Bollywood Masala Mix
By Nivedita Mishra
Raj Kapoor, the greatest showman Hindi cinema has seen, would never have touched the dizzy heights he went on to achieve had it not been for the phenomenal team of creative people who surrounded him and with whom he collaborated all his life. Writers KA Abbas and VP Sathe (story and screenplay), music directors Shankar Jaikishan and co-actor Nargis were the essential clogs in his creative wheel of life.
However, there is another, important spoke that really completed Raj Kapoor as an artist and they were his lyricists. Two men shone brightest in the Raj Kapoor universe – Shailendra and Hasrat Jaipuri.
Through his words, the lyricist gave us many warm and tender moments to cherish.
For the millennial it may be really hard to recall Hasrat Jaipuri. However, if you heard the song, Sunn Sahiba Sunn from "Ram Teri Ganga Maili", you should know that this song, like many other Raj Kapoor’s iconic songs, was written by Hasrat Jaipuri.
The year was 1951-52. My father was a 14-year-old, growing up in a dusty little small town in western Odisha called Bolangir. Recalling his days, he had told me once of how when "Barsaat" (1949) released that year, radio stations would play the songs from the film. A tea shop owner had installed a loud speaker in his place of work and connected it to his radio. Whenever Jiya Beqaraar Hai from the film would play, young teenagers like my dad would stop in the middle of the road just to listen to its haunting melody and yearnings of a young heart. Such was the magic of the golden era of Hindi film music and its reach!
It is true that these songs are best remembered today for the visuals we have of them in our minds – the popular faces from the silver screen, the golden voices that have sung them and the magical minds that have composed their haunting melody. Sadly, what many of us miss out on is the songwriter/lyricist who wrote them.
It is in this context that one makes mention of Hasrat Jaipuri (born Iqbal Hussain) who wrote many of the most iconic songs in the Raj Kapoor repertoire.
Jeeya Beqaraar Hai was his very first song. It is interesting to know how Raj Kapoor and Hasrat Jaipuri got to work together in the first place.
Born and bred in Jaipur, Hasrat Jaipuri moved to Mumbai (then Bombay) in 1940. He worked for 10 years as a bus conductor. However, at a city mushaira, he was spotted by the legendary Prithviraj Kapoor, who immediately recommended his name to his son, Raj Kapoor, a major film personality by then. Thus, started a golden collaboration.
It may make sense here to recall some of his popular songs here. Ichak Dana Bichak Dana (Shree 420), Zindagi Ek Safar Hai Suhana (Rajesh Khanna, Hema Malini’s Andaz), Teri Pyaari Pyaari Surat (Rajendra Kumar starrer Sasural), Ehsan Tera Hoga Mujh Par (Junglee of Shammi Kapoor’s Yahoo fame), Sayonara Sayonara (with Asha Parekh in a Japanese dress from Love In Tokyo), Duniya Bananewale (Raj Kapoor, Waheeda Rehman’s Teesri Kasam) and Badan Pe Sitare Lapete Hue (Shammi Kapoor starrer Prince) are some of best-loved songs even today.
Hasrat Jaipuri was an accomplished poet as well, with equal proficiency in Urdu and Hindi. In many of his lyrics, this fact becomes amply evident as it mixes not just words and usages but also sensibilities into a seamless whole. Take for example, in the song Bol Radha Bol from the Raj Kapoor/Vyajanthimala starrer Sangam, Hasrat Jaipuri writes: Mere Mann Ki Ganga, Aur Tere Mann Ki Jamuna, Bol Radha Bol Sangam Hoga Ke Nahin. Consider another song from the same film, where Hasrat Jaipuri writes, Ye Mera Prempatra Padh Kar Ke Tum Naraz Na Hona, Ki Tum Meri Zindagi Ho, Ki Tum Meri Bandagi Ho to understand how well he understood these two differing yet corresponding worlds.
What’s fascinating is that he could bring in a rather modern 20th century touch to his songs as well. Imagine the songs Badan Pe Sitarey Lapete Hue (Prince) or Aao Twist Karen (Manna Dey in Bhoot Bangla) and you will know what one means.
Born on 15th April, 1922 in Jaipur, Hasrat Jaipuri was awarded the best lyricist award by FilmFare in 1966 and 1972. He has written several books of poetry, in Hindi and Urdu like Abshaar-E-Ghazal (compilation) etc. The noted lyricist died on 17th September 1999 in Mumbai.
Raj Kapoor, the greatest showman Hindi cinema has seen, would never have touched the dizzy heights he went on to achieve had it not been for the phenomenal team of creative people who surrounded him and with whom he collaborated all his life. Writers KA Abbas and VP Sathe (story and screenplay), music directors Shankar Jaikishan and co-actor Nargis were the essential clogs in his creative wheel of life.
However, there is another, important spoke that really completed Raj Kapoor as an artist and they were his lyricists. Two men shone brightest in the Raj Kapoor universe – Shailendra and Hasrat Jaipuri.
Through his words, the lyricist gave us many warm and tender moments to cherish.
For the millennial it may be really hard to recall Hasrat Jaipuri. However, if you heard the song, Sunn Sahiba Sunn from "Ram Teri Ganga Maili", you should know that this song, like many other Raj Kapoor’s iconic songs, was written by Hasrat Jaipuri.
The year was 1951-52. My father was a 14-year-old, growing up in a dusty little small town in western Odisha called Bolangir. Recalling his days, he had told me once of how when "Barsaat" (1949) released that year, radio stations would play the songs from the film. A tea shop owner had installed a loud speaker in his place of work and connected it to his radio. Whenever Jiya Beqaraar Hai from the film would play, young teenagers like my dad would stop in the middle of the road just to listen to its haunting melody and yearnings of a young heart. Such was the magic of the golden era of Hindi film music and its reach!
It is true that these songs are best remembered today for the visuals we have of them in our minds – the popular faces from the silver screen, the golden voices that have sung them and the magical minds that have composed their haunting melody. Sadly, what many of us miss out on is the songwriter/lyricist who wrote them.
It is in this context that one makes mention of Hasrat Jaipuri (born Iqbal Hussain) who wrote many of the most iconic songs in the Raj Kapoor repertoire.
Jeeya Beqaraar Hai was his very first song. It is interesting to know how Raj Kapoor and Hasrat Jaipuri got to work together in the first place.
Born and bred in Jaipur, Hasrat Jaipuri moved to Mumbai (then Bombay) in 1940. He worked for 10 years as a bus conductor. However, at a city mushaira, he was spotted by the legendary Prithviraj Kapoor, who immediately recommended his name to his son, Raj Kapoor, a major film personality by then. Thus, started a golden collaboration.
It may make sense here to recall some of his popular songs here. Ichak Dana Bichak Dana (Shree 420), Zindagi Ek Safar Hai Suhana (Rajesh Khanna, Hema Malini’s Andaz), Teri Pyaari Pyaari Surat (Rajendra Kumar starrer Sasural), Ehsan Tera Hoga Mujh Par (Junglee of Shammi Kapoor’s Yahoo fame), Sayonara Sayonara (with Asha Parekh in a Japanese dress from Love In Tokyo), Duniya Bananewale (Raj Kapoor, Waheeda Rehman’s Teesri Kasam) and Badan Pe Sitare Lapete Hue (Shammi Kapoor starrer Prince) are some of best-loved songs even today.
Hasrat Jaipuri was an accomplished poet as well, with equal proficiency in Urdu and Hindi. In many of his lyrics, this fact becomes amply evident as it mixes not just words and usages but also sensibilities into a seamless whole. Take for example, in the song Bol Radha Bol from the Raj Kapoor/Vyajanthimala starrer Sangam, Hasrat Jaipuri writes: Mere Mann Ki Ganga, Aur Tere Mann Ki Jamuna, Bol Radha Bol Sangam Hoga Ke Nahin. Consider another song from the same film, where Hasrat Jaipuri writes, Ye Mera Prempatra Padh Kar Ke Tum Naraz Na Hona, Ki Tum Meri Zindagi Ho, Ki Tum Meri Bandagi Ho to understand how well he understood these two differing yet corresponding worlds.
What’s fascinating is that he could bring in a rather modern 20th century touch to his songs as well. Imagine the songs Badan Pe Sitarey Lapete Hue (Prince) or Aao Twist Karen (Manna Dey in Bhoot Bangla) and you will know what one means.
Born on 15th April, 1922 in Jaipur, Hasrat Jaipuri was awarded the best lyricist award by FilmFare in 1966 and 1972. He has written several books of poetry, in Hindi and Urdu like Abshaar-E-Ghazal (compilation) etc. The noted lyricist died on 17th September 1999 in Mumbai.
By Kakoli Mukherjee
Making movies for children is a difficult craft. Not only do kids have short attention spans, the easy accessibility to other forms of entertainment through the Internet has made them choosy too. The Indian film industry, despite having many beautiful children’s films in their kitty, seem to be losing the race right now to the biggies from Hollywood. While some say the Indian ones do not have the right content, a few others say that the lack of viewership makes children’s movies commercially unviable. So, what do kids really want to watch on the big screen?
Aadya Yadati, an 11-year-old, who studies in Aurobindo International School, says: “The kind of content we want to see mostly depends on the child. Some like princesses and stuff like that, others like superheroes and some like anything depending on their mood. Some of my favourite flicks are The Pacifier, Frozen, The Spy Next Door, The Queen of Katwe, The Spiderwick Chronicles, Kung Fu Panda Holiday, Middle School - The Worst Years of My Life, Pee-wee’s Big Holiday, Spy Kids (1,2,3,4), Next Gen, Benji and The Secret Life of Pets.”
Making movies for children is a difficult craft. Not only do kids have short attention spans, the easy accessibility to other forms of entertainment through the Internet has made them choosy too. The Indian film industry, despite having many beautiful children’s films in their kitty, seem to be losing the race right now to the biggies from Hollywood. While some say the Indian ones do not have the right content, a few others say that the lack of viewership makes children’s movies commercially unviable. So, what do kids really want to watch on the big screen?
Aadya Yadati, an 11-year-old, who studies in Aurobindo International School, says: “The kind of content we want to see mostly depends on the child. Some like princesses and stuff like that, others like superheroes and some like anything depending on their mood. Some of my favourite flicks are The Pacifier, Frozen, The Spy Next Door, The Queen of Katwe, The Spiderwick Chronicles, Kung Fu Panda Holiday, Middle School - The Worst Years of My Life, Pee-wee’s Big Holiday, Spy Kids (1,2,3,4), Next Gen, Benji and The Secret Life of Pets.”
Talking about why he feels Hollywood fares better, he adds: “Disney knows how children react. They talk to kids and direct films based on what they experienced as kids. They test how kids react to different situations, people, places etc., whereas Indian films mostly copy other films. When it comes to making original movies, it is much more time-consuming. So they copy. An original movie is better.”
Harshika Dantuluri, a 13-year-old, however, thinks that children’s movies made in the West should embrace more diversity. She wants the same in Indian movies too.
“I want to see more diversity, more acceptance, better and more meaningful plots in Indian movies for children. My favourite among children’s movies is the Harry Potter series. Hollywood movies have a better production value and they have better plots than our movies. Also, Bollywood doesn’t make a lot of movies for kids. However, most Hollywood movies have the same basic cookie-cutter protagonists. They’re always radically Americanised and generally don’t have any flair. I’d like to see people of colour, differently-abled people, LGBT people, people from different religions, cultures etc., without resorting to making them useless side characters.”
Pradyumna, the 13-year-old singer who has earned quite a name for himself singing for social causes, says that he likes movies that drive home some message. “I like message-oriented movies which helps the society.
I loved Home Alone 3 because they showed how a child can protect himself from intruders. Among Indian ones, I like Taare Zameen Par as the protagonist slowly improves in his studies, and it inspires everyone.” For seven-year-old Marziah Fatima Rizvi, it’s all about magical creatures and balloons. “I loved Up because of the little boy and balloons. I also liked How To Train Your Dragon because the dragons could fly!”
Agreeing that there should be a change in the way Indian film makers conceptualise children’s movies, Tollywood filmmaker Tammareddy Bharadwaj said: “In Hollywood, children’s movies are not exclusively made for children. For e.g., the Harry Potter series caters to children and their parents alike. Even the ones made in Iran and UAE are watchable with parents. In India, children’s movies were being made just for the sake of "20 lakh subsidy" given by the government earlier.
If you want to convey a message, you can easily do so through TV or newspapers or ads, but when it comes to movies, it should be interesting. So, we are lacking somewhere in making the films. Little Soldiers was the last Telugu children’s movie that did well. Classics like Papam Pasivadu and Letha Manasulu were big hits in their time. We are not making those kinds of films today. If we make a business proposition with children’s films, irrespective of whether it is a hit or flop, we will get theatres.”
However, Ayodhyakumar Krishnamsetty, who directed and produced the highly-acclaimed children’s movie Minugurulu, says that more support is necessary so that children’s movies can find a larger audience. Minugurulu, which was the first-ever Telugu film that contended for the best feature at the Oscars in 2014, failed to fare well in the box office.
“There is no medium to show children’s movies. We don’t get theatres for children’s films. In China and others countries, it is mandatory to give theatres for children’s movies, but no such support is available here. Most of the filmmakers who made children’s movies are repenting now after facing losses. Even TV channels do not buy children’s movies as they do not bring enough TRPs. Filmmakers have to go to schools and ask them to show these movies. It is a painful process for us. I made a very high-quality film with international crew, but the response was the same.”
Harshika Dantuluri, a 13-year-old, however, thinks that children’s movies made in the West should embrace more diversity. She wants the same in Indian movies too.
“I want to see more diversity, more acceptance, better and more meaningful plots in Indian movies for children. My favourite among children’s movies is the Harry Potter series. Hollywood movies have a better production value and they have better plots than our movies. Also, Bollywood doesn’t make a lot of movies for kids. However, most Hollywood movies have the same basic cookie-cutter protagonists. They’re always radically Americanised and generally don’t have any flair. I’d like to see people of colour, differently-abled people, LGBT people, people from different religions, cultures etc., without resorting to making them useless side characters.”
Pradyumna, the 13-year-old singer who has earned quite a name for himself singing for social causes, says that he likes movies that drive home some message. “I like message-oriented movies which helps the society.
I loved Home Alone 3 because they showed how a child can protect himself from intruders. Among Indian ones, I like Taare Zameen Par as the protagonist slowly improves in his studies, and it inspires everyone.” For seven-year-old Marziah Fatima Rizvi, it’s all about magical creatures and balloons. “I loved Up because of the little boy and balloons. I also liked How To Train Your Dragon because the dragons could fly!”
Agreeing that there should be a change in the way Indian film makers conceptualise children’s movies, Tollywood filmmaker Tammareddy Bharadwaj said: “In Hollywood, children’s movies are not exclusively made for children. For e.g., the Harry Potter series caters to children and their parents alike. Even the ones made in Iran and UAE are watchable with parents. In India, children’s movies were being made just for the sake of "20 lakh subsidy" given by the government earlier.
If you want to convey a message, you can easily do so through TV or newspapers or ads, but when it comes to movies, it should be interesting. So, we are lacking somewhere in making the films. Little Soldiers was the last Telugu children’s movie that did well. Classics like Papam Pasivadu and Letha Manasulu were big hits in their time. We are not making those kinds of films today. If we make a business proposition with children’s films, irrespective of whether it is a hit or flop, we will get theatres.”
However, Ayodhyakumar Krishnamsetty, who directed and produced the highly-acclaimed children’s movie Minugurulu, says that more support is necessary so that children’s movies can find a larger audience. Minugurulu, which was the first-ever Telugu film that contended for the best feature at the Oscars in 2014, failed to fare well in the box office.
“There is no medium to show children’s movies. We don’t get theatres for children’s films. In China and others countries, it is mandatory to give theatres for children’s movies, but no such support is available here. Most of the filmmakers who made children’s movies are repenting now after facing losses. Even TV channels do not buy children’s movies as they do not bring enough TRPs. Filmmakers have to go to schools and ask them to show these movies. It is a painful process for us. I made a very high-quality film with international crew, but the response was the same.”