mmmmm 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: email@example.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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