2011 has been one of the most cruel of years. It took from us some of the most legendary figures of Indian cinema. I woke up today to the most shocking news of legendary actor, Dev Anand saab’s passing away. He was 88.

What more can I say about a man who is beyond adjectives and description? He was the first lover boy of Indian cinema, serenading beauties in bright Black n White. And when Eastmancolor entered the cinema frames, so did his ultra colourful hats, jackets and scarves. From the Shwet Shyam era of Madhubala, Waheeda Rehman, Nutan to the bright hues of Vyjanthimala, Tanuja, Hema Malini and Zeenat Aman, Dev saab’s onscreen chemistry with all his leading ladies has been what cinematic legends are made of.

It gives me immense heartache to think of a world with no Dev Anand. He personified high spiritedness and positivity. Thank you Dev Saab for your gifts of Bambai Ka Babu, Jab Pyar Kissise Hota Hai,  CID, Tere Ghar Ke Saamne, Johnny Mera Naam, Guide, Jewel Thief, Hare Rama Hare Krishna.. the list is indeed endless. Thank you Sir for Navketan Films. You will always be loved, and missed much more.

Rest in Peace, Mr.Evergreen!

This is a repost of a post I did a long time back. I completely forgot to post it on the right day, i.e. June the 27th, the birthday of one of the greatest composers of India – Rahul Dev Burman.

Happy Birthday BOSS. Janamdin Mubaarak ho Panchamda!

Each and every word or phrase written in his praise falls short..because he is THE PAPA of all Music Directors on the face of the Indian Music Industry…because he is the reason why today’s “music directors” wanted to be it,.. because the entire Remix industry exists because of his yesteryear’s hits..because it is for his albums that DJs and retro nights exist..because he can make Asha Bhonsle sound the best – whether it is a ghazal, hindustani classical song, cabaret, or simply bollywood. Because he is Pancham, RDX, Rahul Dev Burman..because he is THE BOSS.

To the Baap of Bollywood Music..this is my heartfelt “paay-laagu” or “pairi-pona” of sorts. Because I am so small to talk of his genius. But that is not going to make me stop writing this blog about him. Because I have grown up on his music, totally breathed it, have literally lived on it till today, and I am sure will, till I die. This is not a chronicling of the body of work of Panchamda, but is more of a celebration of his melodies which have left an indelible impression on our minds, bodies and soul.

Rahul Dev Burman was born on 27 June 1939. Story goes that when veteran Ashok Kumar saw Sachin Dev Burman’s newborn uttering the syllable ‘Pa’ repeatedly, he nicknamed him Pancham. And the name stuck. To many, he’s still Pancham Da.To me he is Boss (yeah U can say Jhankaar Beats influences.) To him, music came easy and early. He learnt to play the Sarod from the legendary Ustad Ali Akbar Khan at very young age, one of his many instruments in which he mastered. At 9 years, came his first composition, ‘Aye Meri Topi Palat Ke Aa..’, which was later used for the film Funtoosh and the very next year, his father borrowed the tune of  ’Sar Jo Tera Chakraye..’ for the Guru Dutt film Pyaasa. The first film for which R.D.Burman scored music for was Mehmoood’s “Chote Nawab” in 1961 and the first song in the film was to be recorded was by Lata Mangeshkar. The film marked the recollaboration between S. D. Burman and Lata Mangeshkar who had stopped recording together six years ago.

R.D. Burman had scored music for many a films, including “Bhoot Bangla” in whch he co-starred with Mehmood.The film also featured the song “Aao twist karein” which reflected the Elvis revolution that was taking the world by storm then.

But, the title of R.D. Burman’s first ‘Hit’  score would definitely go to “Teesri Manzil”(1966), featuring the evergreen , repeatedly remixed hits “O Haseena Zulfowali”, “O mere Sona re”, and unforgettable intoxicating “Aaja Aaja..main hu pyaar tera “. Vijay Anand can be credited with bringing about R D Burman’s first big break. He arranged a music session for the youngster before Nasir Hussain commenced the production of Tesri Manzil. Shammi Kapoor, who heard RD’s tunes, is said to have screamed ‘Yahoo’ in sheer appreciation while Nasir Hussain signed R.D. Burman for six of his forthcoming films. After Teesri Manzil, it wasn’t looking back anymore. Followed hits like Padosan, Kati Patang, Pyar ka Mausam, Amar Prem , Caravan, Hare Rama Hare Krishna, Parichay, Jawaani Deewani, Namak Haraam, Yaadon Ki Baarat, Aandhi..the list is endless and the music ..Immortal.

R D Burman’s constant efforts to break musical stereotypes and explore new possibilities came through in the music that he made. Be it the poignant tunes of Kati Patang, the love songs of Pyar Ka Mausam, the fun and naughty numbers from Padosan or the soulful melodies of Amar Prem, Pancham had done them all. While making music was his profession, singing always remained R D’s passion. He sang occasionally and when he did, it never went unnoticed. Though he did as much justice to serious tunes as he did to the light numbers that he sang, the groovier tunes always gained more popularity. Though Asha Bhosle is remembered for the legendary cabaret ‘Piya Tu Ab To Aaja..’, the wild cry of  ’Monica O My Darling‘ belongs to R D Burman. He also sang the sizzling ‘Mehbooba Mehbooba..‘ for Sholay picturised on Helen and Jalal Agha. He however, did not record too many duets with Asha Bhosle who was by then the love interest of his life too. The high-pitched, outlandish ‘Duniya Mein Logon Ko Dhoka Kabhi Ho Jaata Hai..‘, is one of their best remembered duets. No one can doubt the vibe that oozed out with his musical ventures Asha and Kishore.

And yes, who doesn’t remember the experiments that he did with his compositions,..be it the clinging of glasses in “Churaliya hai tumne jo dil ko ” (Yaadon Ki Baarat), or the only-bass rythmn in “Tere Bina jeeyajaaye naa” (Ghar) .Take his classical based compositions, Piya Bawari(Khubsoorat), Beeti Na Beetaiyee (Parichay) and we find ourselves immersed in his music and feel so amazed whether it is the same man who brought us the Qawwalis of Hum Kisi Se Kam Nahi,or the truly Bollywood isshtyle Romantic numbers of Love Story.

Towards the mid-80s though, Panchamda was going through a rough phase as his films were bombing at the Box-Office. Bappi Lahiri and the Disco age had overtaken him and R.D’s producers just disappeared. It was very unfortunate for us that during the nineties, when Indian Music was going throught the stupid Pop-Disco Wave and MTV had just entered our lives, R.D.Burman had not many compositions then.He was last heard in Ijaazat (1987), after huge hits like Saagar, Betaab and Masoom in the 1980′s. And Parinda in 1989 also provided the everlasting hit..Tumse Milke.

Fortunately for us, Vidhu Vinod Chopra approached Panchamda for his ambitious 1942-A Love Story. And rest as they say, is history.The music today is considered as his “Swan Song”, as Panchamda left for his heavenly abode on Jan 4, 1994. He posthumously recieved the Filmfare award for the film’s music.

From his expertise in Hindustani Classical and Indian Ragas to a keen interest and influence, at times,  of American Jazz and Rock n’ Roll, Panchamda’s musical interests stretched from ‘ear’ to eternity. It was R.D. Burman who really brought the groove into Hindi Film Music, ushering in the era of electronic rock and providing Hindi film music with a whole new ‘happening’ sound. His hip and energetic youthful compositions proved extremely popular from the late 1960s till the early to mid-1980s providing much of the music that defines today’s Bollywood. And his music refuses to die.

Stand up and Salute to the Master, the Baap, the Boss…Rahul Dev Burman!!

With the invasion of Audio CDs and Mp3s and Winamp et al, gone are the days of painfully rewinding a song for exactly a mentally calibrated 1.5 minutes to get to the start of your favourite song to listen to it again. “MONO” was as standard as Dolby-Digital is now and even with these technological hindrances which possibly did not unleash the composer’s brilliance to the fullest extent, there were melodies which overcame these hindrances. One such melody is SD Burman’s “Ab Ke Sajan Saawan Mein“.

From Hrishikesh Mukherjee’s cutesy, romantic simplistic 1975 comedy Chupke Chupke, this movie has lots to flaunt about. A stellar cast – Amitabh Bachhan, Dharmendra, Sharmila Tagore, Jaya Bhaduri, Om Prakash, Asrani and above all – Keshto Mukherjee And whenever one mentions Chupke Chupke, Ab Ke Sajan.. is definitely one of the first things that cross my mind [ apart from Dharam jee's mind-bending Hindi vocabulary and his tussle with clever Jeejaajee - Om Prakash ].

I vividly remember hearing it for the first time on Chitrahaar and quite instantly, fell in love with it.And after almost 20 odd years, I can say for sure, that it wasn’t just a mere infatuation. After all, what’s not to love about it. The teasing, naughty chedh-chaadh lyrics by Anand Bakshi written in simplistic Hindi is a perfect example of how less is more. Check out the lyrics on the second verse..

One of my favourites melody wise, as well as lyrically -

Itane bade ghar men nahin ek bhi jharonkaa
Kis tarah ham denge bhalaa duniyaa ko dhokaa
Raat bhar jagaaegi ye mast mast pavan,
Sajan mil na sakenge do man ek ki aangan men
ishh..
Ab ke sajan saawan men…

The way Lata jee renders her playful vocals on the lines – Kis Tarah Hum Denge..Bhalaaa… is just a treat to the ears. Go on, listen to the song here : YouTube Link courtesy Shemaroo.

Tch..Tch..Sharmila... sigh!

And when the Tchh Tchh.. hits home, Sharmila Tagore’s naughty expressions flirt with me, you and everyone. Don’t you think?

Koi Shaq!

And smart-ass Jeejaaji – Om Prakash along with the rest of the world is left perplexed, awestruck and spellbound Now go straight to YouTube and listen to it right NOW. And come back to shout it out in the comments, when you first heard this, and how much you lurve it…Cheerio awesome people!!!

This section pays homage to those immortal single frames which have succeeded to create an indelible impression in our minds by their sheer excellence. Yes, no words, no moving pictures, no dialogues – just a single frame, and it speaks volumes. Jai Ho Bollywood!

And what better way to start Freeze Frame with the Diva herself. Just embrace her beauty and bow down Mr. to her gracefulness, Parveen Babi.

Her gracefulness, Parveen Babi

This frame is taken from one of the genre-defining movies of the 80′s – Shaan. Now, to discuss Shaan, I guess, I’ll require far more than a single post just because of all the awesomeness that is packed into it. But I am here to speak of this one frame. What story does it tell us? What tale does it depict?

Well kids, this is what Wednesday Chitrahaar climaxed with. This is what made Rangolis rangeela (colourful). And this is what made the One Knight STAND in absolute attention and salute to Indian cinema’s DIANA ROSS. Now, c’mon don’t be so sensitive that I compared her to someone else. You know it within you, that Parveen Babi’s Diva look was very much influenced by the Disco revolution of the 80′s. Yes, all the Boney M  and Bee Gees, and the shiny Disco Balls and the glittering outfit. Of course the dance moves and the microphone is all Diana.

Another interesting fact is that, Shaan was supposedly influenced by the style of Bond movies, The Spy Who Loved Me(1977) to be precise. And of course, who doesn’t remember the extremely popular Bond 77 theme from that movie eh! And club in Saturday Night fever looks, and we have indeed got the look of  Pyar Karne Waale.

But I am deviating from the point now. Parveen Babi’s Diva status is all personified in this one single frame. She embodies the sexy and sultry Bond-woman (not girl) image as well as the sophistication and seduction of a graceful popstar of epic proportions. Not only is this one of the highest points in her illustrious film career ( the other one being of course – Namak Halal ), but also one, which millions of her fans remember her for. And although Panchamda and Asha ji were the soul behind Pyar Karne Waale, Parveen Babi is not just be the face of the song. Even today when we hear that song played at a late night show on an FM channel, or watch it whilst randomly surfing through the telly, we stop and we see and we listen.

Want to relive that moment again, hit the jump and watch the video I say.

So, what did you think of my very first FREEZE FRAME. Shout it out in the comments. And do lemme know if you have any suggestions for future Freeze Frame posts or any posts. Cheerio!

**Ni Sa Re Sa Ni Sa Ni Dha Pa Ma Ga Re Sa**

**Ni Sa Ga Ma Pa Ni Dha Pa**

Someday soon, I’ll sit down to write a long post on Khubsoorat. No, not the Urmila Matondkar and Sanjay Dutt starrer which was also quite enjoyable, but not as much as this 1980 -Hrishikesh Mukherjee gem of a film which won Rekha her first Filmfare Best Actress Award. I have watched Khubsoorat almost 5-6 times and every time I watch it again, I still find something new and fresh in it. I love the Natkhat Manju (Rekha) who plays pranks with everyone and cleverly manages to win over everyone by manipulating them (in a good way). And on the other side of the fence is Nirmala Gupta, a strict disciplinarian played immaculately by Dina Pathak. I love them both and I fail to decide whom I like more. And of course, there’s the very loveable Dada Moni Ashok Kumar as Dwarka Prasad Gupta. Yes, I will sit down to write a long post on this movie and its loveable characters, not to forget its chuckleworthy scenes. But for now, let me quickly rant on this one song which has been playing continuously on my playlist for the last couple of days. It is Piya Banwari sung by one of my all time favourite singer -Her Excellency, Asha Bhosle.

Composed by none other than Panchamda, and lyrics by Gulzar, Piya Banwari is an extremely melodious Indian classical song beautifully woven into a movie soundtrack. It is based on Raaga Bihagda ( in which we get Raaga Bihag and Khamaaj ). Now why do I love this song. C’mon hit the jump and let the awesomeness be unveiled.

a) Her Majesty, Rekha jee.
She is not in one of her OTT glamsham roles. All she wears throughout the movie is a simple sari, simple make-up and her ‘do-choti’ looks. And she dances away, and trust me when I say this, no one can replicate this level of grace and poise and beauty. She is my definition of Diva. And here, she doesn’t even try to be one. She dances with Shashikala on this, and it is such a visual treat. It is just another level of Umrao Jaan which Rekha personifies in Piya Banwari. You have to see it to to understand what I mean here. No wonder Dalip Tahil was totally ‘Mast‘ over Rekha [ I hope you get this movie reference]

Watch it here:

Piya Bawari – Khoobsurat – 1980

b) What an Antara!!

The sitar piece which transforms into the long Aalaap by Asha jee and then the lyrics take over. I better not talk and just make you listen to what I am saying. Here is the lyrics of one of the Antaras. Just very simple rhyming yet so pretty.

Kaale Kaale Piya Saawan ke Baadal Chune

Baadal Chunke. Aankho mein Kaajal Ghule

Translation: My loved one chose the dark clouds, .. And those chosen dark shades have decorated my eyes

c) And then of course, Dada Moni’s rap.
I don’t mean rap as in Yo Yo homie. Just listen to the video embedded above, and get back to me if you think it ain’t cool, coz you need a friend who should tell you what is right, and what is wrong.

d) And the Rest:

Of course, there are other minor things which happen in this song which make me love it even more. Such as -

Rekha dancing with Shashikala

Or Papa Roshan’s Line Maaro-ing over a Carrom game

Or Natkhat Manju patao-ing future Sasurjee by giving tips about Good fertilizers

And lastly a strategic game of rummy

I really can’t get enough of this song, and I beg you to listen to this RIGHT NOW. And if you haven’t seen Khubsoorat, what is stopping you? Go watch it. And then come back soon, coz I’ll be discussing the movie pretty soon here. Cheerio!

Filmfare Awards was recently aired on Telly. And apart from the usual fart jokes that floated around with SRK and Saif in the hosting shoes, the highest point of this year’s show was the Lifetime Achievement Award honoured to none other than Balbir Raj Kapoor or as we popularly know him – Shashi Kapoor.

Now, I am a big fan of Shashi jee. But when it comes to fandom, I am miles away from it, considering the existence of fangirls such as Beth whose Shashi fandom [ Beth's house of Shashi ], can give the Twilight Tweens a run for their money. But the body of work that Shashi Kapoor has done over his life speaks for itself. From commercial to international cinema to producing some of the best of Indian cinema, Shashi Kapoor adds up to one word – Uncompromising. While his peers and contemporaries gave in to the Ooty revolution and Ketchup bloodshed, Shashi Kapoor gave us Utsav, New Delhi Times, Junoon and 36 Chowringee Lane. Yes, he gave us Ajooba as well, but then, that is a classic too in a whole another level [and I know most of you'd agree].

Filmfare’s lovely Lifetime Achievement Award this year couldn’t have been more justified. And I couldn’t resist posting a whole post dedicated to the Awesome Shashi Kapoor. So without any further ado, I give to you the lovely screencaps I managed to pull from the Filmfare montage piece.  [ Go hit the jump to see the awesome pics ].

Born in 1938, to the Kapoor family from Calcutta, Balbir Raj Kapoor was embraced by the Indian film industry at the tender age of 12.

1948 and 1951 saw him play the younger version of Raj Kapoor’s character in Aag and Aawara respectively.

Jab Jab Phool Khile – who doesn’t remember Pardesiyo se Naa Ankhiya Milaana, and of course – Humko Tumpe Pyaar Aaya.

Amongst commercially successful roles in movies such as Deewar, Sharmilee, Roti Kapda Aur Makaan, Aa Gale Lag Jaa, Kabhi Kabhie, and many others, Shashi Kapoor also gave us one of his most unconventional roles and spellbounding performance as Javed Khan in Junoon

And of course, his collaboration with Merchant Ivory productions is loved all over. My personal favourite – Shakespeare Wallah

Here seen with Shammi Kapoor and Dharamendra.

In 1958, Shashi Kapoor married English theatre actress – Jennifer Kendal, and they acted together in numerous Merchant Ivory productions. With the setting up of his own film production company Film Vala in 1980, Shashi Kapoor produced many critically acclaimed movies such as Kalyug, Utsav, 36 Chowringee Lane [starring his wife Jennifer]

His three children – Karan, Kunal and Sanjana have been associated with films, advertising, and theatre.

Shashi Kapoor and his daughter Sanjana Kapoor have played the major role in keeping Prithvi theatre alive. One of the oldest theatres in Mumbai, Prithvi theatre, named after Shashi Kapoor’s father – Prithvi Raj Kapoor, ran from 1944 to 1960. It was re-opened in 1978 by Shashi Kapoor and his wife Jennifer and in 1993, the Prithvi Theatre company was established and is now run by Sanjana Kapoor.

Salute to the Actor

Salute to the Filmmaker

Salute to the Man

This is what Shammi Kapoor had to say in the Filmfare montage:
He’s done a great job all his life. He’s been doing some things which everyone should be proud of. I’m mighty proud of you. God Bless Sasha. *Mwaa*

***** APPLAUSE *****

This is such an emotional moment. I know it for sure that my mum must have seen this, and she must’ve been in tears [ and so was I ].

Shashi jee receiving the Filmfare Lifetime Achievement Award – It must’ve got so nostalgic. The memories of the years in the Hindi film industry.

Someone stop Yashraj from speaking.. in English and in Hindi. He mumbles, and he mumbles so fast.

***** APPLAUSE *****

P.S. Is that Kunal Kapoor , Shashi jee’s son, [ I think I have seen him in just one movie – 1982 – Vijeta directed by Govind Nihalani? Any idea?

And to end the post, let’s end it on a happy note by giving you a dosage of the Happy Shashi memories.

Courtesy Beth: Multi-Color Shashi

Immortal Bromance – Shashitabh

And the SHAANdar Jodi – yes, Shashitabh again!

SHASHI KAPOOR, the Legend Lives on…

First post of the decade. And we are looking back at the 80′s. No not the 90′s or the Noughties, but the 80′s. Coz that was when I was born. I AM a child of the 80′s.

Right, so I just got one big affirmative answer to the question of how many people love the Bollywood of 80′s. The answer of course is a Big-Ass YES!! I did this post on one of my most favourite cinema blogs called PassionForCinema.com [Please read the post if you haven't. It's titled : Essential Eighties -Tezaab (1988) ]. The post was a tribute to one of the milestone movies of the 80′s and most importantly the one that launched Madhuri Dixit to her Dancing Diva status – Tezaab. Much of that has already been discussed on the post, but more than that people have commented at length about how much they loved the 80′s[and the music associated with them]. I am absolutely thrilled to see the amount of fundoo trivia knowledge that these people have, and it makes me feel very happy to be in their company. While I will be discussing more on Tezaab in a follow up post on PFC, here I am continuing my ‘Khujlee’ on my long-forgotten Say What section. And this time, it is Tezaab ki baari.

Now be warned. This post contains language which could be too colourful for your taste.
And yes, spoilers if you haven’t watched the movie yet. [Never thought I would say that for a 1988 movie]

So, the Kahani begins like this. Shyamlal[Anupam Kher] pours Acid on plants. His daughter Mohini sings Ek Do Teen to make money. Shyamlal owes money to Lotiya Pathan. Lotiya Pathan kidnaps Mohini. Mohini’s lover – Munna is on a Tadipaar.. out of Bombay. But he’s still good at heart. He is the typical 80′s ka dude – much like Robin Hood – Less on personal hygiene, more on sympathy. And yeah! Kick the arse of villains with funny names – like Mukut Bihari. If villains in today’s era in Mumbai had such names, first of all they would have to deal with MNS and Shiv Sena

But Munna’s sister sends him an 80′s version of twitter message that Mohini is kidnapped.

And so Munna breaks the law [ yeah ..Judas Priest yeah \m/ ] and enters Bombay [yes Bombay, not Mumbai].
Meanwhile, Bombay Border Force Inspector Gagan (Suresh Oberoi) gets report of Munna’s illegal entry from the report.

Inspector Gagan stops him, and asks him why he got transformed from Mahesh Deshmukh to Tadipaar Munna.

FLASHBACK: Munna – during his Mahesh Deshmukh days. Proud to be the first in Navy Cadet Cup

Appa keeps his promise and gives money to Munna for a Tobu cycle Munna goes out happily to buy cycle when bank lootere enter.

But Appa and Amma are also very much ‘usoolo ke pakke’.. So they get gunned down by the maniac bank lootere .. in a spine chilling Bank robbery scene.. very Nolan-esque.. NOT!

Munna now attends college religiously so that he can become a Navy Admiral. So he scores highest .. in Psychology. The ladies are all over him.

Munna is also very analytical about his ‘Ladki Patao Formulae’

And his gang is very Bollywood Aware.

Not only that, they sing a RK films classic – Sun Sahiba Sun in a canteen whilst pwning a Marwari Seth

But Munna wants Mohini. And Nikita… wants Munna.

And Mohini…

And finally, the jodi after “huge leaps” and no broken bones, end up together..

But Shyamlal and Lotiya Pathan mess up Munna’s life. Lotiya’s bro attempts to rape Jyoti, Munna’s sister, and Munna trying to rescue his sis, kills Lotiya’s bro. Munna is imprisoned [WTF???]

Now a lot of stuff happen during this period. Munna gets out. Guldasta gets involved. Munna gets wrongly accused again, and hence sent out of Bombay as a Tadipaar. And then Mohini kidnapped.

Flashback ENDS:

Munna sets a deal with Shyamlal. Munna rescues Mohini from Lotiya. And Munna, Baban and his gang sing “So Gaya Ye Jahaa” in Nitin Mukesh’s Surili Aawaz, while Shabbir playbacks Anil Kapoor and Anuradha Paudwal playbacks Madhuri Dixit.

Munna pretends to hate Mohini. Coz he wants her to be safe. Madhuri easily believes him. But Guldasta comes back and saves the day. Meanwhile, in a courtroom, Munna’s accusations get annulled. Aaah, what would Bollywood do without them… I mean courtrooms.

But wait, before all of that. Lotiya returns. And Baban wouldn’t let him touch Munna.

But oh noes, Lotiya is a badass.

Lotiya kills Baban, but allows Munna to have an emotional scene with him. And then Inspector Gagan comes in. Gives an awe-inspiring speech. And wants to see Man-On-Man action.

So it’s Munna vs. Lotiya.

But Lotiya screams out loud.

Lekin dekho kya ho gaya!! [But see what happened!!]

Some awesome editing in the fight scene. But as soon as Lotiya dies, the editor saahib said – Bas, bahut ho gaya ye nautanki. Seedha ……The End. Kinda like an 80′s signature climax. Abrupt and Yakayak..Achanak!!

First things First!Happy Birthday Mr.Bachchan. Janamdin ki Haardik Shubhkaamnaye!!

Secondly, this post has no religious inclination whatsoever, and I am not comparing Mr.Bachchan to any religious figure period. So, please don’t send me any hate mails or threats to take this down. This is just one of those fandom posts which have been churned out, out of immense pyaar and bhakti of the onscreen personification of innumerable and yet memorable avatars of Mr. Bachchan [ I'll from here on refer to him as Mr.B]. So what is this post all about? This is about the ten maha-charitra-fication of Mr.B in his long film career in Indian cinema. It is not about the charitra [ the character] in the sense that I will not be focussing on the characterisation i.e. the behavioural and interactive side of the avatars. [ That'll be covered in the 2nd part of this series, so keep watching this space]. This post has got to do more with the outward appearance and somewhat “larger than life” image that Mr.B has brought to celluloid. It’d be unfair to praise Mr.B’s avatars without mentioning the various film-makers, make-up artists and simply put ideators who  originally pre-conceived these images, before they were made into screen legends. I think we are clear with the concept of this post so far, so let’s countdown. [ Disclaimer: This has got more to do with my tastes than anything else ]

#10: Subhash Nagre-Sarkar

RGV’s Sarkar and Sarkar Raj has given us one of the most memorable onscreen image of Mr.B. There is no second thoughts about how much larger than life this character is. The grey hair, the black kurta, the black lungi with the golden border, the red tilak and the rudraksh mala. Add to that the seriousness in the face, and we have a screen scorcher.

#9: Sikandar – Mukaddar ka Sikandar / Baadshah Khan – Khuda Gawah

The number 9 spot is tied with these two characters set more than 10 years apart. Sikandar from MKS is here just because of the uber-cool jacket-wearing and bike-riding macho-image that he exudes. No one was cooler than Sikander who can lip-sync  to Kishore da on “Rote Hue..Aate Hai Sab”, and add to that ‘Ghane Mulayam Kaale Baal’ fluttering to the Mumbai wind[ which had lesser CO then].

Khuda Gawah’s Badshah Khan is a Kabuli Pathan. He plays Buzkashi and eye-liners with turbans and extremely detailed pathanis. He romances onscreen diva Sridevi in an extreme bejeweled avatar. And yes, beards never looked so perfect on Mr.B. Need any more reasons?

#8: Ali -Ajooba

For details on why this is at no.8, see image above.

Leather suit: check
Eye-blinding mask-disguise: check
Shadowfax lookalike White-horse : check
Mr B with all of the above: check

#7. Vijay – Don

More than the uber-cool and daring Don persona portrayed by Mr.B in this movie, I was drawn towards the rustic, paan-chewing and extremely desi Vijay. Vijay’s entry is not advisable in today’s Mumbai as he spits on the streets. And then again, the song was “Eee hai Bambaai Nagariya ..Tu Dekh Babua”. I wonder what Bhope Bhau [ from Kaminey] would like to say about it. But nevertheless, the Kaajal, the Red Shirt, the Paan-Red Honth and the white tilak work. And this is just one of the two double roles of Mr.B featured on this list.

#6. Ravi Anand/Babu – Satte Pe Satta

The second double role feature of Mr.B on this list. One of them – Ravi Anand wears leather boots in true western style, gives a shit about personal hygiene until he meets his lady love, and controls his six brothers with a whistle. One of the best team chants of all time – Chain Khuli ki Main Khuli ki Chain – was originated with this movie. In a word, a complete bloke.

The other – Babu has an awesome criminal record, the looks which match Ravi Anand, and yes, the eyeliners and contacts to give Sridevi’s Nagina a run for her money. Seriously, one of the best make-up transformation that we’ve seen been done on Mr.B

#5. VijayVerma – Deewaar

There is just one scene in which the angry young man persona of Mr.B leaps out of the screen. Of course, it started with Mr.B’s Insp.Vijay Khanna pulling away the chair from Sher Khan in Zanjeer. But the peak of the angry man is in the warehouse scene. Blue Shirt with white stitches, Beedi smoke, White rope on the shoulder, and a 786 Billa on the left arm. Dark stubble and a cocky look saying

“Peter, Tum Log Mujhe dhundh rahe ho,..aur main tumhara yaha intezaar kar raha tha”.

What follows next is shown here.

#4. Arjun Singh – Namak Halaal

The Golden Sherwani and the Pink Pagdhi with the strongest starch that Bollywood has ever seen. Add to that Bappi da’s Pag Ghungroo Bandh, and Mr.B explains the importance of Pani-Sa …Ma-Pani. We’ll not go into the Arjun Singh vald Bheem Singh vald Dasarath Singh dialogues because that’ll span across volumes. Let’s just keep it to Pag Ghungroo avatar. Arjun Singh can dance with disco divas and yet point out ..

“Aapka to Lagta Hai Bas Yahee Sapna, Ram Nam Japna, Paraya Maal Apna”.

Have I got anything left to say? And oh yes, Arjun Singh is absolutely daring enough to express his love for Poonam [Smita Patil] – remember : Dil Cheer ke Dikhladu Main…Dil Mein Yahee Surat Haseen. ROFL. So he’s a fashion guru, a dance diva who can do Robot, explain Raagas and also express love lyrically. Phew! No.4 I say.

#3. Anthony Gonzalves – Amar Akbar Anthony

Utterly mad. That’s how I’ll describe Anthony Gonzalves. His different disguises in this single movie are just beyond my power of comprehension. The church father with the goatee in the climax, or the drunk Anthony ranting in front of the mirror [ one of those legendary moments which broke the rewind button on my remote]. But the one that absolutely stands out is the giant-Easter-egg entry of Anthony Gonzalves announcing his arrival in the song – My Name is Anthony Gonzalves. Trivia: Anthony Gonzalves was the music teacher of the music director duo – Laxmikant Pyarelal. Dressed in a black suit and bell-bottom trousers, he had Kholi No.420 written on his bottom, a monocle with a Golden chain and an umbrella to complement. Hmm….reminds me of the Penguin. He educates us by telling us that..

” You know the whole country of the system is juxtapositioned by the hemoglobin in the atmosphere because you are a sophisticated rhetorician intoxicated by the exuberance of your own verbosity.”

Hang on, does he deserve to be here on no.3? Read on.

#2. Kishan Kumar – Yaarana

A story of a Popstar in the making – in the year 1981. Certainly, a movie way ahead of its time. And the costumes agree. I remember my friends wrapping themselves up in Diwali lights not knowing how to keep them intermittently glowing. The song “Sara Zamana” shot in Netaji Indoor Stadium in Kolkata, was a huge rage then, and is still now. Of course, I was born two years after Yaarana was released, but Chitrahaar spread the awesomeness that “Sara Zamana” had. Do you think we could have got a better no.2?

#1. Vijay Kumar Srivastav – Shahenshah

The title that became associated with Mr.B in the later years. He is truly the Shahenshah (emperor) of Bollywood. But coming back to the list, and why Shahenshah features at no.1 of this list. If you don’t know by now, watch this scene from the movie here. [ Time stamp: 1:30 onwards]. The hair, the costume, the grin and the ambience that surrounds him is larger than any form of life. The sound disturbance in between his dialogues as he speaks:

” Risthe main to hum tumhare Baap hote hai…[sound disturbance]..Naam hai..Shahenshah”

..is (for the absence of any other word) immortal. It has been spoofed over and over again and you know what, it really doesn’t matter. The original scene of him stepping out of the darkness, as his face is revealed is one of the biggest screen scorchers of all time. And so, Shahenshah is the no.1 on this list.

There you go. I have toiled a lot and brainstormed a lot as well on this list to churn out the best 10 avatars of Mr.B’s films. Thanks to Beth for the screencaps from Ajooba, Yaarana and Satte Pe Satta.

What did you think about this list? Was it good, bad, ugly or utterly wrong? Lemme know your thoughts and also, shout aloud in the comments of who else could have been included or excluded from this list. And yes, share the love by sharing this post via facebook, twitter, digg etc. Cheers people and Part 2 will be up soon. And again, to conclude -

Happy Birthday Mr. Amitabh Bachchan