Gulzar - The Lyricist - The Genius, Songs, Albums & Discussion |
Gulzar - The Lyricist - The Genius, Songs, Albums & Discussion |
savitarajan |
Feb 13 2008, 12:47 PM
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#106
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Member Group: Members Posts: 37 Joined: 26-November 07 Member No.: 31967 |
Hi, Amitabh is not seen in this movie. He was in the cast initially and i think did a few shots too. Hrishida had wanted a new face for the hero and had to cast Sumit Sanyal (correction)since Anand got released earlier. FYI Savita Guddi (1971) Actors : Amitabh Bachchan, Ashok Kumar, Dharmendra, Jaya Bachchan, Sunita sanyal, Vijay Sharma Director : Hrishikesh Mukherjee Lyrics : Gulzar Music Director : Vasant Desai Producer : Sippy N C Singer : Vani Jairam Theme : Family Drama Year : 1971 1.Bol Re Papihara 03:35 2.Hari Bin Kaise Jivoon Re 03:29 3.Hum Ko Man Ki Shakti Dena 04:29 Savita
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mmuk2004 |
Mar 21 2008, 06:32 AM
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#107
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Dedicated Member Group: Members Posts: 3415 Joined: 25-September 04 Member No.: 907 |
Masoom (1982)
Huzoor is kadar bhi na itra ke chaliye Khule aam aanchal na lehra ke chaliye Koi manchala gar pakad lega aanchal Zara sochiye aap kya keejiyega Laga de agar badh kar zulfon mein kaliyan To kya apni zulphein jhatak deejiyega... Badi dil nasheen hain hasee ki ye ladiyan Ye moti magar na bikhraya keejye Uda ke na le jaye jhonka hawa ka Lachakta badan yun na lehraya keejye Bahut khoobsurat hai har baat lekin Agar dil bhi hota to kya baat hoti Likhi jaati phir dastaan-e-mohabbat Ek afsane jaisi mulakat hoti Sophisticated flirting... gorgeous song and superb lyrics... The affluent buisness man Naseer is partying at a close friend's(Saeed Jaffrey) house and they are both slightly drunk reminscing about their youth. They sing together teasing Shabana(Naseer's wife) who is both amused and annoyed... note the subtle interplay of moods in the song. Shekhar Kapoor, when he manages to finish any movie makes it so nuanced, in the case of Masoom, I find it superior to the original book, Man, Woman and Child. Gulzar is superb in his use of "aap" ...remember his "Aap ki aankhon Mein kuch...and aap ki badmashiyan." The song moves forward in suggestive playful threats, that flatter the girl...umm....as long as it is not realised . Koi manchala gar pakad lega aanchal Zara sochiye aap kya keejiyega Laga de agar badh kar zulfon mein kaliyan To kya apni zulphein jhatak deejiyega... When finally Shabana is annoyed, note the bantering, beautiful lines... "Bahut khoobsurat hai har baat lekin Agar dil bhi hota ko kya baat hoti..." Note the use of tabla, unusual always for Pancham, with the wonderful guitar and is that a santoor in the pauses? I wonder if Bhupendra also played the guitar for the song. Check out the vid... saw it after a long time... it has not dated one little bit. "This isn't right, this isn't even wrong." Wolfgang Pauli (1900-1958) "There are no facts, only interpretations." Friedrich Nietzsche (1844-1900) |
mmuk2004 |
Apr 5 2008, 10:27 PM
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#108
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Dedicated Member Group: Members Posts: 3415 Joined: 25-September 04 Member No.: 907 |
Lekin(1991)
Kesariya baalma, o ri Bawri bole log Na main jiuti na mariyo main Birha mharo rog re Bawri bole log, log re... Chadte din ki aanch batorun Til til, til til sab jal jaun Dhalte sanjh ki rakh kuredun Ret mein sab ral jaye, sab ral jay Na mil payi na bichadi main Kaiso ye sanjog re Bawri bole log re... Maaru thal ki laambi chhaiyyan Nis din, nis din kuch likh jaun Mero sandeso koi suna jo Jis ko wo, jis ko wo, dikh jaye Preet ko dekhen nagri wale Peed na dekhen log re Bawri bole log re... The song (based on 'rag' maand) plays with the opening credits of the film and sets its tone. A soul trapped between life and death, unable to escape.... "Na main jevti na mariyo main/birha mharo rog re/bawri bole log." And the last stanza captures the poetry of the entire movie...in the long shadows of the desert, I write something everyday... if someone could hear my message they would see it... "Preet ko dekhen nagri wale/peed na dekhen log re," they do not see the pain behind the romance... the entire movie is about this, a soul trapped in pain, and the man who relives that experience entrapped by it in his turn... "This isn't right, this isn't even wrong." Wolfgang Pauli (1900-1958) "There are no facts, only interpretations." Friedrich Nietzsche (1844-1900) |
mmuk2004 |
Apr 5 2008, 10:29 PM
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#109
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Dedicated Member Group: Members Posts: 3415 Joined: 25-September 04 Member No.: 907 |
Love this movie...it is a confused hotch potch of all kinds of theories of parapsychology, rebirth and ghost literature. But it works...or, at for me, it did. It is a movie full of implausible suggestions, but they are so evocative that they hold you enthralled, enriched by a rather barren, alien landscape of sharply etched sandunes, a gorgeous Dimple, holding you with her pain-filled eyes, those fascinating songs and a story that comes alive through Gulzar's dialogues that are a wierd mix of modern pragmatism and extreme romanticism.
Vinod Khanna is a government officer in the archeological department, who is fascinated with antiques. The movie begins with him fiddling with an old lock and key forgetting everything in his concentration. He is sent to a remote village in Rajasthan to evaluate and restore an old building, and on the train he is cautioned by a traveller not to cut his nails... it invites ghosts, he warns Khanna. The next shot has Dimple who seems to have arrived from nowhere in his compartment and who disappears rather mysteriously. (yes, I know, typical bhoot elements of hindi films... but you have to see Dimple's expression and that train as it pulls to a stop at a remote station in the middle of the night...I am reminded so strongly of those old days when we would travel as students and the train would sometimes stop at a remote station in the middle of the night and we would get glimpses of places we would never see again.) The next shot is sharply realistic, he meets up with an old college friend (Amjad Khan) who is the local big wig, an IAS officer who is pretty much in charge of the village. Vinod Khanna stays at at the guest house and at Amjad's place, the casual scenes thrown in between their interactions... reveal so much detail. Gulzar, quietly shows a Hindu-Muslim couple, and the perfect harmony in which they live. Amjad reads his namaz and Bina Rai(?) is heavily decked up as a traditional Hindu married woman sporting a big bindi. Wish the movie had more of Amjad, he is lives the role of an IAS officer in a small village, who is familiar with the territory and is experienced in handling difficult situations...It is such a non-dramatic role which Amjad plays with an extremely nuanced ease. to be contd. This post has been edited by mmuk2004: Apr 5 2008, 10:37 PM "This isn't right, this isn't even wrong." Wolfgang Pauli (1900-1958) "There are no facts, only interpretations." Friedrich Nietzsche (1844-1900) |
mmuk2004 |
Apr 5 2008, 10:33 PM
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#110
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Dedicated Member Group: Members Posts: 3415 Joined: 25-September 04 Member No.: 907 |
Part 1: Lekin (with the Kesariya song)
and Part 2: This post has been edited by mmuk2004: Apr 5 2008, 10:33 PM "This isn't right, this isn't even wrong." Wolfgang Pauli (1900-1958) "There are no facts, only interpretations." Friedrich Nietzsche (1844-1900) |
saagarmenon |
May 10 2008, 08:49 PM
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#111
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Unregistered |
IS there is better quality of the hapy version of dil dhoondtha hai available?
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