with polka dots forever!),  Ritipal Pannu from KV, Ahmedabad for those evening walks and our wishing well where we'd drop coins and wish for Rajesh Khanna and Dev Anand songs in Chitrahaar and experiencing our first deep loves at 16 together and sharing all about it 10 times a day over the phone, Anureet Soin for your brazen, boldness and how I heard you, a girl say a swear word with so much zest for the first time, and the fact that you were a Sardarni who smoked unabashedly coz you never believed in pretences and your rendezvous that I had to fix from movies planned in that open air theatre in A'bad Cantt (But sigh you went away too soon, maybe you were too bold for this world!), Priti Aggarwal for introducing me to Mukesh and your Mom's Pineapple pastries, Lakshmi Priya for those yum  idlis I ate from your tiffin and you'd have my parathas gladly! Hope you are the same lovely people and have a great life wherever you are! :)

And what better song to capture the essence of those friendships than this Asha Bhosle and Geeta Dutt duet!

MASHALLAH MAHJABEEN

Songs 61-67


Today is the birthday of the iconic Indian actress Meena Kumari aka Mahjabeen Bano who ruled the 40s and 50s with her brand of poignant, sensitive and heart wrenching portrayals of the quintessential Bharatiya Nari. Always restrained and measured and sensitive and staid, Meena Kumari exemplified the silent tragedy queen who preferred keeping the tumult of her emotions well hidden from the world. Instead of anything shrill or shaky, she stood rock steady, taking it all in with nerves of steel and a mysterious Monalisa like smile. So needless to say most of her songs were sung by Lata. But there were songs in her earlier movies that were sung by Asha and Geeta. Meena Kumari definitely looks fresher in those songs, almost hopeful, almost optimistic and not as if carrying the burden of unspeakable agonies on her shoulders. Let's go though a journey of some of Meena's most memorable songs and capture her many moods, right from debutante to décolletage flashing, from mysterious to mystic, from flirtatious to enigmatic.

Here's the first pretty bold one for those times. Lo and behold it is a bathing song! Gosh, Meena and bathing song? Arre Meena Ji aap to aisi na thii? Well see it for yourself! She was all of 21 and a stunning beauty. Well what's the point of being 21 and not totally enjoying your looong shower!
KAISA JADU DALA RE
 

Now that the beauty was bathed and sussed, the next step was to adorn herself with solah singaar! In ancient Indian belief a beautiful belle had to partake of 16 essential beauty treatments to get ready for her amour to ensnare him. This adorable Geeta Dutt number from 'Sahib Bibi aur Ghulam' showcases Meena doing just that.


 PIYA AISO JIYA MEIN

But it was often Lata's voice that suited Meena Kumari to the T. Together they delved into emotions so undecipherable and complex that the result was staggering. There is unrequited love and there is unrequited love. I am sure everyone has had one such experience but still everytime such an experience happens, you are ill equipped to deal with it. Some take it head on and bang some crockery, some drown their sorrows in booze, some write caustic letters to let their betrayer burn in guilt. But not Meena Kumari. She simply lets that sinking feeling bottle up at the base of her throat, holds that tear right at the brim of her gorgeous eyelids and wishes her beau all the best in his new found happiness. Walking out of a love gone awry gracefully? Well learn it from Meena how to take a bow. And how! One of my all time favourite songs ever that I looove singing.

 AJEEB DASTAAN HAI YEH

Soon movies moved on to coloured climes, but do you think Meena Kumari's world became brighter? She was always this achingly beautiful figure. Madly in love, deep in her passions but never actualised. She searched and seeked that perfect love, that perfect life. People came and went. She lit up with hope but some twist of fate made sure her permanent companion was melancholy. Noone played the nautch girl or Tawaif with a heart of gold better than Meena. Pakeezah was her swan song and each one of the songs from this movie is a masterpiece. Starting with this one song that portrays so beautifully the circumstances and compulsions that force women into selling their bodies. I know today the politically correct thing to say is 'So what? It's her choice.' But as a woman one can well imagine that no one  would do it out of great sense of pride. It is a shame that is slowly internalised and desensitised. To sell your body every day must be like slow death every day. Kudos to the maker of this one song that with a riot of colours shows the magical allure as well as the pitfalls of the flesh trade. It in one breath shows the dazzle of this world and condemns the society that fails to give women better options to earn a living.


INHI LOGON NE
 

But while she was at it, she learnt all the tricks of the trade. She used men to get her way, she manipulated their weaknesses to survive in the jungle called life. Meena perfects the art of slow seduction in this song, Indian style. She leads on, she teases, she mocks, she cajoles, she flirts and literally has them curled around her little finger. The song is different from Meena Kumari's usual moods. Here she is someone who knows her power over men and flaunts it. The song is also steeped in Shringar Ras- the elixir of beauty and love according to ancient Indian texts. The power of mystery and subtle play rules.
THARE RAHIYO O BAANKE YAAR




Talk of these nautch girl movies, so they were rather long and sad and pretty hopeless. Just think 'Pretty Woman' with lot more heavy make up, dressy costumes, classical dancing, meaner pimps, lot more crying and then she doesn't even get Richard Gere in the end! People came and people went and walked all over her heart. All she could do was to recall the faint footsteps of her loved one and philosophise that she just met a stranger for no reason but she was still where she always was. Now this song is a study in rhythm and beats. The Kathak dance by the two side dancers is exemplary. Meena Kumari per se was not a trained dancer. Also she did not really have the agile body of a dancer but man does she emote with just a deft play of hands, a look and slight gesture. Her powerful face spoke volumes and there were many takers. The train sound in this song was a special leitmotif of this movie. All in all it is a stunning creation of Kamal Amrohi, well executed by Meena.
 

CHALTE CHALTE




It is believed she had a rather tragic life too. Born into a very impoverished family in Mumbai, she was forced to join films almost a child woman. Love eluded her, till she married the much married Kamal Amrohi who was many many years elder to her. Pakeezah was conceptualised in 1958. They had differences soon and the movie was shelved by mid 60s when they separated. The making of Pakeezah itself took so many years as she took to drinking heavily. She was supposed to have a very tender and loving relationship with a much younger and stunningly handsome Dharmendra but by then she had lost the strength or will to let it culminate into something more meaningful. She wrote lotsa pensive poetry and drowned her last days in booze and shairi in her reclusive boudoir. Finally Nargis and Sunil Dutt on seeing the rushes of Pakeezah convinced the duo to reconcile for the movie and finish the swan song.The last scenes of Pakeezah were shot when she was in a critical condition due to liver cirrhosis. Three weeks after the release of Pakeezah, Meena Kumari died almost in penury that she was born in.

She once wrote of Kamal Amrohi
"Dil saa jab saathi paya
Bechaini bhi woh saath le aaya"

But this song somehow is how one would like to remember her. Happy and content in her own imaginary little world, longing for her lover but at peace. Loving the idea of being in love, more than anything else. One can only wish such a warm and gentle soul is happy wherever she is today.

 MAUSAM HAI AASHIQANA

ANKHON MEIN TUM HO

Song 60:

That way Kishore and Geeta Dutt did not get to sing too many songs together. The reason maybe that Geeta Dutt was a regular of S D Burman camp and he always favoured Rafi or Hemant Kumar with her. But it is amazing how Kishore, the buffoon that he was in terms of acting, brought out a very wild side of Geeta Dutt. This song is a case in point. In fact she sounds a lot like Asha Bhosle in this song. I had to listen to it almost thrice to ensure it was indeed Geeta. It is typically a madcap song. It's utter nonsense and gibberish. But it happens at times, when you've been through the whole gamut of emotions, you've dug so deep into your heart time and time again, sometimes you just draw a blank.

There is nothing much to say. It may be an emotional bankruptcy of sorts. You've been there, done that, said it all, quarrelled, made up a hundred times, been jealous, dealt with it, almost killed each other with anger and then cooled down. Then you can only turn to the comical in relationships. Everything is funny. Often in long term relationships the very qualities that attracted you in the other person in the first place start irritating you. Everything is ironical! Then love is expressed as a threat, a warning and almost as a sock across the face. The bond almost like a lasso around the neck! It's almost like where once you said, " Miss ya love!" now you say "Miss me Ok!"

But it's a song that you can't help laughing when you watch it. Kishore Kumar is going totally crazy and reminds me of a horse who's had some rum and is going a little out of control. But he was so spontaneous and natural in his comic timing and Madhubala more than matches up, nicely manoeuvring him with a noose around his neck. The secret behind that unmatchable control is that she was actually married to him when they shot this movie!  HA HA HA

The power of a controlling woman! Enjoy!! :)
 

MAUSAM PYAAR KA YUN HI CHALTA RAHE

Song 59:

An Asha Kishore song always had that rain kissed freshness. It was like going for a wild, long ride on the hills of Khandala and Lonavla on a meandering road to nowhere in particular. The journey was the destination. It was bound to be fun. They exemplified youthful songs that lingered way past insipid movies. Ok I am kinda really tired and all I can say about this song is that it has the very very cute Rishi Kapoor and sadde Chandigarh di soni kudi Poonam Dhillon. Rest the hills, the rain, the jeep, the pretty pretty dresses, two hearts madly in love and R D Burman's music. That's all there is to the charm of this song. Revisit your 20s today! :)
 

SAARA PYAAR TUMHARA MAINE BANDH

Song 58:

Well just finished watching a special 'Parenting Episode' of Indian Idol Junior and must say it was simply great. All the kids sang songs related to parents and parenting. Needless to say everyone had to cry (How would reality TV survive without tears!) But yes, parenting is a beautiful combination of blood, sweat, tears ,toil and pride.

Catch Kishore-Asha essay this beautiful mood of anticipating parents in this song from the 70s. There is a Hindi song for every conceivable situation or phase of life! The time when a couple plans and longs for their first child is such a beautiful phase. Suddenly this strong and powerful bond develops between the two. You have to think of each other for a lifetime now, you have to be responsible and serious about the relationship. You have to know what you're getting into. Suddenly your love multiplies as you plan for the beautiful days ahead, with the footprints of a little bundle of joy. There are many adjustments that one has to make, and be prepared for making some sacrifices and alterations in your lifestyle. But it is a choice you make with pleasure.

In days to come you realise that kids are often that wonder-glue that keep couples together. As far as possible, you put aside your little differences and want to give the best to the kid. At least that is the primary understanding on which the very foundation of a family is laid. It has become fashionable to be individualistic but parenting teaches you patience, endurance, tolerance and the spirit of giving without expecting anything in return. Every couple cherishes this time when they waited anxiously for their first baby, for life. It is a beautiful time of caring and sharing. It is also the last time when they are purely just man and wife. After that of course it is always being Mama and Papa first and foremost! So value God's blessings and wish that all adorable coochie woochie kids get abundant love from both the parents. The junior lights up a whole clan and one can only feel happy about it and wish he/she has a beautiful long life ahead. 

That Bong rosogolla Uttam Kumar makes an adorable expectant father in this song and gosh! Have you ever seen Sharmila look more beautiful? She is glowing! Parenthood surely gives an added appeal to a personality. So here's happy parenting to all the yummilicious Dads and gorgeous Moms out there! Now this song always puts me in the mood to maybe think of another(although I know it is unthinkable right now). In an ideal world I would also like a naughty little son like Calvin! I'm kidding! Hahaha:) 

ANKHON ANKHON MEIN HUM TUM

Song 57:

Asha Bhosle started singing in the 1950s, her first film being Mangu in 1954. However her first big break was CID in which the music was composed by O P Nayyar. Then followed a number of good movies with O P Nayyar's music. But O P Nayyar's favourite male singer was Mohd Rafi. So most of Asha's initial duets were with Mohd Rafi. While Asha-Rafi had some great songs together, it was much later that Asha Kishore too became a force to reckon with. While with Rafi a formality was maintained, with Kishore, Asha's voice blossomed into a vibrant form, coming upto her full potential. There was such perfect unison, such harmony. Everything looked perfect, maybe too good to be true.

Taking this another mood from the 60s this time. An unusual Asha-Kishore song for it is not frivolous or funky, but very gentle and sublime, perfectly enacted by the oh so gentlemanly Dev Anand and the coquettish Asha Parekh. It has a fairy tale like quality. Love too slowly tip-toes into your life in the strangest of ways, like an unbelievable fairy tale.  You are caught unawares. The magical allure of that dream-like state is such that you drift along, putting all your sense and logic aside. You build castles in the air and float on clouds. Everything is picture perfect.

All you see all around is him and you imagine perhaps its the same for him too. You wake up and you think of him, you smile and his eyes smile back at you. You eat something nice and you feel like sharing with him. You wear some nice clothes and you want him to see you in those. Lilting violins play in the background even in the middle of a busy day at work. You look into your files and his voice resonates in your ears. You even start loving the words he uses often. You remember the colour of each and every shirt of his. You post long forgotten songs at odd hours and wake up in the middle of the night for unexplained water breaks. It's as if his eyes follow you all day. In all of this you do start loving yourself a little more too. Then one fine day you know it's silly. He has a complete life. And so do you. But yes, it's true. Yes, it's called a Twitter crush!
 

HAAL KAISA HAI JANAAB KA

Song 56:

Asha and Kishore singing together was always like a breezy evening on the beach, easy, chilled out and frolicking. There was a joy that emanated, there was good humour and camaraderie. They could pull each other's leg, make good natured jibes at each other. Nothing was taboo. The fact was that they had amazing chemistry and great friendship and it more than translated on screen, giving the pairing a great vibe. They were perfect to represent a love that was not suffocating or dictating terms. Love wasn't meant to smother or totally transform a person. If it demanded too many lifestyle and ideological changes, love would be just a noose around the neck.

It is important to give space and claim your own space too. Which is why when the singing dancing diva found her perfect partner, there was spring that bloomed, with the birds chirping merrily and a sunny day laying down a fun fiesta of enjoyment and sunshine. They would tease, prod, poke, have little tiffs too. But the bond was so strong and enduring that all would be forgotten the next morning. All they wanted to do was to share a laugh. They were backslapping buddies, partners in crime, well-wishers before they were lovers. He could be quite the comic when he wanted to be. And her laughter literally tinkled all over the countryside. Behind all the mock fights and temper tantrums, all she wanted was to see him happy and he could give anything, just about anything to see that dazzling smile of hers.    

MAINE TUJHE MANGA TUJHE PAYA HAI

Song 55:


When taking time off the singing /dancing diva was like an oasis in the harsh desert of life. She could provide succour and sense to the hero, calm his frayed nerves, get him to see the silver lining in every grey cloud.  When the guy faced challenges, she was there to let him know that no matter what went wrong, at least they always had each other.

Their moments together were like a shot of life-giving elixir. No trial no tribulation was big enough, or worth bothering about. Yes, life was tough and there were challenges galore. There were bad days, trying times, intrigues, back-stabbings, accusations, accessions. There were tough professional decisions one often had to take. There were great personal compromises one had to make juggling the various roles in life. But in the cosy cocoon of each other's arms they found answers to all the world's problems. At least they thought they could solve all the world's problems with their optimism and courage.

Refreshed, rejuvenated, they got up, dusted off the dirt and were ready to face a new day. One of those quintessentially nice Asha-Kishore duets. Now that was a singing match made in heaven. Together Asha & Kishore are my favourite singing couple with so many fun songs. Starting today with this sedate and solemn one. Lyrics are by that doyen Sahir and music by RD (yes RD could belt out a solemn tune when he wanted). But believe me the fun has just begun. Of course Shashi Kapoor is an absolute darling in this-worried, intense, guarded, brooding-someone you'd like to reach out to and console. He plays the conscientious police officer troubled with impediments to justice and Neetu provides just the perfect foil. Great love stories are made of these-casting your apprehensions aside, rising up to the occasion and supporting your partner no matter what!

JAAIYE AAP KAHAN JAAENGE

Song 54:


Sometimes the singing/dancing diva felt jealous and insecure too. Even if the hero had given her more than what she could ever imagine in the given situation, still the impossibility of it all, the distance, the invisible walls between them made her feel a little helpless. She wanted to be close to him at all times and share her thoughts, ideas, aspirations and dreams with him constantly. But when he acted pricey and guarded, she had to take a step back. She had to look within and reflect. He was a free bird, as wild as they came, independent, driven and purposeful. How long could she tag along? So she let go. With all her might she would hold her feelings still in her heart to evolve and mature. She knew he would come back to her some day. She knew she would wait. She knew that when he came back, her love would have grown manifold and she would have that much more to give him.

CHEHRE PE KHUSHI CHHA JAATI HAI

Song 53:

Sometimes the singing diva was tickled pink by the unique way in which that mysterious stranger expressed his love. She'd imagine she'd lost him owing to her over friendly, open nature. She was rather clear hearted and therefore, never felt the need to be overly secretive or guarded. Probably he did not approve of her openness. He doubted her intentions at times.

After days of despondency and uncertainty, he would throw her way a huge swathe of warmth and affection. He was so grand and beguiling in his manner that it took her breath away. He watched her silently from the sides, unsure if she was fooling around with many an eligible suitor. Little did he know that she was totally enamoured by him. And she was ready to tone down the exuberance if it made him happy, for she loved him to bits. All others could vanish into thin air, for all she cared. If anything the other guys were buddies, chat-brats and platonic pals.

He stood apart. Regal and manly, classy and confident, tough yet tender. When he gave her the slightest hint that he cared for her, a thousand pink roses bloomed instantly in the valley of her heart. Her face blushed under the maddening scrutiny of his gaze. The piano notes danced their wild tango. It took only two to tango after all. The rest did not matter. She had found her Adonis and she wasn't looking for anything or anyone else!

HUM AAP KI ANKHON MEIN

Song 52:


Yet when they finally came into each other's arms, all differences vanished, all fights forgotten. Friction was a waste of time. They were as if dancing on the clouds, gliding, blending, melting into each other. They had harmony and rhythm, grace and gravitas. They were drawn to each other by a strange magnetic pull. Soon all those little complaints and admonishings seemed like fun leg-pulling. They loved mocking each other that they could live without the other. They resisted and they desisted. But like the sunflower turns to the sun every morning, and like the nightingale looks for the moon every night, just a little sign, a little cat call, a little whistle from each other cheered them up. It gave them strength to go on with the mores of life.

The nightingale had to sing for her supper after all, and the sunflower had to be the proxy sunshine, an emblem of positivity in a hard terrain. Those heart-warming signals they got from each other were enough to sustain them. The whole world went by unawares, but they were floating in their dreams. Was it just an apparition? Was the magic make believe? A hallucination? Hope not, he thought. And she..........she would forget to smile if he ever forgot to smile at her.