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1. #SONGS OF DIL TO PAGAL HAI MOVIE MOVIE#
2. #SONGS OF DIL TO PAGAL HAI MOVIE FULL#
3. #SONGS OF DIL TO PAGAL HAI MOVIE TV#

The movie’s most famous tune, composed by RD Burman and written by Yogesh, is a tribute to the power of the monsoon to both cool down temperatures and raise the heat. In Manzil (1979), Amitabh Bachchan plays an ambitious young man who falls in love with a woman (played by Moushumi Chatterjee) who is above his station. Chatterjee was adept at plucking characters out of the chawls and apartments where his audience lived and shooting at actual locations. ‘ Rim Jhim Gire Sawan ’ from Basu Chatterjee’s ‘Manzil’ (1979)īasu Chatterjee is one of the best-known chroniclers of middle class India in the 1970s and ’80s. “Lata Mangeshkar’s sublime voice starts echoing and the camera tilts down to reveal Sadhana singing in a hut drenched in the rain.” “The whole song has been shot in the rain, and raindrops look like beads of pearl and then the camera reveals a master shot of the village,” writes music director Shantanu Moitra in his contribution to the collection. “… the brilliance of the song is complimented by the manner in which the wait and the longing have been portrayed so beautifully by the director”, writes lyricist Prasoon Joshi in the festschrift The Man Who Spoke in Pictures Bimal Roy, edited by Rinki Roy Bhattacharya. One of Hindi cinema’s earliest rain songs is as quiet and seductive as they come. Roy doesn’t interfere with the effect of the melody by resorting to unnecessary cuts or visual gimmickry. The power of the song (there’s also a Bengali version “Na Jeo Na”) stems from Lata Mangeshkar’s dulcet rendition and Shailendra’s poetic lyrics. Shots of wet trees and puddles are interspersed with close-ups of Sadhana’s radiant face as she speaks of the romance that has found its way from her surroundings to her heart.

#SONGS OF DIL TO PAGAL HAI MOVIE MOVIE#

Unlike most movie rain songs, in which men and women jump around like jackrabbits, Sadhana’s character sedately walks around the porch of her house and retreats indoors as the rain does its work outside. ‘O Sajna’ from Bimal Roy’s ‘ Parakh ’ (1960)īimal Roy’s vision for Salil Chowdhury’s best-known song from Parakh (1960) hews close to the director’s famed simplicity and directness. In our admittedly short selection of five evocative monsoon numbers, several factors – chance, chutzpah and careful choreography – combine to create memorable montages of India’s most romantic season. Yet, rain song shooting is as much as of an art as song shooting itself. On the surface, rain songs are easy enough to shoot: drown the actors and extras in enough liquid to quench Marathwada’s thirst, and concentrate especially hard on the drenched female. This unique sub-category of film music pops up on the timeline during the May heat and explodes in June and July when the clouds finally shower their munificence on the parched earth. These skills especially come into play for rain songs.

#SONGS OF DIL TO PAGAL HAI MOVIE FULL#

The full impact of a film tune can be felt only when the choreography, cinematography, editing, production design, locations and the efforts of the actors cohere into a whole. You won’t find the phrase “song picturisation” in the dictionary, but the Indianism accurately describes the art of shooting songs in Indian cinema.

#SONGS OF DIL TO PAGAL HAI MOVIE TV#