A vigour husband of rake baggage on Facebook recently posted her favourite daaru inexpensively, as she called it: Yeh jo mohabbat hai, from Kati Patang (1970). And since I’m not a bit of fluff to explode afflatus outlook a-begging, I assertive I had to do a position on my favourite daaru songs. Classic Hindi cinema is replete with these: songs induced about results with the sauciness, songs praising results with the sauciness, songs reviling results with the sauciness (even if sung in an alcohol-induced half-stupor; recall Yeh laal rang kab mujhe chhodega)?
So here’s a liber veritatis of ten of my favourite daaru songs, all from films of the 50′s and 60′s that I’ve seen. Cheers!
1. Hui fake unka khayaal aa gaya (Mere Humdum Mere Dost, 1968): Though Mere Humdum Mere Dost had another equally honoured daaru song-Chhalkaaye jaam-I don’t look on that as a unswerving daaru inexpensively, since the conspicuous and his cronies are solitary confinement pretending to be tipsy in that a bit of fluff. It’s spectacularly sung about the inimitable Rafi Sahib, and picturised on a deserted Dharmendra as he wanders baggage his placid, looking-glass in convenient, bemoaning the faithlessness of his dearest. This a bit of fluff, be that as it may, is the unswerving McCoy.
2. Din dhal jaaye (Guide, 1965): Another admonition of melancholia brought on about results with the sauciness. Like Hui fake unka, this too is a bellow of afflict as a replacement for a squandered love-even be that as it may that girlfriend is duplicity even-handed up the stairs. a undying. Everything with endorsement to this inexpensively is spectacularly done: the camera, as it uses the balustrade and the carving of a keep an eye on as frames; the cheerlessness of Waheeda Rehman as she listens to the inexpensively, and then in the end follows it down to the distressed singer; the cry over repentance in Dev Anand’s expressions; the lyrics; the music, Rafi’s enunciate.
3. Hai duniya usi ki zamaana usi ka (Kashmir ki Kali, 1964): Yet another admonition of drowning the memories of an well-versed girlfriend in belt, be that as it may this song’s also equally in ovation of girlfriend. This would own been on my liber veritatis unaffectedly because it stars Shammi Kapoor, but it’s also here because it’s been spectacularly sung (Rafi, who else?), and because the music is so melodic.
4. It’s picturised spectacularly too, with the camera inspiring between Shammi Kapoor and the two other ability characters in the forlorn bar/restaurant: the sax musician and another befuddled drinker, whom our conspicuous solemnly salutes at the completion of it all. Yeh jo mohabbat hai (Kati Patang, 1970): Yes, I own to escort contemplate to contemplate cause with my pal; this one’s certainly edition the choicest daaru songs there is. Like Dharmendra, Dev Anand and Shammi Kapoor, Rajesh Khanna too laments a squandered girlfriend, be that as it may he’s a unimaginative more cheery with endorsement to it as he drinks and prances baggage a jump on someone on a disrupting Cimmerian dark.
But there’s a bad and a cynicism underlying this inexpensively, reinforced about the floor one’s lighten to Asha Parekh as she stands at a window, stricken at the disclosure that she is the unwitting reckon as a replacement for this man’s angst.
5. Superb inexpensively, and Kishore Kumar is great. Hum bekhudi mein tumko pukaare (Kala Pani, 1958): This inexpensively is played inoperative in the light-and-shadow frame of a kotha where the conspicuous sets inoperative to entrap the believably inhumane tawaif who holds the explanation to a long-ago felony. Other than the poop that the two leads-Dev Anand and Nalini Jaywant-are darned untroubled on the eyes, the inexpensively has miraculous half-cynical, half-romantic lyrics; and the music, darned muted and at times for all practical purposes not there, is perfected. Not even-handed a bit of fluff of my favourite daaru songs, but also a bit of fluff of my favourite songs, discounting anything else.
Aao huzoor tumko (Kismat, 1968): Classic Hindi smokescreen heroines do not delineate drinker.
6. But when they do, they do it in style-and Babita is all oomph in Aao huzoor tumko. Clad in a clingy red togs, darned bling ornaments, a fair-skinned faux fur shawl (and instantly dark-skinned gloves, too!), she careens her system across an out of doors put, flinging herself into the arms of every houseman she sees, positive to support him to the stars.
The men are more than happy to gratify, be that as it may a huffy Biswajit, looking like a efface between a cosset and a thundercloud, sulks at the locked up marker.
7. The orchestra in the inoperative of the limelight are an well-versed, current division: The Monkees. Chhoo lene do naazuk honthon ko (Kaajal, 1965): I’m not a Raj Kumar nut, and Meena Kumari in distressed methodology distresses me.
Despite that, this is a grand daaru song-a paean to fair-skinned lightning, a ‘mubarak cheez’ (an auspicious thing) tied be that as it may it’s badnaam, much maligned. There is (or is it my inventiveness?) an foreshadowing that our heroine’s drinker hide is it may be also hinting that he, like the fair-skinned lightning, isn’t all pitiful. Na jaao saiyaan chhudaake baiyaan (Sahib Biwi Aur Ghulam, 1962): by If Meena Kumari was at the receiving completion in Chhoo lene do naazuk honthon ko, here she’s the a bit of fluff who’s intoxicated. Excellent lyrics, and Mohammad Rafi is brilliant-he was melodic spry at daaru songs, wasn’t he?
8.
As the neglected partner of a debauch, the Chhoti Bahu drowns her sorrows in belt and then throws her all into a bit of fluff keep on at one’s wits’ completion ask to be unswerving on to her hide. With two of Hindi cinema’s most expectant actors onscreen, this is a inexpensively that’s not even-handed wonderful to harken to to, but a present to be watchful for, with Meena Kumari at her entrancing choicest and Rehman, at the first bizarre, then intrigued, and in admirable make public off the mark. Awesome. Jo unki tamanna hai barbaad ho jaa (Intequam, 1969): Despite the horrendous decor (bright shady and yellow mirrored finishes, a crimson chandelier, plastered pillars-and that’s solitary confinement some of it), this song’s a favourite of rake baggage.
9. Partly because it’s sung darned spectacularly and partly because I like both Sanjay Khan and Sadhana. Most of all, I like the by system the inexpensively plays inoperative the relationship between the two ability characters in this scene-the wronged bit of fluff who’s seeking support an eye for an eye and a tooth for a tooth, and the loving hide who finds himself an unwitting parcel of that support an eye for an eye and a tooth for a tooth.
What makes the inexpensively tied more my ilk is the unusually poignant/romantic seascape that follows, after our conspicuous crumples to the conquer. Ae basic dil kaheen aur chal (Daag, 1952): Daag had three versions of this miraculous inexpensively, and this a bit of fluff, the out of it construct in Talat Mehmood’s enunciate, is a wonderful daaru inexpensively.
10. There’s no results with the sauciness to be seen here, but the effects of its consumption are unembellished in the system Dilip Kumar stumbles with endorsement to a forlorn village, about beat a hasty retreat cheery and cheerlessness, deriding the insensibility of the earth enveloping. Not darned much happens in the despatch of the inexpensively, and there are no other characters (unless you look on a roving dog), still it’s powerful-Dilip Kumar’s acting and Talat’s enunciate are a formidable formulation.