The birth of a Film song - Page 2

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Why Hindi Film Songs are
not accepted as Literature?-by Tejinder Sharma

Hindi literary pundits have always looked down upon Hindi film songs as writings of lower class. These lyrics have never been granted the status of literature. Although Hindi literature does have a genre termed as Geet, but Hindi film songs are not given any space in that genre. It is a fact that if the genre of Hindi Geet is surviving at all, it is in films produced by Bollywood.



Recently I have had discussions with a few literary scholars on this subject. And the reply I got was, "These days the quality of songs has deteriorated so badly. Yes old songs were different. They were good." The question still remains unanswered as to why the songs penned by Shailendra, Shakeel, Sahir, Kaifi Azmi, Raja Mehndi Ali Khan, Bharat Vyas, Rajinder Krishan, Majrooh, Neeraj Anand Baxi, and Indeevar are not granted the status of literature? At the same time, is it not worth asking that are the present day crop of literary poets any competition for Nirala, Pant, Mahadevi, Bachhan, Muktibodh, Nagarjuna and Agyeya?



In a programme held at the Nehru Centre, London I put a question to Pandit Shiv Kumar Sharma as to why did his team with Hari Prasad Chaurasia stop providing music for Hindi films? He was honest enough to admit that films have fixed and repetitive situations; and there is a lot of restriction in creating music. They do not find it suited to their nature. They are creative artists and feel suffocated in this sort of restrictive atmosphere. Inadvertently he admitted that it was a difficult task working under the conditions prevalent in the Hindi film industry.



Truly said! But, is it not true that our past masters like Naushad, S.D. Burman, C. Ramchandra, Madan Mohan, Shankar Jaikashan, Laxmikan Pyarelal and Kalyanji Anandji used Indian classical music as well as folk to create immortal music in an atmosphere which is suffocating for some of the other artists. Music of Baiju Bawra, Basant Bahar, Mughl-e-Azam, Anarkali, Nagin etc. will live for centuries to come?



Coming back to the lyrics, it will not be out of place to say that Hindi film songs have almost replaced folk songs used for most of our religious festivals as well as social functions. It is more relevant for the Pravasi Indians whose only inter-action with India is through the Bollywood films and songs. Right from a child's birth, and then the Hijra songs, songs in praise of motherhood, friendship, love, marriage, Vidaai, Rakhi, Diwali, Holi, and death are all given expression by the film lyricists. Shakeel Badayuni has written three different Vidaai songs for films and each one competes with the other for the top slot – Chhor Babul ka ghar (Babul), Pee ke ghar aaj (Mother India) and Babul ki duaayein leti jaa (Neel Kamal). This much, for the restrictions that the film world puts on creativity.



Ever since Hindi literary poets have become influenced by the pseudo Marxism, the Hindi poetry has become mono-thematic. Today's Hindi poetry always protests. It has become more like a pamphlet of political theory rather than an expression of genuine creativity. The Gurus of literature have started dictating to the writers as to what is expected of them. And the writers also write to please these self-proclaimed Gods of literature. Everybody is aiming at getting into a particular group and become famous, whereas in cinema, the only judge is the audience. They have the right to reject and accept any song. The audience prefers those writers and lyricists who create a communication with them. They are not interested in a literature in which writer is talking to himself. Literary writers have totally forgotten about love for the nation. They do not celebrate spring or autumn. There is no optimism left in their thought process.



Pandit Narendra Sharma, once commenting upon the poetry of Dushyant Kumar, said, "Anger is temporary, protest is temporary, love is everlasting." The Hindi film songs cover the theme of love in its totality. Love for God, for the lover, for humanity for the country; they all find expression in the Hindi film songs.



Today's poets have forgotten to celebrate, to be happy and share happiness. They have forgotten eight of the nine RASAS. We cannot find decent Hindi poetry or short stories on the theme of love. Whereas every singly film lyricist has created numerous songs on this theme. In fact all the facets of Hindi film songs would require a full thesis and an article cannot do justice to it. Hindi film songs cover all the nine RASAS mentioned in the Sanskrit Natya Shastra.



Hum aaj kahin dil kho baithey…. (Majrooh – Andaz), Unko ye shikayat hai ki hum kuchh nahin kehtey – (Rajinder Krishan – Adalat), Pyar hua iqraar hua hai… (Shailendra – Shree 420), Pyar par bas to nahin hai mera lekin phir bhee .. (Sahir – Soney kee chidia), ye shaam mastaani – Anand Bakshi, Rajnigandha phool tumharey (Yogesh), Haaye jiya roye (Prem Dhawan - Milan (old), Hamne apna sab kuchh khoya (Indeever – Saraswatichandra), Bechain Nazar Bechain jigar (Jaan Nisar Akhtar – Yasmin), Nain so Nain naahi Milao (Hasrat Jaipuri – Jhanak Jhank Payal Bajey), Naina Barsein Rimjhin Rimjhim (Raja Mehndi Ali Khain – Who kaun thee), Dhire Dhire machal ai dile beqaraar – (Kaifee Azmi – Anupama) – These all are a examples of a few love songs that can compete with best of poetry ever written in Hindi.



Rajinder Krishan, Shailendra, Sahir, Shakeel and Anand Bakshi have been the greatest exponents of the art of film lyrics writing. They wrote for films; wrote quality lyrics; their songs were meant to be situational and yet be true to the situation of each individual. People at large could identify themselves with their songs. When they wrote for the poor and the underdog, they understood what was written for them and hummed them in their hour of distress. This certainly cannot be said about majority of Hindi literary poetry. The mazdoor and the kisaan for whom the poetry is written do not understand it at all.



It is not that in today's scenario there is a dearth of good songs. Javed Akhtar, Gulzar, Nida Fazli and others are still providing us with songs that can easily be called standard literature. We have to remember that even in literature, for each good poet there is a hoard of crap printed year after year. When we compare, we must compare the best of the literary world with the best of the film world.



It is high time that Hindi film songs should be made a part of the education system of Indian schools, colleges and universities. They need to be dealt with seriousness and should not be treated in a casual manner.

FILMI SANGEET - THE INDIAN FILM SONG

by David Courtney, Ph.D.

Filmi sangeet is the music from the Indian film industry. It is a commercial genre comparable to the Western "Top 40". The term "Film Song" is today somewhat of a misnomer because there are many songs of this genre that have never been in any film.

There may be questions concerning the artistic quality of the film song but there is no questioning its popular appeal. It is heard from every loudspeaker in India for every function imaginable. Its biggest appeal is to the youth and lower classes.

HISTORY OF THE INDIAN FILM SONG

The birth of the Indian film song may be traced to the advent of India's first sound motion picture in 1931. This film was entitled "Alam Ara" and heralded in a new era in Indian motion pictures. At the same time, it sewed the seeds for a new musical genre.

In the 30's three major film centres developed. These were based in Bombay (AKA Mumbai), Calcutta, and Madras (AKA Chenai). Of theses centres, Bombay was known for the making of films geared for national distribution, while Madras, and Calcutta were known for their regional films.

The early years of this industry were very fruitful. Between 1931 and 1940 India produced 931 Hindi feature films with an average of 10 songs per films. The numbers for the regional films from Madras and Calcutta, were much lower, but the orientation towards music was similar.

This period is notable for a number of major artists. Music directors such as Pankaj Mullick, Keshavrao Bhole, and Anil Biswas are a few who spring to mind. It is interesting to note that this early period did not favor "playback" singers. Many of the original actors and actresses sang their own songs. Many times, actors were chosen specifically for their singing abilities, Bal Gandharva, and Baburao Pendharkar are two examples.

In the 1940's and 1950's, the business began to shift away from the big motion picture studios to the independent producers. Although this opened the doors to many new musicians and music directors, the influence on whole was not positive. The distribution networks began to rely heavily on the "formulas" (i.e., "X" number of big name actors, "Y" numbers of songs, and "Z" number of dances, etc.). These formula films are known in Hindi as "masaala films". These formulas were determined by commercial and not artistic considerations. From that time on formula music became the norm. The number and variety of the film songs was solidly locked into place. The artistic results of making music by formula rather than inspiration is obvious.

This period is also significant for the introduction of the "playback" singer. Whereas the earlier artists acted and sang, the movies of this period introduced the custom of having actors who did not sing their own songs but instead had other singers do this for them. This is the playback singer.

Many notable playback singers came to prominence during this period. The most notable are, Lata Mangeshkar, Hemant Kumar, Mohammed Rafi, Geeta Dutt, and Asha Bhosle. Major music directors are Naushad, C. Ramchandra, S. D. Burman, Shankar - Jaikishan, and Madan Mohan.

The 60's and 70's represented a time of relative stability. It is true that there was an ever increasing standard of recording quality as technical advances were made. It is also true that a few artists would come and go. But for the most part, the playback singers such as Lata, Hemant, Asha and others of the previous decade had locked themselves into such a secure position that there was very little room for others to enter.

However there were a few new music directors to make it big. Kalyanji Anandji, R.D. Burman and Lakshmikant-Pyarelal are a few who would make their way into the business in a big way during this period.

THE RECENT SHAKEUP

The film industry was again shaken in the 80's and 90's. Many new developments would both adversely effect traditional businesses, yet present new opportunities for others.

The television has had a tremendous effect on this genre. In the 1970's the Indian Government began a project to introduce the TV throughout India. Unlike many other countries, the TV (known as "Doordarshan") is owned by the Government. The widespread introduction was originally for "educational purposes" (i.e., propaganda) and was not very inspiring. The original programming was not a commercial threat to the Indian film industry. However during the 80's and 90's, under political and economic pressure, the television began to open up to private productions. Such independent productions proved to be very popular and began to adversely effect cinema attendance. It also gave the music producers an alternative outlet for their musical productions.

Other factors effecting Indian film songs were the problems within the Bombay film world. For many decades, Bombay monopolized the Hindi film industry and therefore controlled the lion's share of India's film music. However, increased cost of production, rising trade unionism and organized extortion rackets working under the ruling Siv Sena Party have decimated this industry. (Although the Siv Sena Party is no longer in power, the effects of racketeering still remain.) Today a large number of Hindi films and film songs are being produced in Madras where conditions are more favorable. This shift has given a major boost to Madras based music directors such as A. R. Rahman and playback singers such as S. P. Balasubrahmanyam.

The introduction of the VCR and the satellite / cable networks has also impacted the film Industry. Unlike the standard TV, the satellite / cable networks are all private sector undertakings. Curiously enough the introduction of the satellite has had the effect of internationalizing both the production and consumption of film style commercial music.

There are other factors that have shaken the industry. Overproduction of cinema houses in the 70's and 80's coupled with ever increasing entertainment taxes have made it difficult for many theatre owners to survive. This has shaken the distribution networks.

The result is that the nature of "filmi sangeet" is not as well defined as it once was. The creation of alternative media along with the decimation of the traditional Indian film industry has produced an interesting business and artistic environment. It appears that film music is in the process of spawning a number of new and related genre. However their definition is not yet clear.

MUSICAL CHARACTERISTICS

It is impossible to make any statement about the musical aspects of film music. Classical and traditional elements may be found, yet it is more likely to be dominated by Western jazz, rap, disco or whatever styles may be in vogue. It is even common to mix all of the various elements together.

For an excellent treatment of the subject check out "Hindi Filmi Git" by Alison E. Arnold.

INDIAN INSTRUMENTS USED IN THE FILMS

Bansuri Daf Dholak Harmonium Jal Tarang Khol Manjira Rabab Santur Sarangi Sarod Shehnai Sitar Tabla Tabla Tarang Tanpura
• Violin

TRADITIONAL INDIAN GENRE USED IN THE FILMS

Bhajan Dhun Folk Music Kathak Dance Qawwali
• Thumri

Originally posted by: Swar_Raj

Music is Speaking Silence..A silence which comes nearest to expressing the inexpressible is music". Expression of the self, expression of the expressible and the expression of the inexpressible which nothing else can express. It is like the "Moksha" that our scriptures say which cannot be told and which cannot be understood but yet everyone likes to get it. Music is that feeling

Thanks Swar Ji for this post. Really liked this part. Yes Music is like Moksha. It gives you a feeling that can never be understood let alone expressed.

One more thing I would like to add. Music is a great healer too.

Originally posted by: Bhaskar.T

One more thing I would like to add. Music is a great healer too.

👏👏..Very rightly said!!! it has been seen that wen 'we' becum sad or gloomy...if not all..den surely few of us turn 2 songs to make ourselves feel better!😊 and its true to the core,that when we dont feel like speaking to anyone...or getting alongwith our friends and family ,then there's is this thing we feel inside that 'I want to do/have something different!!' sometimes u just feel like escaping from the harsh realities of life ......it seems as if everything is in ur favour ,but wen u really feel like doing nything,all seems 2 b strange!

U can ignore,u can manage not to think abt them ,but at da end of da day...u're left wid 'urself' and the 'troubles' of life around U.-------This time u really feel like listening to those 'moving' and inspiring words that wud atleast comfort u ....and make u think +ively-----and mind U,even ur cloze one's words wont b dat much effective than dose songs....it does happen!!!!!

becuz muzik makes u feel "U EXIST"!!! u have ur own world!!!!! it can really do wondersss!! y not..read dis :- (u may have read it before!)

A Handicapped child ,who wasn't responding to medications for years,HAS noww! responded to Himesh Reshammiya's music.Its said that he's now getting better and by listening to Himesh's musik ,he,atleast do some body movements--and mind u dis is only by Muzik...and ofcrse THE GRace of God Almighty!😊

Originally posted by: Evilgenius_S.S™

A Handicapped child ,who wasn't responding to medications for years,HAS noww! responded to Himesh Reshammiya's music.Its said that he's now getting better and by listening to Himesh's musik ,he,atleast do some body movements--and mind u dis is only by Muzik...and ofcrse THE GRace of God Almighty!😊

Originally posted by: ans24us1

Wow thats awesome... Thanks for sharing this and grt going Himeshji 👏

yea!😃 see..MUZIK is doing wonderrrs!!!!!!!!!! he told it in an interview on B4U's Star Stop ..to SALIL!!!! gr88 mann!👏 👏also after hearing this...i firmly now believe k muzik REALLy can do manyy wonderss and dat''''u neva knw wat may happen..lyk dis!😳😃

Originally posted by: Evilgenius_S.S™

yea!😃 see..MUZIK is doing wonderrrs!!!!!!!!!! he told it in an interview on B4U's Star Stop ..to SALIL!!!! gr88 mann!👏 👏also after hearing this...i firmly now believe k muzik REALLy can do manyy wonderss and dat''''u neva knw wat may happen..lyk dis!😳😃

😆😆 you are a sweet heart ,And yes Music can do wonders😛