Bhool Bhulaiya 3 - Film Review

After the box office successes of the first two Bhool Bhulaiya movies, first one in 2007, and last one in 2022, comes the third in the series, that capitalises on the current popular craze of horror-coms (aka Stree2), perfectly timed to capitalise on the long Diwali weekend.

The story revolves once again (like BB2) around the fraud ghostbuster Rooh Baba aka Ruhaan (Kartik Aaryan), who again finds himself in a haunted palace, with the responsibility of rescuing the place as well as its residents, from the evil spirit of Manjulika, trapped behind a door for 200 years. What ensues, is a series of hilarious adventures and mis-adventures with multiple characters entering the story, adding to the intrigue and twists (and jokes) in the story, keeping us guessing ‘who and where is Manjulika’ till the final climax with an unexpected twist in the tale and a happy ending.

When compared to its previous movies, BB3 has the opposite effect of Stree 2. Unlike Stree 2, which, by itself, was a well made, entertaining and engaging movie, yet felt disappointing compared to Stree 1, Bhool Bhulaiya 3, comes out winning compared to the highly annoying and a cropper BB2 (even though it did well on the box office). BB3 is a fun and funny family entertainer as a good weekend outing of a 2 hour plus laugh-a-thon, just what we would expect from one of the better Anees Bazmee movies. The jokes are slapstick, ridiculous, sometimes totally arbitrary, but all the while, genuinely funny. And if you’re willing to leave your minds behind for sometime, it is a full paisa-vasool break from the rest of our lives that we all take so seriously. 

The whole premise of the BB series is to not exert our minds too much. It’s a proven success formula that seems to work every time. All the familiar ingredients are there, that gives us the predictable assurance of what we’re in for. A haunted palace, a trapped evil ghost Manjulika, lots of jokes and laughs, the long and arduous path of trying to rid the world of the evil spirit, and an eventual twist in the tale ending. No suprises there, and that, in many ways, comes as a welcome relief. We know what we’re signing up for. And the film delivers to it. The additional sparkle of new characters, like Mandira (the still-gorgeous and can’t-get-enough-of Madhuri Dixit), Mallika (Vidya Balan, as an ode to BB1), Meera (Tripti Dimri), and old characters like the pandits add to the overall entertainment value of the film.

But, for those of us, who have seen Bhool Bhulaiya 1 (directed by Priyadarshan), we can’t help lament how removed from the original vision these last two BB movies have been. The shift from Priyadarshan to Anees Bazmee is of course what it is. While Priyadarshan (who gave us the genius Hera Pheri, among other acclaimed Hindi and Malayalam cinema) saw Bhool Bhulaiya as a metaphor for the maze of the mind, intertwining with the physical and the meta-physical reality of our world, Anees sees Bhool Bhulaiya as a physical space where a spooky-but-fun story is being told. Two different directors, two different visions. A bit like DC and Marvel, both about superheroes but two completely different worlds. In fact, BB1 to BB2 and BB3 is a bit like moving from Zack Snyder to Joss Whedon on Justice League, that made many of us fans protest at the Marvelisation of the DC universe.

Ofcourse, the other big criticism of BB3 (as it was for BB2) is the main actor, Kartik Aryan. One of the big reasons why BB2 didn’t work was because of him. Thankfully, BB3 works despite him. There is so much of the story and so many more characters to anchor the plot on, that Kartik’s non-performance can almost be ignored. But that also makes one wonder how much better the movie impact could have been if there was a better actor. Especially when the twist in the tale at the end has so much to do with his character and his acting, which of course, he messes up completely. Imagine if it was Akshay Kumar (from BB1), one of the best comic-timing actors we have, or even Ranveer or Rajkumar Rao from the new actors. Alas! May be there is hope for BB4.

Still overall, the film delivers a packed punch, with an out and out Bollywood fare that is not disappointing at all. A weekend filled with no-holds-barred laughter with the family, without reason or logic. What more could we ask for from a long weekend.  

Nobody Wants This - TV Series Review, Netflix

The revival of rom-com on the small screen seems to be continuing, at least on Netflix. After a successful run of One Day, a heartfelt Brit-rom-com, comes an American one, that ‘almost’ quite nicely hits the spot.

The story revolves around Joanne (Kristen Bell), an independent modern woman that’s only had bad relationships, and along with her sister Morgan (Justine Lupe), owns it and even monetises it through a wildly successful podcast on relationships and sex. Convinced of this destiny of hers, she unexpectedly and reluctantly falls in love with a young Jewish rabbi, Noah (Adam Brody). The odds are against them right from the start, because there couldn’t be two more different people in all of Los Angeles, and everyone does try to break them apart - Noah’s family, his heart-broken ex-fiancé, Joanne’s sister, and even the two of them themselves. And yet, none of the sabotage works, and as the season 1 ends setting base for season 2, they get together for what could be a happy ending.

In the main, the series is nicely done. Erin Foster’s first creation is a great promise of a new maker that is able to understand and express love and romance in its subtle and nuanced nature. An experience that is so personal and specific to the two people who are involved, that apart from the two, no one else could really understand or be a part of. This is what hits the spot. The everyday-ness of love, the banal moments of romantic conversations that simultaneously mean nothing and yet so much. The flutter of newness of a relationship yet daunted by the uncertainty of where it might be heading. Feeling like a teenager all over again, but rationalising it all like an adult. The complete disconnect of the head and the heart. The balancing act of being the same person with everyone in their lives so far, with, the entirely new persons they both are becoming as a result of their relationship. The struggle of losing their independence yet relishing the idea of their dependence on each other. Navigating the everyday question that, in fact is the Netflix byline for this series Will they? Won’t they? Should They?

If Erin Foster creates this story telling beautifully, the actors and the performances do complete justice to the vision. Adam Brody and Kristen Bell do a wonderful job of playing their conflicted-yet-passionate characters. We are fully engrossed in their emotions and can feel what they feel. All other characters also do a terrific job in bringing to life the two completely different worlds that the central characters come from, convincing us why they can never get together. Timothy Simons as Sasha, Noah’s hen-pecked brother is especially a fab discovery, reminiscent of Vince Vaughn’s hilarious characters.

But, as I liked a fresh love story on the small screen, and especially the fact that it was was a 10-episode season, each episode being less than 30 mins, I couldn’t put aside the slightly “icky” feeling (to quote an emotion that Joanne uses as a reason to get out of many relationships) I got due to the overwhelming ode to the Jewish community that the series gives, with an inherent celebration of the faith, the beliefs, the practices and the rituals of the Judaism religion, during this time in the world where against the heart-breaking reality of war and suffering of millions, we cannot have mainstream popular culture taking sides, heroing one faith over another. The love story would have worked even without this being the centre of the plot. There could have been many script alternatives to have as the reason for the perceived inevitability of them falling apart….

All in all, despite the fault in its ‘stars’, it’s great to see romantic stories making a come back, even as the big cinema has thrown it away. And perhaps rightly so, reminding us that a love story is not a big public social event, but an everyday personal lived reality that we feel when we tuck into our beds and sofas at night, with our loved ones, for our daily dose of Netflix.

One Day - TV Series Review, Netflix

After a while, and amidst the world’s continued obsession with crime and murder and war and historical epics, comes a breath of fresh air in a very watchable rom-not-quite-com limited edition series, based on David Nichol’s successful novel of the same name.

The series is a fourteen-under 30 min- episodes story told over two decades of the growing relationship between Dexter (played by Leo Woodall ) and Emma (Ambika Mod). Meeting in 1988 at their university graduation party in Edinburgh, when they almost get together, their lives go separate ways meandering through relationships, careers, jobs, and everything in-between that happens in the lives of young Brits during the roaring 90s. And all this while, staying connected to each other mostly only as friends, even though there is clear chemistry between them that they both deny and even fight against. Eventually as they get together, life seems to have other plans, because Emma and Dexter are destined to be forever together and forever apart at the same time.

The beauty of this series is in the ordinariness of the story. A little reminiscent of When Harry Met Sally, in the idea of love spanning a long timeline, but minus the drama or the sparkle or even the romance. One Day, as the name suggests, is not larger than life, or a big love story. It’s an almost banal tale of two very British youngsters and their adulting years. It’s like a story of your friend or your friend’s friend that someone is narrating to you. And that actually is what works for the series. No hype, no jazz, no over-promise, no commitment of a happy ending or even an ending. The series is not trying to say something, or prove something, or make a point about love and relationships or people or society. One Day, just is, and we watch it like a picture book of Emma and Dexter’s lives.

Leo Woodall and Ambika Mod, the central characters, as qunitessential opposites, deliver a very convincing performance. Some moments of vulnerability when they are with each other, and when they are with other characters are beautifully done. There is also a no-fuss story-telling that’s easy to watch like a warm cup of English tea that you go back to every day before bed time. Which makes it a good reason to watch.

However, the one big issue with the series is that episode-after-episode, it leaves you with a feeling of dissatisfaction. It’s like the series doesn’t want you to feel anything fully and is deliberately trying to leave you with incomplete and unresolved feelings. Be it Dex’s broken marriage, or his pain on not being able to see his child grow, or seeing his mom die,  or Emma’s breakup with a boyfriend that really loved him, or her relationship with her best friend’s baby, or her reluctant yearning for a baby herself… many more such feelings, just left of the table, for us to leave behind in every episode.  One way to look at this is that it’s genius because this feeling of incompletion we are left with is exactly what Emma and Dexter are going through in the entire story, in their relationships, in their jobs, in their families, and even when they finally get together. And for us to be left with the same feeling, is brilliant.  

But the other way to look at it is that as a piece of content, we want to feel like we’ve got good return for the time we’ve spent investing across many days. And at the end of all the episodes, we are left with so many unresolved emotions that we feel a bit exhausted and unfulfilled. Well, perhaps a little bit like life… is that the point?

All in all, a good easy watch if you’re in the mood for romance and a little light non-drama. But keep your expectations low on waiting for things to happen.. 

Music That Changed Our Lives, Music That Made Us #2, Can’t Feel My Face, The Weeknd, Beauty Behind the Madness, 2015

For the second edition of this blog (The Music That Changed Our Lives, The Music That Made Us,), I travel more than 40 years ahead to the year 2015, that gave us a rockingly familiar yet entirely disruptive music experience, the sensational Canadian singer-songwriter, Abel Makkonen Tesfaye, aka The Weeknd.

I think there were not too many who were immune to this phenomenon that took us by storm. Boy or girl, man or woman or anyone else, there was no one that wasn't instantly smitten by this utterly delicious and desperately seductive track, that had us all enamoured enraptured and engaged. The music had this unique quality that stirred something inside us, that was nothing short of excitement. The rush that we felt every time we played the track, was so addictive that we wanted to go back again and again to. Not very different from the central topic of the song itself, addiction. “I can’t feel my face when I’m with you, but I love it”. 

It’s one of those unique soundtracks that makes us feel exactly what the song is about. Some say the song is about the experience of being addicted to drugs, and some say it’s about being addicted to a toxic love(r). And I say, potay-to potaa-to, one and the same thing. “And I know she’ll be the death of me, at least we’ll both be numb”. The heart thumping feeling that we get right from the opening of the song feels like a warning for something that’s about to explode in our face, and yet we are so hypnotised by the intensity of the performance that we can’t help giving in and following this untrodden path, of a song that somehow has total control over us. Just like a drug or just like a sadistic lover. 

Few more seconds in the song, and we are hooked, immersed in the “Beauty Behind the Madness” not able to let go, not wanting to let go, caught by a desire for more, to listen more, to feel more, with the words consuming us “And she’ll always get the best of me, the worst is yet to come”. We are waiting for the worst, because that’s what’s sounding the best. We are listening from our ears, but somehow our bodies are moving almost involuntarily to the beats, slow at first and speeding up with the rhythm of the song as it moves further. As this new kid on the block croons “She told me don’t worry about it, she told me don’t worry no more”, we snap out of our reverie and have a moment of awe with what’s happening. Who is this dude? What kind of music is he creating? How is he doing this? How can this music be soooo goood. How can this be so intense? How is he is surpassing my brain and getting directly into my bloodstream? Just like a drug… wait, what?!.. and before we know it, the song has taken over again “We both know we can’t go without it, she told me you’ll never be alone… I can’t feel my face when I’m with you, and I love it”. And we do LOVE it, he is right. We love it, every bit of it. Every note, every word, every falsetto.

The magic of Can’t Feel My Face, and indeed a lot of the songs from the Weeknd, is this unique combination of a familiar kind of pop-rock music, that is reminiscent of the genius of Michael Jackson (waiting to write that one), including the moves, the spin, the body language, and the oomph. And yet a completely new sound experience that feels contemporary and highly modern. It’s almost like if MJ had a dark side and he had let that take over, and added a huge layer of an almost-uncontrolled hormonal sexuality, coupled with shades of masochistic pain, topped with an unhealthy dose of adrenaline, it would be the music of The Weeknd. 

The moment before the song ends, when it slows down for a bit almost building to a climax, with softer background vocals, till the tempo picks up again with an MJ-style “oooooooh”, seen in the video when he is set on fire by the audience that is both enjoying his music as well as his suffering, becomes the perfect ending, crescendoing into our loud cry of pain as a form of collective catharsis “All the misery was necessary when we’re deep in love, this i know”

And finally when the song finishes, and let’s go of us, we snap out of it, feeling breathless, sensing our heartbeats going back to normal, with a smile on our face, a satisfaction of the pleasure we’ve just experienced, straightening our hair and our clothes, getting back to our everyday lives, pretending like nothing happened, left with this secret yearning of hitting the play button again.. real soon. That’s when we know, we’re addicted to The Weeknd, for life. Mission accomplished Tesfaye

That’s why Can’t Feel My Face is special and featured in this blog, because this song is what started the journey of this entirely new sound of music that didn’t exist before, and one that has made The Weeknd the deserving rock star he is today.

Thank you Weeknd for coming into our lives. For the music you make and for the addiction you have given us. Our lives wouldn’t be the same without you. “At least we’ll both be beautiful, and stay forever young, this i know, uh, this i know”…

Stree 2 - 2024 - Film Review

From the makers of the first successful and fabulous Stree in 2018, comes its much-needed sequel Stree 2, with a power-packed non-stop two-and-a-half hour entertainment filled with the expected funny dialogues, comic scares, silly buffoonery, and some loose underlying messaging. 

The story is set again in the village of Chanderi, many years after where the first film ended. The original tormentor of the village, the ghost Stree, who was redeemed and pacified in part 1, becomes a venerated local deity with tales around her becoming folklore with the people. But having left the village now, without her presence, there is a rising new demon, the headless giant monster, aka Sarkata, the ghost of the same feudal lord that had murdered Stree all those years ago, and who Stree had revenged against by beheading him. And just like Stree’s MO was a feminist one, abducting men who leer at women, Sarkata’s MO is a chauvinist one, abducting women, who are more "modern" than others. As Sarkata’s havoc rages on, once again it is up to the village’s protector Vicky (Rajkumar Rao) to save the day, supported by his friends Bittu (Aparshakti Khurana), Jana (Abhishek Banerjee) and Rudra (Pankaj Tripathi), the returning witch-love interest Shraddha Kapoor and multiple supporting casts. And save, they do, with a good dose of comedy, scares, and plot twists and turns.

The film delivers on its promise of a good family entertainer on a long weekend, especially for those who chose not to get stuck on roads or flights, heading out of town. All the things we loved about Stree 1 are there - the jokes, the feminist commentary, the spooks, the modernizing Bharat and its conflicts, the performances by Rajkumar and Pankaj. No wonder then that the film is having a great start at the box office. 

We also cheer the story of the protagonist, Vicky, as a pure-hearted soul against a fast corrupting and consumption-based society, who is destined to save the day, simply because of the way he is, contrasted to everyone else. An important reminder of the need to hold on to simple notions of love and humanity as possibly the only way of salvation for all of us. 

Also, the possibility that the film leaves with us, of creating a comic-horror universe by Maddock films, bringing in Bhediya (Varun Dhawan) as a special appearance sounds like fun and exciting if they get it right. Look forward to that.

But, unlike Stree 1 (the fate of every sequel is to get compared to the first one, so can’t go easy on that!), the film stops just short of being altogether brilliant. To be fair, Stree 1 was great because it was refreshingly new. The whole genre of horror-comedy, and using that to tell a feminist story in 2018 (see my review here https://books-booze-boxoffice.blogspot.com/2018/09/stree-2018-movie-review.html) was sheer genius and hit the spot. With this already set in the first one, Stree 2 had a tall ask of delivering something new yet being consistent with the overall theme. And so the only new it delivers is a new story of a new demon and a new story of vanquishing him. If you want to be kind to the makers, you could say, well that’s enough and what more would one want. Delivering a watchable sequel is a lot more than many sequels have been able to do across Bollywood and Hollywood. But if you want to be more asking of content makers (as I am prone to do), then you could say that the film doesn’t move the needle as much as it potentially could. Six years after the first film, there are still so many opportunities to tell new and fresh feminist stories and push the envelope and the conversation even further. But after setting a high standard in Stree 1, this film satisfies itself by making a feeble attempt at the perspective that our inherently patriarchal society is still intolerant of women modernizing and stepping out of the home. Now, it’s right that our society still has many regressive realities including an underlying misogyny towards the modern woman, so it’s not totally irrelevant, but the film ends up paying lip service to it, almost as an after-thought, rather than being integrated into the central storyline (which in Stree 1, it was). In fact, this is clearly evident in the tagline that the makers have used. In Stree1, the tagline was “Mard Ko Dard Hoga”, clearly signaling the feminist point of view that was at the core of the film. In Stree 2, the tagline is “Sarkate ka Aatank”, clearly signaling that the entertainment value of the film is at the core of the film, not a deeper point of view. 

The only other fault I would lay on the film is the lack of new imagination on some of the key storytelling elements of the film. Sarkate’s dark underworld where he holds the women he abducts captive reminds us a lot of Vecna’s world in the Upside Down in Stranger Things 4. Even Jana’s possessed floating with his retina whitening reminds us of this wow last season 4. The other significant moment in the film where the Sarkata hypnotizes all the men in the village to regress back to patriarchy locking their women in the home, is again reminiscent of Barbie World’s takeover of Ken and his mates after he learns about patriarchy. Sigh! 

As a passionate lover of Indian content and filmmaking, I do expect more and want more from our movies. Because I know it’s there. We’ve all seen it. Stree 1 is a testimony to this original imagination. We’ve also seen sequels being as brilliant as the first one. Remember Lage Raho Munnabhai, Badri Ki Dulhaniya, Sarkar Raj, Drishyam 2, Tanu Weds Manu Returns, to name a few.  

 

Having said that, overall, we still enjoy and cheer for the movie, not just as an entertainer, but for building the franchise that champions (at least in intent) a mainstream feminist narrative that continues to be highly needed in our society, as horrifically reminded once again with the shocking news from Kolkatta, the same weekend as the release of Stree2. And we cheer the movie, for reminding us that for every box office success that is an Animal, there is a box office success that is Stree. A reminder, of the beauty of the diversity that is India, where every truth in culture has a counter truth. And that it’s this dynamism of perspectives that is the real democracy and gift of being an Indian. 

More power to you, Stree. 

“Oh Stree Raksha Karna”!

Deadpool and Wolverine, 2024 - Movie Review

The latest fare from Marvel Studios, the much-awaited Deadpool and Wolverine, after 6 years of the last less-than-exciting Deadpool 2, gives us a much-needed Superhero movie fix that we’ve been missing but stays limited to a two-odd-hour joke-fest and nothing more.

The story begins with the brilliant opening sequence of Deadpool digging up Logan’s (aka Wolverine’s) grave, fulfilling his lifelong desire to unite with one of his own superhero idols. Giving the audience the perfect start with a title dance-fight sequence, choreographed to the nostalgia-trip song Bye-Bye (by NSync from 2000). An absolute delight that hits the spot for every Deadpool fan giving them exactly what they came for. And this just may be the best part of the film, because after this the real story begins, when he is summoned by Time Variance Authority, TVA, that is responsible for maintaining timeline sanctity across the multiple universes (you may remember this from Loki series on Disney Hotstar). TVA lead, Mr Paradox (played by the talented Matthew Macfayden, aka Tom Wambsgans from Succession) informs Deadpool that his timeline (and therefore his friend and family) are all about to be destroyed but he can find a safe haven elsewhere, which triggers Deadpool’s fight against TVA to protect his world from dying, by searching for a Wolverine in one of the multiverses that could be his partner-in-crime. He eventually finds a Wolverine, but gets banished by Paradox into the Void, a universe where all the forgotten beings reside, run havoc by Cassandra Nova, the evil sister of Charles Xavier (X-Men). There, then, starts the journey of fighting Cassandra and her evil reign, as well as TVA towards finally saving his timeline and his world, with a healthy dose of multiple and inappropriate jokes  and hilarious situations with Wolverine, supported by many old and new characters like Nice Pool (a good Deadpool in a universe), Johnny Storm (from Fantastic Four, also Chris Evans!), and even other Marvel characters like Blade, Elektra, Gambit and X-23 (from Logan, 2017).

What is thoroughly enjoyable in the film is the one thing that you look forward to in a Deadpool film, the dialogue and the jokes told in typical Ryan Reynolds style, which has you wincing and laughing out loud at the same time. Just for that, it’s totally worth the watch. And paisa-vasool entertainer, more than any Marvel movie or series that's released in these last few years. 

Despite this though, the reason why overall the movie fails spectacularly is because of the very thing that Deadpool himself jokes about in the film, the Disney MCU takeover of what was an original 20th Century Fox franchise, in 2016 (Deadpool 1, still the best film of this series).

Now, there are two ways to approach this film, and indeed two sets of audiences that the film attracts. One, that it’s the third in the Deadpool franchise. Or Two, it’s the 34th in the MCU franchise. The film's box office success shows that by trying to appeal to both audiences, Disney has had a clever business idea. A little bit like Kamala Harris choosing Tim Walz as the running mate to reach a wider un-duplicated audience appeal. Full marks for business strategy then!

But from a story-telling and content perspective, we have a problem with the film. In trying to appeal to both audiences, it ends up being neither. It’s neither a great MCU-next nor a fab Deadpool-3. By Disney-MCU’ing Deadpool, the jokes and the shock-n-awe are more muted, safer, and more predictable, and the storyline is the all-too-seen-and-now-very-annoying multiverse blah blah blah. How many more multiverse MCU movies will we have to see? Is there no other imagination left, dear Disney? 

And again by Deadpool-ing MCU, it brings down the magic, the fantasy, the larger-than-life vision, and the sheer beyond-reach, beyond-everyday super-power-ness of our superheroes trying to save the universe from catastrophes of the worst kind. 

In many ways, the Deadpool franchise and MCU are like matter and anti-matter. The reason why Deadpool works is because it is a breath of everyday-flawed fresh air from the all-too-perfect MCU. Just like the reason why MCU works is because we all want to believe in things larger than our everyday-flawed lives. See my review of DP 2 here  https://books-booze-boxoffice.blogspot.com/2018/05/deadpool2-shocknawethats-what-deadpool.html. By trying to reconcile two polar opposite constructs, the film ends up being a mish-mash of story, plot, and emotions, leaving us entertained yet bored at the same time. 

The other angle the film desperately tries but misses by a mile is to create the highly anticipated chemistry between Deadpool and Wolverine. Even if that had worked, we would have something to celebrate from the film. But all the off-screen hilarious chemistry we’ve seen between Ryan Reynolds and Hugh Jackman on social media, unfortunately, does not translate to an on-screen sizzle. As a possible next resurrection of the Wolverine franchise after the brilliant last Logan, 2017 (my short review here https://books-booze-boxoffice.blogspot.com/2017/11/logan-short-film-review.html), the film again fails miserably, only ending up making the iconic character (built beautifully by 20th Century Fox series), into just another side-kick. What a travesty!

And finally, what really misses the spot is the complete lack of imagination in the overall plot of the movie. From superpowers to time travel, to multi-verses, to even having multiple superheroes across the universe, playing cameos, we’ve really seen it all. The debilitating hunger for good writing and an unsatisfied thirst for creative thinking is what we’re left with at the end of the film.

All in all, with enough jokes to tell for days after the film, and a great retro-soundtrack (which we also look forward to from the Deadpool franchise), it’s a good weekend cinema fun with the 18 years+ family members. But as two running mates, Deadpool and Wolverine, or Deadpool and MCU, the film disappoints fantastically. 

Let’s just hope Harris and Walz have better luck in November!

 

Music That Changed Our Lives, Music That Made Us #1Jaane Jaan Dhoondta Phil Raha, Jawani Diwani, 1972

For many of us Gen X’ers, growing up in the 80s, much before the computer or the Internet, the playback of the music from the 60s and 70s was not just a throwback to older times that our parents listened to when they were young, but very much part of the present music scene then, all of us consuming this generation of music, as much as our parents did. The term ‘OK, Boomer’ was still thirty years too far in the future, and we grew up listening and absorbing the 60s and 70s, as much as we did the 80s, the 90s, the 2000s, and the 2010s, and continue to do so now in the 2020s. I call our generation the ‘blessed generation’, possibly the only ones that can simultaneously enjoy pop culture and music across 6 decades!

That’s why this blog on “Music That Changed Our Lives, Music That Made Us”. To travel back and forth across time over 60 years to re-visit the brilliant pieces of magical and inspiring symphony that have changed us for the better, and made us who we are today. As the famous quote goes, ‘We are what we consume’. Well, “if music be the food of love, play on”.  

The first one I start with in this series has to be one of those songs that introduced the idea of an urgent and longing romance to our young and hormonal teenage minds. As some of us might recall, in the mid-90s, when India opened up to the world, cable TV had just transformed our lives, and we suddenly had access to content like never before, both Indian and international. Just as MTV and Star TV were teaching us about the birds and the bees, Indian channels were flooding us with films and songs from our glorious film history. Suddenly R D Burman's music was in vogue again (even giving us his last album around the same time, 1942, A Love Story,1994). And that’s when we re-discovered this genius of a love song ‘Jaane Jaan Dhoondta Phir Raha’, from a 1972 film Jawaani Diwani, starring Randheer Kapoor and Jaya Bhaduri (Bachchan was still a year away). (Yes the same film that also has the eponymous song, which also had a recent popular remixed version… Haa Meri Raani, Ruk Jao Jao Rani… ).

The central emotion of the song is that of longing for a beloved, that is just within reach and yet so far away. That wretched bitter-sweet feeling when you know your love is just about to be fulfilled, but it’s still taking a while to get there. Mujhko awaaz do, chhup gaye ho sanam, tum kahan… and the response makes you believe it’s almost there.. Main Yahaan.. As teenagers, listening to this song on a loop, again and again, it spoke to our simple fluttering hearts that beat for the opposite sex around us. This was not a time of Tinder and casual hookups. This was the time when romance was the desire, awkward glances exchanged were enough to make your day, and a smile and walk together holding hands was the ultimate reward for a privileged few. For the rest of us, reveling in our one-sided unrequited love, this beautiful duet became the perfect representation of how we felt most of the time… Dhoondta Phir Raha, Hoon Tumhein Raat Din Main Yahaan Se Wahaan. Stringing our hearts with the harmony of the chase, the tease, the search, the innocence, the yearning, the unfulfilled destiny, the uncertainty of whether it’s going to happen or not. 

The brilliance of the song goes further, as the game of hide and seek continues, as it flows from the first mukhda, sung by the boy, showing his vulnerable insecurity (not much has changed there has it) of whether his beloved will be with him, will his love be fulfilled Raaste Mein Kahin Reh Gaye Humnashin, Tum Kahaan.. despite his beloved re-assuring him with a Main Yahaan in response. And into the second mukhda with her response re-affirming that she feels the same sense of being lost and uncertain despite the inevitability of their love Haath Aise Mein Bas Chhodkar Chal Diye Tum Kahaan.. which then flows into the last mukhda, when we realize it wasn’t hide and seek, as much as it was ‘lost and found’.. where the feeling of being lost and uncertain was unnecessary, because in truth they had found each other long time back and that their destiny was already written to be together always Paas Ho Tum Khade Mere Dil Mein Chhupe, Our Mujhe Kuchch Pata Na Chala. And that they were so caught up with the noise from the outside world that they couldn’t see what was always inside of them Dil Mein Dekha Nahin, Dekha Saara Jahaan, Tum Kahaan, Main Yahaan.

All in all, this magical stringing of music and words, sung by the genius Kishore Kumar and the inimitable Asha Bhosle (uff, her background voice and an almost baritone Mujhko Awaaz Do) hit the sweet spot every time, gratifying the ears and the hearts of us all, the adolescents of the 90s. And we listened and hummed and sang together in get-togethers and parties on the top of our voices, feeling good with a sense of affirmation of what we all felt as a generation in the 90s.. alone and together.