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                                                                    A Celebration of ihndI Cinema


Bollywood
                                      DECal Course Reader
                                                                     Anish Patel · Neha Mitragotri
                                                               South and Southeast Asian Studies 98/198
                                                                  University of California, Berkeley


                                                                        Welcome
Welcome to Bollywood: A Celebration of Hindi Cinema! Throughout this semester, we hope to introduce you to the wide and multi-faceted world of Hindi cinema thro
chronological survey of fourteen films. Beginning with yesteryear classics and moving towards more recent films, this course aims not only to familiarize you with the Bollyw
but also to the colorful and intricate culture of India that the films portray. By the end of the semester, we hope to both instill a greater appreciation for Hindi language
                                                                                         1

cinema and a more comprehensive understanding of the social and cultural norms and traditions that characterize past and modern-day India.
            Course                                       Homework and Weekly Responses                                            Film
                                                         Students will be expected to write a short response
          Structure                                      following every film screening. Responses will usually
                                                         be in response to one of several questions posed                      screenings
Facilitators: Anish Patel, Neha Mitragotri               regarding the film. Short homework assignments will
                                                         also be assigned several times during the semester.
Sponsoring Professor: Lila Huettemann                    These will supplement material covered in class.              Sholay DHARMENDRA, AMITABH BACHCHAN, HEMA MALINI
Sponsoring Department: SSEAS                                                                                           Silsila JAYA BHADURI, AMITABH BACHCHAN, REKHA
Units: 2                                                 Final Presentation                                            Hum Apake Hain Koun SALMAN KHAN, MADHURI
Time and Place:                                          The final meeting of the course will be reserved for
                                                                                                                       DIXIT
                                                         final presentations. Students will randomly be divided
                                                         into pairs and assigned a prominent individual within         Dilwale Dulhania Le Jayenge SHAH RUKH
Grading                                                  Hindi cinematic history. Pairs will research the
50% Attendance and Class Participation                   individual’s involvement in, achievements and                 KHAN

20% Homework and Weekly Responses                        contributions to the industry, and present their findings.    Bombay MANISHA KOIRALA, ARVIND SWAMY
30% Final Presentation
                                                         Individuals will include leading actors and actresses,        Dil to Pagal Hai SHAH RUKH KHAN, MADHURI DIXIT
                                                         directors, producers, and playback singers.
Materials                                                                                                              Pardes SHAH RUKH KHAN, MAHIMA CHAUDHARY
A course reader containing film synopses and other
reading will be required for this course.
                                                         Weekly Structure                                              Kabhi Khushi Kabhie Gham SHAH RUKH KHAN
                                                         Films will be screened at every meeting (except for the
                                                         last) of the course. In addition, short, informal lectures,   Devdas SHAH RUKH KHAN, AISHWARIYA RAI, MADHURI DIXIT
Attendance and Class Participation                       on the film being viewed and the week’s reader topic,
As with most independent study courses, attendance       will precede each screening. Time will also be set-           Yuva AJAY DEVGAN, ABHISHEK BACHCHAN, RANI MUKHERJEE
is mandatory for all sessions. Films will be screened    aside at the end of each session for group discussions.
and responses assigned every week. We have a                                                                           Water JOHN ABRAHAM, LISA RAY
limited amount of time available to introduce you to a
wide range of material.
                                                         Why Take this Course?                                         Parineeta VIDYA BALAN, SAIF ALI KHAN
                                                         Hindi cinema is gaining a vast following outside of
Please realize that the course’s meeting time is
                                                         India, but may be difficult or intimidating to approach       Rang De Basanti AAMIR KHAN, SOHA ALI KHAN
                                                         alone. We want this course to be a fun and informal
lengthy (if you’ve ever seen a Bollywood film, you
                                                         introduction to both key films and the industry as a          Om Shanti Om SHAH RUKH KHAN, DEEPIKA PADUKONE
know why!), so please be sure to have time in your
                                                         whole. No previous background with the films or
schedule.
                                                         Hindi language is required.
Students who miss a class will be required to do some
form of make up work. Those who miss more than 1
class unexcused or 2 classes excused will
automatically receive a NP.                                                             2
Tentative CLASS SCHEDULE
01.24   1 Sholay                                       03.06   7 Dil to Pagal Hai
        Starring: Amitabh Bachchan, Dharmendra                 Starring: Shah Rukh Khan, Madhuri Dixit
        Director: Ramesh Sippy                                 Director: Yash Chopra
        Music Director: R.D. Burman                            Music Director: Uttam Singh


01.31   2 Silsila
        Starring: Amitabh Bachchan, Rekha
        Director: Yash Chopra
        Music Director: Hariprasad Chaurasia           03.13   8 Pardes
                                                               Starring: Shah Rukh Khan, Mahima Chaudhary
                                                               Director: Subhash Ghai
02.07   3 Yuva                                                 Music Director: Nadeem Shravan
        Starring: Ajay Devgan, Abhishek Bachchan
        Director: Mani Ratnam
        Music Director: A.R. Rahman                    03.20   9 Kabhi Khushi Kabhie Gham
                                                               Starring: Shah Rukh Khan, Hrithik Roshan
                                                               Director: Karan Johar
02.14   4 Hum Apake Hain Koun                                  Music Director: Jatin Lalit
        Starring: Salman Khan, Madhuri Dixit
        Director: Sooraj Barjatya
        Music Director: Raamlaxman                     04.03   10 Devdas
                                                               Starring: Shah Rukh Khan, Aishwariya Rai
                                                               Director: Sanjay Leela Bhansali
02.21   5 Dilwale Dulhania Le Jayenge                          Music Director: Ismail Darbar
        Starring: Shah Rukh Khan, Kajol
        Director: Aditya Chopra
        Music Director: Jatin Lalit                    04.10   11 Water
                                                               Starring: Saif Ali Khan, Preity Zinta, Shah Rukh Khan
                                                               Director: Nikhil Advani
02.28   6 Bombay                                               Music Director: Shankar-Ehsaan-Loy
        Starring: Manisha Koirala, Arvind Swamy
        Director: Mani Ratnam
        Music Director: A.R. Rahman                    04.17   12 Parineeta
                                                               Starring: Vidya Balan, Saif Ali Khan
                                                               Director: Pradeep Sarkar



                                                   3
        Music Director: Shantanu Moitra


04.24   13 Rang de Basanti
        Starring: Aamir Khan, Soha Ali Khan
        Director: Rakeysh Omprakash Mehra
        Music Director: A.R. Rahman


05.01   14 Om Shanti Om
        Starring: Shah Rukh Khan, Deepika Padukone
        Director: Farah Khan
        Music Director: Vishal-Shekhar




                                                     4
Course Reading list
Assigned reading for each week will correspond or lend itself it to lecture topic in the following week.

Date     Film                                Lecture Topic                                 Reader Selections
01.24    Sholay (1975)                       Introduction to the Course                    “An Introduction to Hindi Cinema”
                                                                                           Shyam Benegal, British Film Institute

                                                                                           Selections from “Bollywood Basics”
                                                                                           Nasreen Munni Kabir, Bollywood: The Indian Cinema Story

                                                                                           Selections from “Key Figures in the Bollywood Films”
                                                                                           Tejaswini Ganti, Bollywood: A Guidebook to Popular Hindi Cinema



01.31    Silsila (1981)                      Yesteryear Hindi Cinema                       “Language and Speech”
                                                                                           Saibal Chatterjee, An Encyclopedia of Hindi Cinema

                                                                                           Basic Hindi Words and Phrases


02.07    Roja (1992)                         India and its Languages                       Selections from “Hindi Cinema Through the Decades”
                                                                                           Govind Nihalani, An Encyclopedia of Hindi Cinema

                                                                                           Selections from “An Introduction to Bollywood”
                                                                                           Tejaswini Ganti, Bollywood: A Guide to Popular Hindi Cinema



02.14    Hum Aapke … (1994)                  A Brief History of Bollywood                  “An Interview with Lata Mangeshkar”

                                                                                           Selections from “Singing through the Ages”
                                                                                           Selections form “Dancing to the Music”
                                                                                           Nasreen Munni Kabir, Bollywood: The Indian Cinema Story


                                                                                           Selections from “The Significance of Film Music”
                                                                                           Rumi Jaffery, Bollywood: A Guide to Popular Hindi Cinema
02.21   Dilwale Dulhania … (1995)   Song and Dance                 “The Partition of India”
                                                                   Vinay Lal, Associate Professor of History, UCLA

                                                                   Selections from “From Empire to Independence”
                                                                   Dr. Chandrika Kaul, The Making of Modern Britain, BBC Online



02.28   Bombay (1995)               Social and Historical Issues
                                                                   Selections from “The Hero”
                                                                   Selections from “The Heroine”
                                                                   Selections from “The Villain and Vamp”
                                                                   Nasreen Munni Kabir, Bollywood: The Indian Cinema Story

                                                                   Selections from “Key Films of Post-Independence India”
                                                                   Tejaswini Ganti, Bollywood: A Guidebook to Popular Indian Cinema



03.06   Dil to Pagal Hai (1997)     Anatomy of a Bollywood Film    “The Indian Diaspora”
                                                                   Vinay Lal, Associate Professor of History, UCLA

                                                                   “Diaspora on the Silver Screen”
                                                                   Sarmishta Ramesh, The Hindu



03.13   Pardes (1997)               The Indian Diaspora            Selections from “1990-2001: Designer Cinema”
                                                                   Saibal Chatterjee, An Encyclopedia of Hindi Cinema

                                                                   Selections from “Key Figures in the Bollywood Film Industry”
                                                                   Tejaswini Ganti, Bollywood: A Guidebook to Popular Hindi Cinema



03.20   Kabhi Khushi … (2001)       Modern Indian Cinema           “The Influence of Literature”
                                                                   Arun Kaul, An Encyclopaedia of Hindi Cinema

                                                                   “Remakes and Adaptations: The Latest Trend in Bollywood”
                                                                   Shweta Sawhney, Merinews
                                                           “Current Booking”
                                                           Sohini Chattopadhyay, The Telegraph – Calcutta

                                                           Selections from “Remakes and Adaptations”
                                                           Tejaswini Ganti, Bollywood: A Guidebook to Popular Indian Cinema




04.03   Devdas (2002)      Indian Literature Adaptations   “Hinduism and Bollywood”
                                                           Vinay Lal, Associate Professor of History, UCLA

                                                           Selections from “Working Wonders”
                                                           Nasreen Munni Kabir, Bollywood: The Indian Cinema Story

                                                           Key Mythological Terms



04.10   Water (2005)       Mythology in Film               Selections from “Women in the Bombay Film Industry”
                                                           Shabana Azmi, Ayesha Jhulka, Bollywood: A Guidebook to Popular Hindi Cinema

                                                           Selections from “Women: Source of Strength or Stereotype?”
                                                           Indu Ramchandani, An Encyclopaedia of Hindi Cinema




04.17   Parineeta (2005)   The Role of Women               Selections from “Significance of Hindi cinema in India”
                                                           Aamir Khan, Aditya Chopra, Bollywood: A Guide to Popular Hindi Cinema

                                                           Selections from “Censorship”
                                                           Subhash Ghai, Ramesh Sippy, Bollywood: A Guide to Popular Hindi Cinema

                                                           Selections from “Film Audiences and Fans”
                                                           Shashi Kapoor, Madhuri Dixit, Shah Rukh Khan, Bollywood: A Guide to Popular …

                                                           “Censorship and Indian Cinema”
                                                           Shammi Nanda, Bright Lights Film Journal
04.24   Rang de Basanti (2006)   Bollywood and Indian Society     “Globalisation and Bollywood”
                                                                  Maithili Rao, British Film Institute

                                                                  Selections from “The Future of Hindi Film Business”
                                                                  Amit Khanna, An Encyclopaedia of Hindi Cinema

                                                                  Selections from “Bollywood: Next Generation”
                                                                  Madhu Jain, Bollywood Popular Indian Cinema



05.01   Om Shanti Om (2007)      The Evolving Face of Bollywood   N/a


05.08   Final Presentations
      Basic Hindi words and phrases
      While it is no longer necessary have a working understanding of Hindi to understand Bollywood films (thanks to subtitles), certain words and phrases recur often,
      and are therefore good to learn. You are not required to memorize this list, but simply gain a basic familiarity with the terms. Words are written first in Devanagari
      (the Hindi script), and then transliterated and translated to English.

Salutations and Greetings                                                  bahna, dIdI                                  Behen, Didi                        Sister
namastao                           Namaste                  Hello, Goodbye
                                                                           Baa[-,Baa[yaa                                Bhai, Bhaiya                       Brother
Aapa kOsao hOM?                    Aap kaise hain?          How are you?
                                                                           naanaa, naanaI                                        Nana, Nani                          Maternal grandparents
ifr imalaoMgao           Phir milenge              We’ll meet again
                                                                             dada, dadI                                          Dada, Dadi                Paternal grandparents
Qnayaavad / Saiuk`yaa Dhanyavad / Shukriya                  Thank you
                                                                             paaota, paaotaI                                                  Pota, Poti             Son’s children

kRpaa krko     Kripa karke                  Please

Xamaa / maaf kIijayao Kshama / Maaf Kijiye                  I’m sorry        naataI, naaitana                                                 Nata, Naati            Daughter’s children


Question Words                                                                           Marital Relationships
kaOna                            Kaun                          Who                       paita, svaamaI                                       Pati, Swami            Husband
@yaa                             Kya                           What                      patnaI, baIvaI                                       Patni, Biwi            Wife
khaM^                            Kahan                         Where                     bahU, damaad                                         Bahu, Damaad           Daughter/Son-in-law

kba                     Kab                             When                             saasa, sasaur                                        Saas, Sasur            Mother/Father-in-law

@yaoM                            Kyon                          Why

kOsao                            Kaise                         How                      Common Words from Film Titles
                                                                                       maOM, maOnao                                           Main, maine            Me, I
Relationship Terms
Blood Relationships
                                                                                       hma                                       Hum                       We

ipataa, baabaujaI                             Pita, Babuji              Father        maOM Aapa,tauma, taU                                                 Aap, tum, tu        You (In
                                                                                      decreasing formality)
maata, maa^M                     Maata, Maa                    Mother
                                                                                         maora, maorI                                         Mera, meri             Mine
baoTa, baoTI                     Beta, Beti                    Son, Daughter
                                                                                         taora, taorI                            Tera, teri                Yours
hmaara, hmaarI                        Hamara, hamari      Ours                           pyaar, mauhbbata                                   Pyar, Mohabbat       Love

                                                                                         kaBaI kaBaI                             Kabhi Kabhi          Sometimes

idla                        Dil                 Heart                                    sanama, ipa`yaa                                    Sanam, priya         Beloved, sweetheart




  Key Mythological terms and references
  Religion exerts an incredible influence on everyday Indian culture and society, and therefore, understandably, in films as well. Mythological references can
  come in the form of gods and goddesses, key texts or major Hindu festivals.

  Gods and Goddesses                                                                      Sita              The wife of Ram, and an incarnation of Lakshmi. She was
  Durga           A fierce warrior goddess, often depicted as possessing 10 arms and                        kidnapped by the demon Ravan, and had to undergo an agni
                  riding upon a tiger. A form of Parvati, she is often associated with                      pariksha (test by fire) to prove her purity. Often analogized in films
                  strong female characters                                                                  to women who unfairly have their purity or loyalty questioned.
  Hanuman         The monkey god, son of the wind god, Vayu; supreme devotee of           Vishnu            The preserver of the Hindu trimurti, and consort of the goddess
                  Shri Ram, and supreme example of loyalty                                                  Lakshmi. He is said to sleep on the Ocean of Milk, and incarnates
                                                                                                            himself to save the world from ruin.
  Indra           King of the Gods and ruler of heaven; often referred to in
                  connection with his illicit and improper love affairs                   Hindu Texts
  Krishna         An avatar of Vishnu; allusions often made to his childhood (Bal         Mahabharat        Literally “Great India;” tells the story of the five Pandava princes and
                  Krishna) or in connection with his childhood sweetheart Radha.                            the great war they fought with their cousins, the Kauravas, to
                                                                                                            reclaim their rightful kingdom
  Lakshmi         Goddess of wealth and prosperity, and consort of Vishnu.
                  Worshipped during the festival of Diwali and invoked during             Ramayan           The story of Shri Ram, his quest to reclaim his wife, Sita, and
                  marriage ceremonies.                                                                      vanquish the evil demon, Ravan.
  Parvati         Consort of Shiva; undertook massive penances to win Shiva as her        Bhagavad Gita     A part of the Mahabharat, in which Krishna imparts great knowledge
                  husband. She has numerous incarnations, including Durga, Amba                             and philosophy to the wavering Pandava Arjun.
                  and Kali, and is also known as Gauri.                                   Hindu Festivals
  Radha           A gopi of Gokul, and always mentioned in connection with her            Ganesh Chaturthi A festival in honor of the elephant-headed god, Ganesh, son of
                  childhood sweetheart, Krishna. She is thought to be an incarnation                       Shiva and Parvati
                  of Lakshmi herself, and an exemplar of pure and innocent love.
                                                                                          Diwali            A festival in honor of the goddess Lakshmi, and celebrating the
  Ram             An avatar of Vishnu; a paradigm of ultimate righteousness and                             return of Shri Ram from a fourteen-year exile
                  dharma. Always depicted with his wife, Sita (also an incarnation, of
                  Lakshmi) and younger brother, Lakshman.                                 Holi              A celebration of the victory of Vishnu’s devotee, Prahlad, over his
                                                                                                            demonic father, Hirayankashipu
  Saraswati       The goddess of music, and consort of the creator god, Brahma. She
                  is usually invoked in the context of singing or music                   Karva Chauth      A festival in which women fast day long, praying that their husbands
                                                                                                            live long and prosperous lives
  Shiva           The destroyer of the Hindu trimurti, and an ascetic deity. Wedded to    Janmasthami       A festival celebrating the midnight birth of Krishna in Mathura
                  Parvati, and said to live on the mythical Mount Kailash in the          Navratri          A nine-night festival in celebration of the goddess Durga.
                  Himalayas.
Raksha Bandhan A festival celebrating the bond between brothers and sisters
                                                   Introduction


Shola
                                                   The biggest blockbuster in the history of Hindi cinema, Sholay tells the timeless, passionate story of two loyal friends, and their
                                                   fateful involvement in a decades-old conflict, one that goes on to define the remainder of their lives. The highest earning film in
                                                   Bollywood history, Sholay earned a hefty $60 million at the box office, was voted as the ―Film of the Millennium‖ by BBC India,
                                                   and ranks in Indiatimes ―25 Must See Bollywood Films‖

                                                   Story


y
Cast and Crew
Director
Writers
Devanagari:
                    Ramesh Sippy
              Saaolao
                    Javed Akhtar
                                                   Thakur Baldev Singh (Kumar), a retired police officer, recruits the inseparable Jai (Bachchan) and Veeru (Dharmendra) to
                                                   protect his small town, Ramgarh, from the bandit Babbar Singh. The duo, once small-time thieves, have a history with the
                                                   Thakur, and are, at first, wary of working with him. However, the reward promised in exchange for Babbar Singh, is too hard
                                                   to ignore, and they agree.

English: “Fire”
                    Salim Khan                     Jai and Veeru receive their first encounter with Babbar Singh during the town’s Holi celebrations. Following the battle, during
Music Director      Rahul Dev (R.D.) Burman
                                                   which the two are nearly killed, the Thakur reveals his personal history with Gabbar Singh. During his days as a police officer,
Veeru                           Dharmendra         the Thakur had succeeded in arresting the bandit, only for him to escape shortly after and exact a terrible revenge. After killing
Jai                             Amitabh Bachchan   the Thakur’s two sons, daughter-in-law, daughter, and young grandson, Babbar Singh captures the Thakur and amputates both
Thakur Baldev Singh             Sanjeev Kumar
Basanti                         Hema Malini
                                                   his arms with a sword. The Thakur’s younger daughter-in-law, Radha (Bhaduri), who was away during the killings, alone
Radha                           Jaya Bhaduri       survived.
Babbar Singh                    Amjad Singh
                                                   Living in Ramgarh, Veeru comes to fall in love with the feisty and talkative Basanti (Malini), while Jai finds a companion in
                                                   the reserved and quiet Radha. The film rushes to an exhilarating climax when Babbar kidnaps Basanti. Jai and Veeru rush to
Soundtrack                                         her rescue, and while Jai fights Babbar’s men, Veeru is able to free Basanti. Though mortally wounded by Babbar’s men, Jai
Jab Tak Hain Jaan (“Until There is Life”)          forces Veeru to return to the village with Basanti. Veeru initially refuses to leave Jai alone, but eventually acquiesces,
Lata Mangeshkar                                    promising to return quickly with more ammunition. However, by the time he returns, Jai is on the brink of death and passes
Koi Haseena (“Some Beauty”)                        minutes later in his friend’s arms. Just after, several townspeople, including Radha, arrive at the scene.
Kishore Kumar, Hema Malini
Holi Ke Din (“On the Day of Holi”)                 Reeling from Jai’s sacrifice, Veeru catches Babbar and nearly kills him before the Thakur arrives, who reminds him of his
Kishore Kumar, Lata Mangeshkar
                                                   promise, to bring Gabbar to him alive. Gabbar, though bloody and wounded, teases the Thakur. Though disabled, the Thakur
Yeh Dosti (“This Friendship”)
Kishore Kumar, Manna Dey
                                                   nearly kills Gabbar. However, the police then arrive, and arrest Singh. Though the Thakur’s revenge remains incomplete, he
                                                   has the satisfaction of knowning Ramgarh will be safe.
Mehbooba, Mehbooba (“Lover, Lover”)
Rahul Dev (R.D.) Burman

                                                   Watch and listen for ...
                                                   Both of Sholay’s pairs, Dharmendra and Hema Malini, and Amitabh Bachchan and Jaya Bhaduri, went on to become couples in real
                                                   life. They became parents for the next generation of Bollywood stars, including Sunny, Bobby and Esha Deol, and Abhishek
                                                   Bachchan.

                                                   One of Bollywood’s most famous dialogues, ―Kitni aadmi the, Sambha‖ (―How many men were there, Sambha‖) comes from
                                                   Sholay.
                                                Introduction


  Silsila
Devanagari:   isalaisalaa
English: “Affair”                               Story
Cast and Crew
Director            Yash Chopra
Writers             Yash Chopra
                    Preeti Bedi
Music Director      Hariprasad Chaurasia

Shekhar Malhotra             Shashi Kapoor
Amit Malhotra                Amitabh Bachchan
Shobha Malhotra              Jaya Bachchan
Chandni                      Rekha


Soundtrack
Dekha Ek Khwab (“I Saw A Dream”)
Kishore Kumar, Lata Mangeshkar
Rang Barse (“The Colors Come Forth”)
Amitabh Bachchan
Neela Aasman So Gaya (“The Blue Sky Slept”)
Lata Mangeshkar
Sar Se Sarke (“From the Head it Falls”)
Lata Mangeshkar
Yeh Kahan Aa Gaye Hum (“Where Have We Come”)
Amitabh Bachchan, Lata Mangeshkar
Jo Tum Todo Piya (If You Break This, Love)
Lata Mangeshkar




                                                Watch and listen for ...
                                             Introduction

        Roja                                 Roja is a Tamil film by acclaimed Indian director Mani Ratnam, which relays the story of a man working for the Indian government
                                             and his wife’s unfailing love for him against the backdrop of India-Pakistan conflict over Kashmir.



Devanagari:  raojaa                          Story
English: “Roja”

                                             Roja—a girl hailing from a small village in southern Tamil Nadu—first meets Rishi, the top cryptologist and a handsome suitor,
                                             when he arrives at her parent’s house to meet with Roja’s sister whose hand he is seeking in marriage. However, upon realizing
Cast and Crew                                that she is in love with someone else, Rishi immediately (and publicly) chooses to marry Roja instead. Roja, having no say in the
Director            Mani Ratnam              matter, is married to Rishi, and moves with him to the city where she eventually falls in love with him, and they live happily.
Writer              Mani Ratnam
                                             Due to his work with the Indian government, Rishi is stationed at an army communications station in Kashmir in the midst of
Music Director      A.R. Rahman
                                             heavy conflict between the Indian and Pakistani governments over the region. While enjoying a stroll on a bright morning with
Roja                          Madhoo         Roja, Rishi is suddenly kidnapped by militant Kashmiri separatists who demand the release of their terrorist leader Wasim Khan
Rishi                         Arvind Swamy   from prison in exchange for Rishi’s freedom.

                                             Roja begs and pleads with politicians and police officers to act upon the deal in order to reach a negotiation that will eventually
Soundtrack                                   lead to her husband’s release, but her attempts are in vain. They keep telling her to go home and wait—something Roja cannot
Rukkumani (“Rukkamani”)                      take sitting still. She declares that she will not leave Kashmir until her husband is found nor will she stop hounding them for
S.P. Balasubramaniam                         news.
Bharat Humko Jaane… (“We Love India More
Hariharan                   Than Life …)
Choti Si Asha (“A Little Hope”)
Minmini
                                             listen for ...
Roja Janeman
S.P. Balasubramanium
                                             Roja marks the debut of acclaimed music director A.R. Rahman, who was seen as a potent musical force in the Indian movie
                                             industry—particularly, Tamil movie industry—upon the soundtrack’s release.

                                             This soundtrack is among the All Time Top 100 soundtracks listed by TIME magazine, issued in 2005. In late 2007, Time magazine
                                             voted Roja as one of the top ten soundtracks of the world.
  Hum                                           Introduction
                                                The brainchild of ace director Sooraj Barjatya, Hum Apake Hain Koun tells the story of two prominent Indian families, and the
                                                relationships that tie them together. Starring two of the industry’s biggest stars, Madhuri Dixit and Salman Khan, the film is especially
 Aapke                                          noted for its lavish depictions of North Indian weddings. One of the most successful Bollywood films ever, the movie was translated
                                                into Telugu as Premalayam.

                                                Story
Hain Koun                                       Kailashnath (Nath) is one of the country’s wealthiest industrialists. A widower and childless, Kailashnath accepts his two
                                                nephews Rajesh (Behl) and Prem (Khan), as his own sons. When Rajesh comes of marriageable age, he turns to the home of his
Devanagari:and Aapako hOM
Cast hma Crew                                   close friend, Siddharth Choudhury, and asks for his elder daughter, Pooja’s (Shahane) hand. Siddharth consents, joyous at seeing
kaOna
Director          Sooraj Barjatya               his friendship with Kailashnath adopt a new form.
English: “Who Am I To You?”
Writer            Sooraj Barjatya
                                                As the two families come together for the engagement and subsequent wedding, Prem finds himself immediately drawn to
Music Director      Raamlaxman
                                                Pooja’s younger sister, Nisha (Dixit). Before any relationship can develop, however, Rajesh and Pooja are wedded with great
Nisha Choudhury                Madhuri Dixit    pomp, and Nisha returns home. Meanwhile, Pooja’s arrival brings new happiness into the home. She settles comfortably into the
Prem                           Salman Khan      rhythm of the house, giving the servant Laloo English lessons, and bonding with Prem. When Pooja becomes pregnant, Nisha
Rajesh                         Mohnish Behl
Siddharth Choudhury            Anupam Kher
                                                returns to join in traditional pre-birth ceremonies. Reunited with Prem, Nisha professes her love and the two vow to stay together
Kamla Choudhury                Reema Lagoo      forever.
Kailashnath                    Alok Nath
Pooja Choudhury                Renuka Shahane   A tragic turn of events, however, puts the new relationship in jeopardy. Shortly after her daughter’s birth, Pooja dies from a fall.
                                                Both families grieve for their late daughter-in-law, and Rajesh, now with a new daughter, becomes increasing debilitated. Seeing
Soundtrack                                      Rajesh’s sadness, Kailashnath asks Nisha, if she has no one else in mind, to marry his elder son and be a mother to Pooja’s
Wah Wah Ramji (“Amazing, Ramji”)                daughter. Nisha and Prem are stuck at a crossroads, caught between their own love and familial obligations. Sacrificing her love
S.P. Balasubramaniam, Lata Mangeshkar           for Prem, Nisha consents, and marriage preparations are begun once more, though with a more somber air. Prior to the wedding,
Pehla Pehla Pyar Hai (“It’s the First Love”)    Rajesh begs Nisha not to hide her true feelings, should she have them, for someone else. Nisha assures him she is doing no such
S.P. Balasubramaniam                            thing. However, utterly by chance, Rajesh comes to know of the Prem and Nisha’s relationship, and refuses to continue the
Mayi Ni Mayi (“Mother o Mother”)                marriage. Placing his daughter in Nisha’s arms, he unites and blesses the couple.
Lata Mangeshkar
Lo Chali Main (“Here, I Am Going!”)
Lata Mangeshkar                                 Watch and listen for ...
Joote Dedo, Paise Lelo
Lata Mangeshkar                                 Hum Apake Hain Koun has one of the largest soundtracks in Bollywood history, with a total of 14 tracks. Most are the work of famed
Hum Apake Hain Koun (“Who Am I To You?”)        playback singers Lata Mangeshkar and S.P. Balasubramaniam.
S.P. Balasubramaniam, Lata Mangeshkar
Didi Tera Devar Deewana                         Much of the background score in Hum Apake Hain Koun is borrowed from Sooraj Barjatya’s first film, Maine Pyar Kiya (―I Have
Lata Mangeshkar                                 Loved‖). The music is again repeated in his third film, Hum Saath Saath Hain (―We Are All Together‖).

                                                Unique choreography, cinematography and direction made both Didi Tera Devar Deewana and Joote Dedo, Paise Lelo two of the most
                                                popular dance songs in Bollywood history. The songs’ dance moves and styles have been copied numerous times into other films.
                                                   Introduction
       Dilwale                                     Indian cinema’s longest running film, Dilwale Dulhania Le Jayenge brought the amazingly successful Shah Rukh Khan and Kajol into
                                                   the limelight. Directed by Aditya Chopra, the eldest son of celebrated director and producer Yash Chopra, ―DDLJ,‖ as it frequently
      Dulhania                                     called, was one of the first films to show Indian families abroad, in London in this case. In April 2007, the film completed an
                                                   impressive 600 weeks of continuous play at the Maratha Mandir theatre in Mumbai.

     Le Jayenge                                    Story
Cast and Crew
Devanagari: idlavaalao                             The Malhotras and Singhs represent two very different families; they share few similarities beyond their Indian nationality and
dulhinayaa^M lao jaayaoMga
Director           Aditya Chopra                   London residences. Chaudhary Baldev Singh (Puri) is a religious, traditional, and industrious man working hard to provide for
                    Will Take the
English: “The BraveAditya Chopra Brides”
Writers                                            his family. Prior to leaving his native Punjab, he promised the hand of his eldest daughter Simran (Kajol) to the Kuljeet (Sethi),
                   Javed Siddiqui
                                                   the son of his best friend. Unknown to her father, Simran has her own hopes and dreams for her future suitor. She realizes soon
Music Director     Jatin-Lalit                     enough, however, that she is expected to sacrifice all of these to keep her father’s word. Without complaint, Simran agrees to go
                                                   to Punjab and marry Kuljeet, but beseeches her father to allow her one last excursion prior to marriage, a tour of Europe. She
Raj Malhotra                     Shah Rukh Khan
Simran Singh                     Kajol
                                                   tells him during the trip, ―I will live the rest of my life.‖
Chaudhary Baldev Singh           Amrish Puri
Lajwanti                         Farida Jalal      Raj Malhotra (Khan) shares none of Baldev Singh’s perseverance or diligence . His father (Kher) missed his youth working, and
Dharamvir Malhotra               Anupam Kher       begs his son not to do the same. Despite all his failures, Raj finds only praise and encouragement from his father, who persuades
Kuljeet Singh                    Parmeet Sethi
                                                   him to accompany his friends on their European vacation.

Soundtrack                                         Simran and Raj’s first meetings are tumultuous, with both attempting to torture the other. Things change, however, when Simran
                                                   is left behind in Zurich and must rely on Raj’s help to meet up with her friends in the next city. Only once the two go their
Tujhe Dekha To (“When I Saw You”)                  separate ways back in London do they realize their feelings for one another. Needless to say, Chaudhary Baldev Singh does not
Lata Mangeshkar, Kumar Sanu                        take lightly to Simran’s change of heart, and by week’s end makes plans to return to India. By the time Raj arrives at Simran’s
Ruk Ja O Dil Deewane (“Stop, My Love”)             home in London, she has already gone, though not without leaving him a memento affirming her love.
Udit Narayan
Mehndi Laga Ke Rakhna (“Keep the Mehndi Ready”)
                                              Raj       arrives in India, and secretly assures Simran he will do whatever need be to save her from the arranged marriage. He makes
Lata Mangeshkar, Udit Narayan
                                                   friends with Kuljeet, Simran’s fiancée, and quickly becomes a part of her household, helping out with marriage preparations.
Mere Khawabon Main (“In My Dreams”)                       Lata
Mangeshkar
                                                   Though the two meet in secret, Lajwanti (Jalal), Simran’s mother, eventually catches them. She originally begs Simran to forget
                                                   Raj and focus of her impending marriage. Thinking of all the sacrifices she was expected to make, as a daughter, wife and
Zara Sa Jhoom Loon (“Should I Dance A Little? ”)
Abhijeet, Asha Bhonsle                             mother, Lajwanti eventually supports Simran and hopes for a different life for her daughter.
Ho Gaya Tujhko Pyar (“You Fallen in Love”)
Lata Mangeshkar, Udit Narayan                      Things begin to go awry when Kuljeet’s sister falls in love with Raj, and both Chaudhary Baldev Singh and Raj’s father, who
Ghar Aaja Pardesi (“Come Home, Foreigner”)         also arrives in India, consent to the match. Realizing the situation is going from bad to worse, Raj's father urges his son and
Manpreet, Pamela Chopra                            Simran to elope. Shortly before their departure, however, Simran’s father comes to know of Raj’s true identity, a discovery that
                                                   eventually leads to a bloody brawl at the train station with Kuljeet. Unable to fight anymore, Raj and his father board the train
                                                   and prepare to return home. Only then, in the midst of Simran’s desperate pleadings, does Baldev Singh realize his folly, and
                                                   allow Simran to go with Raj.
                                                   Introduction


  Bomba                                            A film centered on events that occurred between December 1992 and January 1993, Bombay depicts the conflict surrounding the Babri
                                                   Masjid in Ayodhya, and its aftermath on religious groups in India. Despite causing controversy among Indian audiences, the film was
                                                   critically acclaimed and was screened at various film festivals, including the Philadelphia Film Festival in 1996.

                                                   Watch for ...
                                                   Story

    y
Cast and Crew
                                                   Karan Johar and Arjun Sablok made special guest appearances in the film as Shah Rukh Khan’s friends. Both went to become film
                                                   Shekhar (Swamy), a student residing in Bombay, visits his family in a village of Tamil Nadu and instantly falls in love with a
                                                   directors themselves.
                                                   local Muslim schoolgirl named Shaila Bano (Koirala). Although initially shy and reclusive, Shaila Bano tries at first to dissociate
                                                   from his constant attempts to talk to her, but finally gives in and falls in love with her as well.
Devanagari:  baMba[-
Director “Bombay” Mani Ratnam
English:                                           Shekhar’s traditional Hindu family violently opposes a marriage between their son and the Muslim girl, and the proposal is just
Writers           Mani Ratnam                      as resisted in Shaila Bano’s family with her father suggesting an immediate marriage between Shaila and another local Muslim
                  Umesh Sharma
                                                   boy. Shekhar, angered by his father’s refusal to accept Shaila Bano as a daughter-in-law, escapes to Bombay. Shaila Bano soon
Music Director     A.R. Rahman                     follows him, and they enjoy a happy married life in Bombay, where they move into a new apartment and have two twin boys.
Shekhar Narayanan            Arvind Swamy
Shaila Bano                  Manisha Koirala
                                                   As the years pass, Shekhar continues his work as a journalist, whereas Shaila Bano enjoys her work at home with the boys, who
Tinnu Anand                  Shakti Samaj Leader   are raised in both religions. This is especially evident through the mixture of Hindu and Muslim culture in their names: Kabir
                                                   Narayanan and Kamal Basheer. The grandparents soon visit the happy family and negotiation processes take place slowly during
                                                   their stay.
Soundtrack
                                                   Disturbance, however, arrives in the form of religious violence and riots that take place in Bombay over the destruction of a
Kehna Hi Kya (“What Can I Say”)                    mosque by Hindu extremists due to its placement on Ramkot Hill in Ayodhya, which is believed to be the birthplace of the
Kavita Krishnamurthy                               Hindu god, Rama. The wave of Hindu-Muslim riots pervading the country soon hits Bombay, and looms as a constant threat
Kucchi Kucchi                                      over the family who do not have a fixed religion. Separated from the parents during the riots, the kids are constantly asked to
Udit Narayan, Kavita Krishnamurty
                                                   define themselves by their religion: ―Are you Hindu or Muslim‖. Although they are soon found and reunited with their parents
Tu Hi Re (“O, You”)
Hariharan, Kavita Krishnamurthy
                                                   upon a thorough search of the city’s hospitals, morgues, and shelters—all of which are also partially destroyed and lacking any
                                                   system of organization—the violence leaves a permanent impression on the children’s minds and the family’s hearts.
Ek Ho Gaye (“We Became One”)
Remo Fernandez

                                                   Watch for ...
                                                   The track "Bombay Theme" from the soundtrack is an instrumental orchestral piece composed, arranged and conducted by A. R.
                                                   Rahman. It was recently featured in the soundtrack and score of the Nicholas Cage film Lord of War, released in 2005. It also appeared
                                                   on a French TV commercial for Volvic starring Zinedine Zidane in 2000.

                                                   The film was banned in Malaysia and Singapore upon release.
                                                 Introduction

   Dil to                                        Though a characteristic Yash Chopra musical romance, Dil to Pagal Hai went on to become one of the highest grossing films of its
                                                 year. A love story revolving around four characters, Dil to Pagal Hai was the first Bollywood picture to film in Baden-Baden,
                                                 Germany and the German theme park Europa Park (as seen in the title song). It brought three of the industry’s biggest stars, Shah Rukh
                                                 Khan, Madhuri Dixit, and Karishma Kapoor, together for the first time. Among a slew of other awards, it won the Filmfare Award for

 Pagal Hai                                       Best Picture.
                                                 Story
Devanagari:   idla taao paagala hO               Rahul (Khan) is the charismatic head of a Mumbai dance troupe and on the closing night of one of his shows, announces his next
English: ―The    Heart is Crazy‖                 project to be titled ―Maya.‖ After the show, his dance troupe asks him to describe this ―Maya.‖ The description he gives,
                                                 however, exasperates lead dancer Nisha (Kapoor), who asserts that no such woman exists fitting Rahul’s outdated notions.
                                                 Though constantly bickering with Rahul, Nisha harbors a deep love for him, one that Rahul is, unfortunately, completely
                                                 unaware of. Nisha can only hope that he will eventually realize her feelings and reciprocate. Despite original reservations, the
Cast and Crew                                    troupe begins preparations for ―Maya.‖ However, an accident several weeks later leaves Nisha with a broken ankle, and Rahul
Director            Yash Chopra                  without a lead dancer. In his search for a new dancer, Rahul crosses paths for the first time with Pooja.
Writers             Yash Chopra
                    Tanuja Chandra               Pooja (Dixit), orphaned as a young girl, lives with her adoptive parents. She leads a simple life, and personifies everything Rahul
Music Director      Uttam Singh                  originally espoused in ―Maya.‖ She is devoted to her adoptive parents, and very close to their son, Ajay (Kumar), with whom she
                                                 has grown up. She is idealistic and eagerly awaits the arrival of her dream suitor, bemoaning her friends for agreeing to arranged
Rahul                          Shah Rukh Khan    marriages. However, when, during a vacation, Ajay professes his love and asks for her hand, Pooja is unable to say no. Though
Pooja                          Madhuri Dixit
Nisha                          Karishma Kapoor
                                                 she does not love him, Pooja finds satisfaction in her adoptive family’s happiness.
Ajay                           Akshay Kumar
Dai                            Aruna Irani       Everything seems to change, however, when Pooja agrees, after much convincing, to dance with Rahul. Despite a bumpy start,
                                                 the two become increasingly close friends and develop a unspoken attraction towards one another. Nisha, still recovering from
                                                 her injury, notices Rahul’s change of heart. Rather than trying to intervene, however, Nisha leaves Mumbai for her parents’
Soundtrack                                       house in London, and allows fate to take its own course.
Dil to Pagal Hai (Title Track)
Lata Mangeshkar, Udit Narayan                    Following. Pooja, with Rahul voluntarily tagging along, pays her Dai (Irani) a visit and confides everything in her. Dai
Are Re Are (“Oh My Goodness”)                    encourages her to follow her heart and not to fall in with the duty bound to her by her guardians; she also gives similar advice to
Lata Mangeshkar, Udit Narayan                    Rahul. At a wedding of two of the troupe members, they both finally give in to their attraction towards each other, but later Pooja
Bholi Si Surat (“Innocent Face”)                 runs away from him. Nisha returns and sees that Rahul and Pooja have cemented their love, leaving her heartbroken.
Lata Mangeshkar, Udit Narayan
                                                 Ajay phones his mother and informs her he is coming home immediately to marry Pooja; At about the same time the call arrives,
Dholna (“Sweetheart”)
Lata Mangeshkar, Udit Narayan
                                                 Pooja records a tape for Ajay stating that she has fallen in love with Rahul. But later, she learns about Ajay’s return, and decides
                                                 to marry him. She later introduces Ajay to Rahul and hurts him greatly, much to the secret delight of Nisha.
Pyar Kar (“Love”)
Lata Mangeshkar, Udit Narayan
Koi Ladki Hai (“There Is a Girl”)                A heartbroken Rahul finishes writing the end of ―Maya,‖ mimicking his own painful separation from Pooja. In the ending of the
Lata Mangeshkar, Udit Narayan                    play, the two lovers separate, never to meet again. When Nisha returns from London, she complains to Rahul of the sad finale,
Ek Dujhe Ke Vaaste (“For One Another ”)          but Rahul refuses to change it. The film climaxes at the opening night of ―Maya.‖ In the final moments of the play, just as Rahul
Lata Mangeshkar, Hariharan                       and Pooja, in character, prepare to separate, Ajay plays the tape Pooja sent him, and the two finally confess their love.
Le Gayi (“She Took It”)
Asha Bhosle
                                                 listen for ...
                                                 The meaning of the word, ―Dholna‖ (one of the film’s songs) stumped Hindi-speaking moviegoers. Yash Chopra later revealed the
                                                 word was actually Punjabi slang, meaning ―sweetheart.‖
                                                  Introduction
                                                  An adaptation of the medieval European story of Tristan and Iseult, Pardes tells a quintessential love story in the context of clashing



 Parde                                            cultures. A variation on a widely used storyline in Hindi cinema, it is one of the few major films of 1990s Hindi cinema to be shot
                                                  extensively in the United States. It was also the first film of Bollywood actress Mahima Chaudhary.



                                                  Story


   s
Cast and Crew
Director           Subhash Ghai
                                                  Kishorilal (Puri) is a wealthy Indian businessman who, despite living in America, has not forgotten his motherland. His
                                                  attachment with the country is deep and he hopes to find a daughter-in-law for his westernized, American son, Rajiv (Agnihotri).
                                                  He is especially taken by Ganga (Chaudhry), the daughter of his friend Suraj Dev (Nath). He offers a marriage proposal between
                                                  Ganga and Rajiv and they accept. He sends his foster son, Arjun (Khan) to ensure Ganga’s approval of Rajiv prior to moving
                                                  forward. Ganga agrees, and soon after Rajiv too arrives in India and consents to the ceremony.
Writers
Devanagari:   pardosa Ghai
                 Subhash
English: “Foreign Country”
Music Director     Nadeem Shravan                 The engagement takes place in Ganga’s village, and the subsequent wedding at Kishorilal’s estate in America. Ganga leaves
Arjun Saagar                  Shah Rukh Khan
                                                  with her new family and originally begins to adjust to her new surroundings. However, she soon becomes lonely, with Arjun as
Kishorilal                    Amrish Puri         her only friend. As Ganga drifts away from Rajiv, realizing he is not the person she had been told he was, she grows closer to
Kusum Ganga                   Mahima Chaudhary    Arjun. Ganga tolerates Rajiv’s demeaning attitude, smoking and drinking, though is shocked when she finds out he is still seeing
Rajiv                         Apoorva Agnihotri
Suraj Dev                     Alok Nath
                                                  a former girlfriend. She confronts Arjun, angry at the fallacious and deceptive portrayal he gave of his foster brother.
Kulwanti Bua                  Himani Shivpuri
                                                  By this time, Arjun too comes to realize he has fallen in with the simple and innocent Ganga. Their friendship grows into a
                                                  mutual love. Kishorilal, seeing this, sends Arjun away on the pretense of business, and Ganga with Rajiv to Las Vegas. Arjun
Soundtrack                                        accepts Kishorilal’s decision, and tries to forget his feelings for Ganga. While in Las Vegas, a drunken Rajiv attempts to rape
                                                  Ganga. Managing to knock him unconscious, Ganga runs away, realizing she can no longer ignore Rajiv’s faults. Hearing she
Deewana Dil (“Crazy Heart”)                       has run away, Arjun sets out to look for her. Seeing her disheveled and upset, he agrees to help her return to her family in India.
Sonu Nigam, Hema Sardesai
                                                  Upon their arrival, Ganga’s father is misinformed of the circumstances, and believes Arjun has eloped with Ganga. In his fury,
Do Dil Mil Rahe Hai (“Two Hearts Are Meeting”)
Kumar Sanu
                                                  he tries to kill Arjun, and, unsuccessful, sends him away from the house. Suraj Dev refuses to listen to his daughter, and locks
I Love India
                                                  her in a shed.
Shankar Mahadevan, Kavita Krishnamurthy
Meri Mehbooba (“My Lover”)                        By this time, Kishorilal too arrives in India, accompanied by Rajiv. Both are determined to kill Arjun and bring Ganga back to
Alka Yagnik, Kumar Sanu                           America. With the help of her brothers and sisters, Ganga manages to escape and follows Arjun. Before she can reach him,
Jahan Piya (“Where My Husband Is”)                though, Rajiv and his friends find Arjun and beat him. Arjun fights back and nearly kills Rajiv, but is stopped by Kishorilal.
Shankar Mahadevan, Chitra                         Arjun confesses that he is love with Ganga, but equally devoted to his foster father. He begins to walk away when Ganga arrives
Ho Gaya Hai Mujhe Pyar (I’ve Fallen in Love)      and reveals the truth about Rajiv. Realizing his son is unworthy of Ganga, Kishorilal unites Ganga and Arjun, and the two are
Alka Yagnik
                                                  married.


                                                  watch for ...
                                                  The film’s final scenes, including when Arjun (Khan) is beaten and later unites with Ganga, are filmed at Fatehpur Sikri. A prominent
                                                  Indian historical site near the Taj Mahal in Agra, Fatehpur Sikri was one of the capitals of the Mughal empire under Akbar. It is
                                                  recognized today by UNESCO as a World Heritage Site.
                                                    Introduction
  Kabhi Khushi                                      For years, Karan Johar’s second film, Kabhi Khushi Kabhie Gham stood out as Indian cinema’s greatest achievement, at least
                                                    financially speaking. While Bhansali’s Devdas and Johar’s own Kabhi Alvida Naa Kehna earned more, the film, nicknamed ―K3G,‖
  Kabhie Gham                                       was a colossal success by all standards. Boasting an enormous cast of premiere Bollywood actors and actresses, the film reunited real-
                                                    life couple Amitabh and Jaya Bachchan for the first time in over a decade.
       kaBaI KaÜuSaI
Devanagari:

kaBaI ÜgaÜma                                        Story
English: ―Sometimes    Happiness, Sadness‖
                                                    Rohan Raichand (Roshan), the younger son of business mogul Yashvardhan Raichand (Amitabh Bachchan), on his way back
                                                    home following his final term of college, stops to visit his maternal and paternal grandmothers in their home in Hardwar. While
Cast and Crew                                       there, Rohan accidentally overhears his grandmothers speaking of his older brother Rahul (Khan). Unable to hide the secret
                                                    anymore, Rohan’s two grandmothers reveal that Rahul was actually Nandini (Jaya Bachchan) and Yash’s adopted son, and a
Director           Karan Johar
Writers            Karan Johar                      terrible argument had led to Rahul’s departure from their home ten years ago. They recount, through a flashback, of Rahul’s last
                   Sheena Parikh                    year with them.
Music Director     Jatin-Lalit
                                                    Rahul, upon his return to Mumbai from a MBA program in London, is happily welcomed back. While being groomed by his
Yashvardhan Raichand             Amitabh Bachchan   father, Yashvardhan (Amitabh Bachchan) to take over the Raichand empire, Rahul rekindles his friendship with Naina
Nandini Raichand                 Jaya Bachchan      (Mukherjee), who, unknown to Rahul, happens to be his father’s choice for his future wife. However, through Rohan’s daijaan,
Rahul Raichand                   Shah Rukh Khan
Rohan Raichand                   Hrithik Roshan
                                                    or nanny, Sayeeda (Jalal), Rahul meets, and subsequently falls in love with, Anjali (Kajol), the daughter of a humble sweetshop
Anjali Sharma                    Kajol              owner.
Pooja Sharma                     Kareena Kapoor
Sayeeda                          Farida Jalal       Rahul’s mother, Nandini (Jaya Bachchan), despite knowing her son’s true feelings, is powerless to do or say anything against her
Naina Kapoor                     Rani Mukherjee
                                                    husband’s wishes. When Rahul comes to know of his father’s intentions, he finds himself caught between familial loyalty and
                                                    love. He originally succumbs to his father’s emotional blackmail, and agrees to forget Anjali. However, when he finds out
Soundtrack                                          Anjali’s father has died, he marries her and completes her father’s funeral rites. Rahul finds, as he arrives home with his new
                                                    bride, that he is no longer welcome. As Yashvardhan admits to Rahul that his actions have proven he is not a Raichand, Nandini
Kabhi Khushi Kabhie Gham (Title Track)              asks Sayeeda to accompany her son where he goes, that he may never lack a mother’s love.
Lata Mangeshkar
Bole Chudiyan (“My Bracelets Speak”)
Kavita Krishnamurthy, Sonu Nigam                    Hearing the story, Rohan resolves to bring his brother and sister-in-law back home. He returns home, albeit a short while. After
You Are My Sonia
                                                    determining that Rahul has returned to London, he convinces his father to allow him to also go there, on the pretense of
Sonu Nigam, Alka Yagnik                             completing MBA studies. While in London, Rohan first meets Pooja, Anjali’s sister, who is now far more westernized than when
Say Shava Shava                                     they had last met. He enlists her help in bringing Rahul and Anjali back, and eventually ends up as a guest in their house, as the
Alka Yagnik, Sonu Nigam                             ―brother‖ of one of Pooja’s friends. Sayeeda, Anjali and eventually Rahul all realize Rohan’s true identity. Rohan begs his
Yeh Ladka Hai Allah (“This Boy, Oh Lord”)           brother to return home, but Rahul refuses, claiming his whole world is in London now.
Alka Yagnik, Udit Narayan
Deewana Hai Dekho “(Look, He is Crazy”)             Rohan, with Pooja’s help, arranges for Yash and Nandini to come to London and meet Rahul, though with unexpected, and
Alka Yagnik, Sonu Nigam
                                                    disappointing, results. Even after all these years, Rohan realizes, his father cannot forgive Rahul. While still in London, Yash
                                                    receives news of his mother’s death, and immediately returns to India. Rahul returns with Anjali to light his grandmother’s pyre,
                                                    but has no intentions of staying. Realizing neither his father nor brother will yield to the other, Rohan begs his brother to come
                                                    home one last time, for Nandini’s sake. At home, Rahul faces Yashvardhan again, and at long last, the two finally reconcile.
                                                    Introduction


    Devd
                                                    Based on the novel by Bengali poet Sarat Chandra Chattopadhyay, Devdas has captured the imaginations of Hindi film directors for
                                                    generations. Though made into films in 1953 by Bhimsingh, and 1955 by Bimal Roy, arguably the grandest adaptation is Sanjay Leela
                                                    Bhansali’s 2002 remake. The film was screened at the Cannes International Film Festival, and nominated for an Academy Award. It
                                                    also features a highly publicized and unique dance duet, by Aishwariya Rai and Madhuri Dixit, in Dola Re Dola.

                                                    Story
                                                    Devdas Mukherjee (Khan), the younger son of wealthy Bengali landowner Narayan Mukherjee and his wife Kaushalya (Jaykar),


     as
Cast and Crew
Director
Writers
Devanagari:
                    Sanjay Leela Bhansali
              dovadasa Bhansali(Novella)
                 Sarat Chattopadhyay
                                                    is returning home after more than a decade abroad in boarding school. Kaushalya is mad with excitement when she hears and the
                                                    news, but is sorely disappointed when, rather than coming straight home, Devdas first visits his neighbor and childhood
                                                    sweetheart, Paro (Rai). Since his departure as a child, Paro has kept a lamp burning for Devdas, one she will continue to keep
                                                    alight until death.

                 Sanjay Leela                       While Devdas flirts with Paro, his entire family, except his aging grandmother (Mukherjee) remarks on the vast class differences
English: ―Devdas‖
                                                    between them and their neighbors, and agrees that Devdas will never be married to Paro. Accordingly, when Sumitra (Kher),
Music Director      Ismail Darbar
                                                    Paro’s mother and Kaushalya’s long-time friend, proposes the match, she is publicly humiliated and ridiculed. Furious and
Devdas Mukherjee              Shah Rukh Khan        saddened by the egregious treatment she and her daughter have received, Sumitra storms away promising that in seven days
Paro Chakraborty              Aishwariya Rai        time, she will have either found a match for Paro in a house wealthier than the Mukherjees, or will commit suicide.
Chandramukhi                  Madhuri Dixit
Chunnilal                     Jackie Shroff
Sumitra Chakraborty           Kirron Kher           True to her word, Sumitra finds a match for Paro within the immensely wealthy Chaudhary house. On the night before her
Badi Ma                       Ava Mukherjee         wedding, Paro, in desperate straits, goes to visit Devdas. Instead she meets his father, Narayan, who denounces her as a whore
Kaushalya Mukherjee           Smita Jaykar
Bhuvan Chaudhary              Vijayendra Ghatge
                                                    only fit for Devdas this time of night. Furious, Devdas angrily leaves his house, and Paro, behind. He finds solace in a brothel,
Dharamdas                     Tiku Talsania         where he meets the courtesan Chandramukhi (Dixit), who helps him to forget Paro.

                                                    The next day Paro, after seeking Devdas’s blessings, is married and leaves to her husband’s home. Devdas returns home, and in
Soundtrack                                          his anger and grief, begins to set fire to his room. In an electrifying scene, Sumitra, from her balcony, blows a conch shell and
Silsila Yeh Chaahat Ka (“The Story of this Love”)
                                                    laughing, yells at Kaushalya: Paro has left on a sea of silver and gold, and now Devdas will pay the price of her pride. After
Shreya Ghoshal                                      several similar tantrums, Devdas once again leaves the house for Calcutta, to the brothel and Chandramukhi. Alternating
Maar Dala (“Killed”)                                between varying stages of intoxication, Devdas pines for Paro, his lost love.
                                                          Kavita
Krishnamurthy, Kay Kay
Bairi Piya (“Adversarial Lover”)                    In frustration in Devdas’s state, Dharamdas (Talsania) begs Paro to visit him once and bring him back home. Paro reluctantly
Udit Narayan, Shreya Ghoshal                        agrees, but by the time she reaches the brothel, Devdas has already left. She confronts Chandramukhi at first, but, seeing her love
Chalak Chalak (“Drop by Drop”)                      for Devdas, relents and the two become friends. Meanwhile, Devdas runs into the comical Chunilal (Shroff), who he also
Udit Narayan, Shreya Ghoshal
                                                    befriends. By this time, Devdas’s condition has worsened to the point even the smallest amount of alcohol can kill him. Ignoring
Kahe Chede Mohe (“Why Do You Tease Me?”)
Kavita Krishnamurthy
                                                    the warnings, Devdas continues to drink; on the verge of death, he sets out to see Paro one final time. Lying on the ground in
                                                    front of her palace, word of Devdas’s arrival eventually gets to Paro, who rushes out to meet him. She is obstructed, however, by
Woh Chand Jaise Ladki (“That Moon-like Girl”)
Udit Narayan                                        her husband, who barricades her inside. Outside, Devdas takes his final breaths, and Paro realizes he has died when the lamp she
Dola Re Dola (“Sway by Sway”)                       has kept alight for years finally extinguishes.
Kavita Krishnamurthy, Shreya Ghoshal

                                                    watch for ...
                                                    In the song Kahe Chede Mohe, Madhuri Dixit’s outfit weighed over 30kgs (67 pounds!), and made it immensely difficult for her to
                                                    dance.
                                                Introduction
                                                Set in 1938, director Deepa Mehta’s Water explores the lives and fate of abandoned widows at an ashram in one of Hinduism’s holiest



 Water
Devanagari: vaaTr
                                                cities, Varanasi, situated on the banks of the Ganges River. Due to its controversial subject matter and criticism of Indian society,
                                                Mehta was forced to relocate shooting from Varanasi to Sri Lanka. It premiered at the Toronto International Film Festival, and was
                                                Canada’s first non-French submission to the Academy Awards. It is the third in Mehta’s trilogy of films, Fire (1996) and Earth (1998).

                                                Story
                                                Note: Water is set in the period of British Raj in India in 1938. Following Hindu tradition during that period, the marriage of young girls to older men was
English: ―Water‖                                commonplace in certain parts of India. When a man hailing from an orthodox Hindu family died, his young widow would be forced to spend the rest of her
                                                life in an institution for widows called a widow's ashram in order to make amends for the sins from her previous life which supposedly caused her
                                                husband's death.

Cast and Crew                                   Chuyia is a seven year-old girl who is sent to the ashram by her father upon the death of her husband to relieve her husband’s family of
                                                financial and emotional burden as well as to expiate bad karma. The ashram is ruled by Madhumati—a fat and arrogant woman in her
Director           Deepa Mehta                  70s whose only friends are Gulabi (a pimp), a transvestite and an eunuch. Gulabi also helps Madhumati prostitute Kalyani—the
Writers            Deepa Mehta                  youngest widow in the ashram before Chuyia’s arrival—by transporting her across the river to old customers. Kalyani, having been
Music Director     A.R. Rahman                  forced into prostitution as a child, is the financial support for the ashram and is the only widow who does not have her hair cut short.

Chuyia             Sarala Kariyawasam           One day, when accompanying Chuyia to the ghats, Kalyani meets Narayan—a handsome and charming upper-class follower of
Kalyani            Lisa Ray
Shakuntala         Seema Biswas
                                                Mahatma Gandhi. In accordance with tradition, Kalyani asks Narayan to stop speaking to her as it will bring him bad luck, but is still
Narayan            John Abraham                 unable to get him out of her mind. She begins refusing Madhumati and her ―clients‖, while Narayan, having found a way to meet with
Bhagavati          Waheeda Rehman               her privately, declares his intention to take Kalyani to Calcutta where they will be wedded. Overcome with joy, Kalyani divulges her
Gulabi             Raghuvir Yadav               secret to Chuyia who cannot get the idea of the wedding feast out of her mind. While supplying Madhumati with her weekly foot
                                                massage, Chuyia—brimming with excitement—lets slip Kalyani’s secret and all hell breaks loose.

Soundtrack                                      Madhumati has now not only lost a source of income, but will also be doomed—along with the other widows—to seven lifetimes of
                                                being reborn as jackals due to Kalyani’s outright rebellion against religion and tradition. She enters Kalyani’s hovel, and shears her
Aayo Re Sakhi                                   long hair and locks her in the room until she is able to come to her senses. Shakuntala, the most enigmatic of the widows, comes to
Sukhwinder Singh, Sadhna Sargam                 Kalyani’s rescue and quietly unlocks the shed and allows Kalyani to leave the ashram. A liberated Kalyani bathes in the ghats, and
Bangri Marori                                   meets Narayan in the temple where they had first met where he proposes to her. Narayan ferries her to his parents’ house, where she
Sukhwinder Singh                                first begins recognizing the porch, and upon asking Narayan the full name of his father, turns around and walks out of the door, asking
Naina Neer                                      that he take her back. Perplexed, Narayan consults his father who reveals that it was he who had used Kalyani as a prostitute. Narayan
Sukhwinder Singh, Sadhna Sargam                 leaves the house to join Mahatma Gandhi, but first stops at the ashram to take Kalyani with him, where he finds that she has drowned
Piya                                            herself in grief.
Sukhwinder Singh, Richa Sharma, Sadhna Sargam
Sham
                                                In the meanwhile, Madhumati sends Chuyia with Gulabi as the new prostitute for her waiting clients, and although Shakuntala finds
Raqeeb Alam, Richa Sharma, Sadhna Sargam
                                                out about this development, she arrives at the ghats too late. Walking through the town with the traumatized Chuyia, Shakuntala hears
Vaishnava
Ajay Chakrabarty, Kaushiki                      that Gandhi is at the train station, waiting to leave town. She arrives at the station to get his blessing, but in an act of desperation, starts
                                                following the passengers asking them to take Chuyia with them and put them under Gandhi’s care. When she finally sees Narayan, she
                                                makes one last attempt, and entrusts him with the care of Chuyia. The train departs, taking Chuyia to an undoubtedly brighter future.

                                                Watch and listen for ...
                                                In the film, all the characters speak in Hindi. However, eight-year-old Sarala Kariyawasam, a Sri Lankan who played Chuyia, did not
                                                know Hindi, and therefore had to commit all her lines to memory. Deepa Mehta had to give her directions via a Sinhalese interpreter.

                                                Although Lisa Ray—a Canadian, by birth—learned her lines in Hindi for the shoot, her voice ultimately had to be dubbed over on
                                                account of her strong accent.
                                                 Introduction
                                                 Like Devdas, Parineeta is based on the original short story by Bengali author Sarat Chandra Chattopadhyay. Set in Calcutta (now

 Parineet                                        Kolkata) in 1962, the film recounts the love story of the wealthy Shekhar and simple Lolita. Though a common theme amongst love
                                                 stories, Parineeta masterfully recreates yesteryear India and marks the entry of actress Vidya Balan, who plays Lolita, into Bollywood.

                                                 Story

    a                                            Shekhar Rai (Khan), the sole son of famous businessman Navin Rai (Chakraborty), is preparing for his impending marriage to
                                                 Gayatri Tantia (Mirza), the equally wealthy daughter of business Lalaji Tantia, when he is called to his neighbor’s home. After
                                                 accepting congratulations from the mansion’s ailing mistress, Shekhar encounters Lolita (Balan), who he angrily rebukes.

Cast and Crew                                    Lolita, the niece of Shekhar’s neighbor, comes to live with her aunt and uncle following her parents’ death. She becomes fast
Devanagari: parINaItaa
                                                 friends with cousin Goel (Sen) and neighbor Shekhar. As a child, Shekhar tells Lolita to take money from him whenever need
English: ―Married Woman‖
Director           Pradeep Sarkar                be, a mark of their close friendship. A year or so prior to Shekhar’s marriage, Gurucharan, Lolita’s uncle, finds himself out of
Writers            Sarat Chandra Chattopadhyay   work, his home mortgaged to Navin Rai in exchange for a paltry loan. Rai, realizing his neighbor will never be able to repay the
                   Vidhu Vinod Chopra
                                                 loan, is preparing to throw out the family and convert their mansion into a hotel. Meanwhile, Rai is also attempting to plan
Music Director     Shantanu Moitra               Shekhar’s marriage with the daughter of a wealthy family, ignoring his relationship with Lolita.
Shekhar Rai        Saif Ali Khan
Lolita             Vidya Balan
                                                 In the midst of this comes Girish (Dutt), the wealthy, yet kindly, brother of Sunita, another neighbor, to celebrate his sister-in-
Girish             Sanjay Dutt                   law, Charu’s upcoming wedding. He falls in love with Lolita at first sight, and though Lolita hardly reciprocates, Shekhar eyes
Goel               Raima Sen                     the visitor with an eye of jealousy. Meanwhile, Lolita, working in Navin Rai’s office, finds out of his plan; going first to
Navin Rai          Sabyasachi Chakraborty
Gayatri Tantia     Diya Mirza
                                                 Shekhar, it is eventually Girish who helps repay the debt and save Gurucharan’s ancestral manor. Several days later, on Charu’s
                                                 wedding day, Lolita and Shekhar too exchange garlands – a gesture considered, on that particular day, to be equivalent to
                                                 marriage – and consummate their love. When Navin Rai comes to know of Lolita’s involvement in the repaying of Gurucharan’s
Soundtrack                                       loan, he, sending Shekhar away, constructs a wall between their houses and throws her out of the office. Gurucharan suffers a
                                                 heart attack, and, along with Girish and his entire family, is flown to London, where he urges Lolita’s marriage to Girish. He dies
Suno Suno (“Listen, Listen”)                     shortly after.
Lata Mangeshkar
Soona Soona (“Lonely, Lonely”)
Kavita Krishnamurthy, Sonu Nigam                 When Shekhar returns, Navin informs him of all this, poisoning his mind against Lolita and blaming Gurucharan’s family for the
Piyu Bole (“The Nightingale Says”)               discord between the two houses. Furious at Lolita’s assumed betrayal, he agrees to marriage with Gayatri. On his wedding night,
Sonu Nigam, Alka Yagnik                          Girish visits Shekhar bearing the house papers for Gurucharan’s mansion. He reveals that he married Goel, not Lolita, who
Kaisi Paheli Hai (“What Puzzle This Is”)         claimed she was already married. For the first time in her married life, Shekhar’s mother chastises her husband for his greed, and
Alka Yagnik, Sonu Nigam                          remarks at how many lives Navin ruined in his pursuit of Gurucharan’s mansion. A shocked Shekhar, disobeying his father for
Yeh Hawayein (“These Winds”)                     the first time, breaks down the wall separating their houses and reclaims Lolita as his wife.
Alka Yagnik, Udit Narayan
Raat Hamari (“Our Night”)
Alka Yagnik, Sonu Nigam
                                                 Watch and listen for ...
                                                 Rekha, one of the most famous actresses of yesteryear Bollywood, makes a cameo appearance in the film. She plays the caberet singer
                                                 in Kaisi Paheli Hai.

                                                 Amitabh Bachchan possesses one of the most distinctive voices in all of Hindi cinema. He speaks at both the introduction of the film
                                                 (with the setting: 1962, Calcutta), and its conclusion.
    Rang de                                  Introduction
                                             Rang De Basanti is based on the story of Flight Lieutenant Abhijit Gadgil who died in a MiG-21 training exercise on September 17,

    Basanti                                  2001. The Indian Air Force claimed the accident took place on account of human error. But, after investigations, it was concluded that
                                             the problem lay in the MIG-21. Abhijit's mother Kavita Gadgil has since started the Abhijit Air Safety Foundation. The film was also
                                             seen as sparking a new fervour among the Indian youth to learn about India's freedom struggle. Its total worldwide gross was $29.2
                                             million (Rs. 120 crores, or 1.2 billion rupees), making it one of the highest grossing Indian films of 2006.
Devanagari: rMga do basaMtaI
English: ―Color it Saffron‖

                                             Story
Cast and Crew
                                             The story begins with Sue, a British filmmaker, who becomes interested in making a film about unsung revolutionary heroes in
Director           Rakeysh Omprakash Mehra
Writers            Renzil D’Silva            India upon reading her grandfather’s diary from the time when he was serving in the British Force during India’s revolutionary
                   Rakeysh Omprakash Mehra   struggle. With the help of her friend, Sonia, she arrives in India, and immediately enlists the help of Sonia’s friends: Daljit (a.k.a.
                                             DJ), Sukhi, Aslam, and Karan. The boys are initially wary of taking part in the filming of the movie, but reluctantly agree and
Music Director     A.R. Rahman
                                             soon become interested in the content. Laxman Pandey, a Hindu activist, also joins the group after a little while even though he
Daljit Singh       Aamir Khan                is initially disliked for his strong beliefs advocating Hindu nationalism and his contempt for Aslam, who is a Muslim.
Sonia              Soha Ali Khan
Ajay Rathod        Madhavan
Karan Singhania    Siddharth Narayan
                                             In the meanwhile, Sonia’s fiancée Ajay—an Air-Force pilot—is killed when his plane crashes, an incident which the Indian
Sue McKinley       Alice Patten              government writes off as having occurred due to an error on the pilot’s part. The group of friends is unable to believe this, and
Aslam              Kunal Kapoor              further investigate the matter to find that the crash was caused due to cheap MiG aircraft spare parts that were purchased by the
Laxman Pandey      Atul Kulkarni             corrupt defense minister in return for a large kickback.
Sukhi              Sharman Joshi
Mitro              Kirron Kher
                                             In response to the surfacing of this new information, the group plans a peaceful protest at India Gate, which is soon broken up by
                                             police violence and brutality against the hundreds of protestors gathered there during which Ajay’s mother gets hurt. The group
Soundtrack                                   now decides to not take matters lying down, and thus resorts to violence in the form of assassinating the defense minister. The
                                             media, however, turns this assassination into a targeted act by a terrorist organization and consequently hails him as a martyr,
Ik Onkar                                     which further leads the group to reveal the true story by taking hostage a radio station and broadcasting the truth to the world.
Harshdeep Kaur                               While the world is listening, they are all killed in the combined attack by the police and the commandos.
Rang de Basanti
Daler Mehndi, Chitra
Paath Shaala                                 Watch and listen for ...
Naresh Iyer, Mohamed Aslam
                                             The movie is said to have inspired some real-life protests, such as the protest against the acquittal of the alleged culprits in the Jessica
Tu Bin Bataye
Naresh Iyer, Madhushree                      Lall murder case and the 2006 Indian anti-reservation protests.
Khalbali
A.R. Rahman, Mohamed Aslam, Nasim            Rang De Basanti is the first film to be shot in the Golden Temple, the most important shrine of Sikhism, in 15 years, as previously,
Paath Shaala                                 shooting was not allowed.
Naresh Iyer, Mohamed Aslam
Luka Chupi
Lata Mangeshkar, A.R. Rahman
Roobaroo
A.R. Rahman, Naresh Iyer
                                                  Introduction

   Om                                             The second release of choreographer turned director Farah Khan, Om Shanti Om takes its name (among other things) from a song in the
                                                  1970s film, Karz. Set in both the 1970s and present day, the film deals with the concept of reincarnation, and a love that spans two
                                                  lifetimes. Om Shanti Om features a vast plethora of A-list guest stars, most prominently in the song Deewangi Deewangi.


Shanti Om                                         Story
                                                  Set in the 1970's, Om Prakash Makhija (Khan) is a junior artist in the film industry who, with his friend Pappu (Talplade),
Devanagari: Aaoma            SaaMtaI
                                                  dreams of becoming a famous actor. Om’s mother, Bela Makhija (Kher) playfully encourages and inspires her son. More than
Aaoma                                             his own fame, however, Om is obsessed with Shantipriya (Padukone), the generation’s most famous actress. Once contenting
English: ―Om Shanti‖                              himself by talking to her pictures on billboards, Om meets Shanti at the premiere of on of her films, and again when he saves her
Cast and Crew                                     life during an accident on set. From that point, the two become friends, and Om eventually bares his heart to her.

Director              Farah Khan                  The next time Om meets Shanti, however, he overhears her arguing with Mukesh Mehra (Rampal), the era’s top producer. Much
Writers
                                                  to Om’s shock, Shanti confronts Mukesh about rumors of his upcoming marriage, and demands that he publicly accept her as his
Music Director        Vishal-Shekhar              wife. Mukesh, however, is adamant about keeping the relationship a secret. He angrily tells her that he is already borrowed a
                                                  great deal of money from a rich businessman for his next venture, Om Shanti Om, in exchange for getting married to his
Om Prakash / Om Kapoor         Shah Rukh Khan
Shantipriya / Sandhya          Deepika Padukone   daughter. Heartbroken, Shanti reveals she is pregnant, and in a few months time, Mukesh will no longer be able to hide the truth.
Pappu Master                   Shreyas Talpade    Om, despairing, begins to avoid Shanti.
Bela Makhija                   Kirron Kher
Mukesh Mehra                   Arjun Rampal
                                                  One night, Om sees Shanti being escorted to the set of Om Shanti Om by Mukesh. On the pretense of showing her the venue for
                                                  their upcoming marriage, Mukesh, furious at the great financial loss, sets fire to the grand set, and locks Shanti inside to burn
Soundtrack                                        alive. Om sees Mukesh drive away without Shanti and to his horror sees Shanti trapped inside screaming for help. He tries to
                                                  reach her but Mukesh's guards beat him and stop him from getting to her. Running for help, he is hit by the car of Rajesh
Ajab Si (Different)                               Kapoor, another well known actor, who is rushing his pregnant wife to the hospital. Om dies later that night.
K.K.
Dhoom Taana
Abhijeet, Shreya Goshal                           30 years after the incident, Om is reincarnated as Om Kapoor, son of Rajesh Kapoor. On a location hunt for his next film, Om
Main Agar Kahoon (If I Say)                       returns to the set where Shanti died, and relieves glimpses of his past life. At a subsequent party, he meets Mukesh Mehra, who
Jag Soona Soona Lage (World Seems Lonely)         has been a popular Hollywood producer for the past 25 years. His past life comes rushing back to him and he has a tearful
Dard-e-Disco (Pain and Disco)                     reunion with Bela and Pappu.
Sukhwinder Singh
Deewangi Deewangi (Craziness, Craziness)          To avenge Shanti's death, Om decides to remake the film Om Shanti Om with Mukesh who, after some convincing, agrees to be
Shaan, Udit Narayan, Sunidhi Chauhan, Shreya      the producer of the film. During the audition for the role of Shanti, the crew meets Sandy or Sandhya, a look-a-like of
Dastaan-e-Om Shanti Om (The Story of              Shantipriya. Om begins to play with Mukesh's head by firstly taking him to the restored set of Om Shanti Om and then making
Shaan                    Om Shanti Om)
                                                  him believe that Shanti is a ghost. However during the mind games many occurrences take place which were not planned by
                                                  Om's team. In the film’s climax, Mukesh realizes Om’s plan and confronts him. When Sandy (or so we are led to believe)
                                                  appears and narrates details of her death, Om realizes she is actually Shanti’s ghost. Causing a chandelier to fall on Mukesh,
                                                  Shanti leaves Om, who unites with Sandy.
  Course Logistics

Facilitators: Anish Patel, Neha Mitragotri                              Course Email: bollywood08@gmail.com
Sponsoring Department: South and Southeast Asian Studies                Course Website: http://bollywood.berkeley.edu
Sponsoring Professor: Lila Huettemann, Lecturer, Hindi-Urdu             Units: 2

Time and Place: Thursdays 5:00-8:30*, 242 Dwinelle

  *Note on course time: The course’s lengthy time is set to ensure we are able to screen the entire film and a
  discussion afterwards. Class may not always last the full time. Being cognizant of our attendance policy, let
  us know if you have a conflict and cannot make a screening (or only part of a screening.)

  Course Policies
  Attendance: As with all Decal courses, attendance is required at all meetings. In order to pass, students
  cannot have more than one unexcused (without letting us know) or two excused absences. Let us know
  ahead of time of any conflicts with midterm exams.

  Assignments: Short film responses will be assigned for every screening (except for last.) These must be
  handed in at the next meeting. In order to pass, you must turn in responses at least 11 of the 13 screenings.
  Additional homework assignments may be assigned several times throughout the semester. As they are less
  numerous than responses, you must turn in all homework assignments to pass.

  Film Screenings
  Sholay                                                     Kabhi Khushi Kabhie Gham
  Silsila                                                    Devdas
  Hum Aapke Hain Koun                                        Yuva
  Dilwale Dulhania Le Jayenge                                Water
  Bombay                                                     Parineeta
  Dil to Pagal Hai                                           Rang de Basanti
  Pardes                                                     Om Shanti Om

  Deewangi Deewangi
  Farah Khan’s 2007 release, Om Shanti Om, is distinctive from earlier Bollywood films in a number of
  ways. While we will discuss these more in-depth when we actually screen the film, there is one particular
  aspect of the film that serves as an ideal introduction to Bollywood films. Amongst other guest
  appearances, thirty A-list Bollywood stars appear in the song Deewangi Deewangi (translated to
  ―Craziness, craziness‖), not including the film’s male lead, and arguably Bollywood’s most famous star,
  Shah Rukh Khan. Those bolded will appear in one or more of our screenings. Names are listed in order of
  appearance.

  Rani Mukherjee (Kabhi Khushi Kabhie Gham)                  Juhi Chawla
  Zayed Khan                                                 Aftab Shivdasani
  Vidya Balan (Parineeta)                                    Tabu
  Jeetendra                                                  Govinda
  Tusshar Kapoor                                             Mithun Chakraborthy
  Priyanka Chopra                                            Kajol (Dilwale Dulhania…, Kabhi Khushi …)
  Shilpa Shetty                                              Bobby Deol
  Dharmendra (Sholay)                                        Preity Zinta
  Shabana Azmi                                               Rekha (Silsila, Parineeta)
  Urmila Matondkar                                           Riteish Deshmukh
  Karishma Kapoor (Dil to Pagal Hai)                         Salman Khan (Hum Aapke Hain Koun)
  Sohail Khan                                                Saif Ali Khan (Parineeta)
  Malaika Arora                                              Sanjay Dutt
  Dino Morea                                                 Lara Dutta
  Amrita Arora                                               Sunil Shetty
An Introduction to Bollywood Films
While certain aspects of cinema and filmmaking are universal, regardless of the language or country of
origin of the film, there are an equal number of very distinct differences, especially in Bollywood films. We
introduce just a few simple variations now.

Music
Music and dance play an integral part of any Bollywood film, so much that the few films that forego them
usually have difficult times drawing crowds to the theaters. They can range from the simple to extravagant.
While the music of older films like Sholay and Silsila is somewhat slower and unpretentious, there has been
an inarguable evolution towards more lavish sets, elaborate choreography and faster music.

Lyrics have also changed, from once written entirely in pure Urdu or Hindi, songs nowadays displays more
colloquial language and often includes phrases or segments in English. Part of the experience of a
Bollywood film, often times more than the story itself, is the music.

In this respect, every Bollywood film is a musical. However, unlike the stars of Broadway, Bollywood stars
lip-synch their songs, which are then replaced by the work of playback singers. The massive popularity of
song sequences created a whole new profession within Hindi cinema not found in Hollywood.

Dance
Dance sequences have also evolved, from simple to more sophisticated choreography. In modern films, the
main actor or actress is usually accompanied by a small (or sometimes large) retinue of backup dancers.
Scenes can change randomly all within one song, and accustomed Hindi film viewers think nothing of it.
Among the most elaborate dance sets in modern films are seen in those of Karan Johar and Yash Chopra.

Censorship
Just as American films are subject to the MPAA and its rating system, so are all films in India to the
Central Censorship Board. The Board reviews all films and assigns ratings, though these are far more
arbitrary than those given out by the MPAA. Few films in the United States are given restricted ratings,
except in cases of extreme violence or sexuality. By contrast, most Bollywood films are expected to
maintain a conservative, family-oriented outlook. Films that fall outside this designation are widely
publicized to do so, and by consequence usually attract poor audiences.

Kissing scenes are almost non-existent throughout Bollywood films, though more recent releases have
begun to challenge this. Nudity and overt sexuality of any kind are usually more than enough cause for
restricted ratings, and intensely bad press. Curiously, violent films that have earned them PG-13 or R
ratings in the US come with little to no warning.

Intermissions
Bollywood films, on average, range from two and a half to three and a half hours in duration. As in many
theater productions, the vast majority of films contain an intermission near the half way mark of the movie.
While in most cases the intermission coincides with a major event, turn of events or discovery in the film,
this may not always be the case.

In Indian theatres, moviegoers make use of the intermission to refill snacks and drinks, use the restroom or
stretch their legs. During most (if not all) screenings, we will have a short (five to ten minute) intermission
in between to allow you to do the same.

				
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