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Forms of water and its Interpretations in the Hindi films

Enkayaar, Bollywood Trade News Network
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Water has had an integral relationship with the development of Hindi films. This could be owing to the fact that our country has been endowed with such diverse forms of water bodies, and the creative persons associated with a film have in their lives have one story or the other to tell and each time there is an interpretation with which each one of us identifies in his or her own manner. After all, it is the land of Kalidas whose Meghduta is still considered one of the finest odes written to express a sense of loss without the beloved, and where physical formations associated with rains aka clouds and rains have been used as a career to convey the feeling of helplessness. Nearly all the songs that have been written and picturised in the Hindi films have in one manner or the other underlining the association that rains had with love.

In the annals of history of Indian cinema rains were used apart from expression of love, to display the skin on the screen to titillate the audience. The manner in which this has been used has a large scale of variation aesthetics, being at the one end of the spectrum, while vulgarity being the other end of spectrum. It indeed is a matter of fortuitousness that at the one end a song denoting aesthetics in its acme is '' Pyaar hua ikrar hua '', from Raj Kapoor starrer SHREE 420, while the other end of spectrum is epitomized in ''Sarkai leo Khatiya'' in Govinda Karishma Kapoor starrer RAJA BABU. Interestingly enough it was another rain film that gave a new dimension to acting career of Karisma Kapoor, the film being CHAMELI and the song '' Bhage hai man''.

If aesthetics in association with water form has to be found expressed in all the imaginable water formations from ice to rain to gurgling streams to meandering river, it was IZAZAT that has epitomized it in its entirety and it may be considered one of the finest ode ever made for the magnificent gift of nature aka water.

Many a rain songs have helped in bringing about a change of image more so of a female actor than a male actor, and among the best examples is '' Aaj Rapat Jaaye'', between Smita Patil and Amitabh Bachchan in NAMAKHALAL that went on to establish the image of Smita Patil as a sensuous actor. In the classical context more in conformity with the ideology of Kalidasa is the song '' Sawan ka mahina pavan kare Shor'', from MILAN, while for sheer sensuousness there would always a difference of opinion between '' Jaane do na'' from SAAGAR and '' Kaate nahin katte din ye raat'' from MR. INDIA as also what and who is more sensuousness in rain, a Dimple Kapadia wearing a red saree or a Sri Devi wearing a blue saree, as before this the sarees used to convey sensuousness on the screen invariably were in one form or the other of white colour.

The saga of romance continues and invokes passion like no other forms of nature and it is mostly in Hindi films that though it has been picturised number of times, every new picturisation of rain adds to its mystique. It was probably for this reason that even a Juhi Chawla appeared in a sensuous rain song, '' Lagi Aaj Sawan ki '' from CHANDNI, which incidentally is one of the best songs that Suresh Wadekar sung in his career. While the romance with rain is slowly ebbing away, as the locations of the films is shifting increasingly to foreign countries, its nostalgia still rules the roost, and still touches a chord bringing a smile on the face, as does an old flower kept in a forgotten book, that is opened after a long time for dusting the dust off its surface.



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