Hum Dil De Chuke Sanam Release Date
Keesha Ondieki
O.. hum dil de chuke sanam
Tere ho gaye hain hum, teri kasam
Teri yaadon ke saaye mein guzregi yeh zindagi
Us khuda ke baad toh pooja hogi bas teri
Chaahe jo maang lo sab tumhara hai
Chaahe jo maang lo sab tumhara hai
The title song of Hum Dil De Chuke Sanam is a masterclass in film making and conveying a plethora of emotions. Every scene, every musical piece is choreographed to the T. Without lip sync and any dance movements, this song tells a story of its own. It is the climax song of this film, where Vanraj finally manages to contact Sameer and he proceeds to fulfil his responsibility, that of handing over his wife Nandini, to her ex lover Sameer. The usage of color, choice of musical genre, the emotions, everything in this song is larger than life.
The prelude of this song starts with a phone call that Vanraj (Ajay Devgn) gets. Both Nandini (Aishwarya Rai) and Vanraj are in white attire, and Nandini, who is already in 2 minds, sees that her fears are coming true. Her eyes here speak volumes.
The opera music that we heard at the start is back. Vanraj immediately turns back along with Nandini, and they see Sameer. Vanraj still has his hand over her shoulder and slowly releases it. While Nandini is all smiles, Vanraj is shocked. With the grand music and Sameer running towards Nandini over the bridge, it feels like this is the interval portion of the song. Nandini then runs towards him and it all looks spectacular.
And suddenly the car halts exactly once the music is back to the strings, and it is like Vanraj woke up from a bad dream. The mood of the music also changes there with the flutes coming in, and even the strings sound Arabic this time around, conveying a more melancholic tune. And just when the car is on the bridge, the music feels like a wave almost steeling down, before the second Antara picks up. The waves of a sea, which were high, have now mellowed down into a repeated pattern.
Ich gab Dir mein Herz, Geliebter, Mon coeur est dj pris, I Have Given My Heart Away, Darling, Straight from the Heart, Dei-te o Meu Amor, Ich gab Dir mein Herz, Geliebter - Hum dil de chuke sanam, Mon cœur est dj pris, 何日君能知我心, Din toată inima, Mr ms a szvem, Sonsuza Kadar Seninim./ Hum Dil De Chuke Sanam, Навеки твоя
I remember this as my mom's favorite movie of all time. I don't think I've ever really understood it... But I think it's because my mom relates to the coming-of-age journey that Aishwarya goes through in this. I think the message has something to do with the difference between someone you love and someone you choose as your life partner. What's the difference between a boyfriend and a husband?
The obsession of the Hindi film song lyrics with the moon, more often than not, is part of a hidden agenda which a little understanding of its semeiotic will reveal. It consolidates the Islāmic milieu. Notwithstanding the fewer exceptions like ādhā hi ćandramā rāt ādhi by Bharat Vyas in V. Shantaram's Navrang (1959), the sign is predominantly Islāmic in Hindi cinema.
Indeed, one example is not enough to really prove my thesis, but here I give an informal method by which one can undertake the analysis of such song-lyrics. In any case, the number of songs with similar intent would be in hundreds if not more.
In the present article, I cite a more recent film Hum Dil De Chuke Sanam, by Sanjay Leela Bhansali - a romantic film released in 1999, starring Salmān Khān (Sameer), Ajay Devgan (Vanraj), and Aishwarya Rai (Nandini) among many others. It won many awards.
Sanjay Leela Bhansali had the option to select a Scheduled Caste, a Vaishya, or a Kayasta name for his character in the movie. But he chose a Brahmana name for Nandini's father, Pundit Darbar (played by Vikram Gokhale). It is now an established fact that most filmmakers find Brahmanas a soft target to bash Sanatana Dharma and have largely succeeded. Thus, even here, we see a clear Brahmana-bashing, just as many past filmmakers have done to keep their pots boiling. This includes Satyajit Ray - Sadgati (Hindi), Debi (Bengali), etc. By doing this the Dalit, Muslim, Christian, Communist political axis in India and abroad feels elated to watch such films. And this has huge revenue implications.
In real life, Surendranath Dasgupta, after discovering their closeness, had asked Eliade to leave. The duo got eventually separated. This forms the basic story line even of the film adaption. Interestingly, Bhansali who is also the co-scriptwriter along with Pratap Karvat, tells the same story, but, conveniently with a Brahmana father - a well known Indian art music singer.
The real twist, however, is different. When Vanraj hears Nandini's jilted love story, he sympathises so much with this "true" love that he decides to be the sacrificial goat (in stark contrast to his name, meaning lion) and give away his wedded wife to Sameer.
The ending of the film is deliberately misleading or was changed by the Censor Board (I do not know). Aishwarya goes back to her wedded husband at the end despite her love affair with Samīr. Now, there are several layers to this.
Salman Khan being the more handsome "hero," a section of the viewers will always want Nandini to leave Vanraj. Moreover, the romance between Sameer and Nandini is what inspires, provokes and arouses youngsters, and not the climax of the wife returning to her marriage.
The first signs of her relenting come when Nandini herself urges the moon to come out. So, here, we encounter in Nandini, not only an acceptance of, but an urge for the Islamic sign (moon) more out of fear of losing her lover. Nandini tells, and the writer assures Sameer, her lover, that intimacy will eventually happen. The fear of his loss is somehow instilled in her. Here are the lines:
At last! The coincidence! The moon comes out and the girl relents. In short, she decides to marry him as she is stereotyped as a traditional Hindu family girl and that marriage would be the natural outcome of intimacy. The messaging is that perchance she got married, she would cease to be this traditional Hindu girl.
I have strong reasons to believe that this was a very subtly and successfully orchestrated film promoting Love Jehad. The messaging is loud and clear: sacrifice your ancient Dharma at the altar of "love." In fact, if you observe the plot closely, it reveals this message: sacrifice your own woman to another man if there is love between them in spite of your own love and Dharma. Multiple targets are shot with one arrow - provoke Muslim boys to go all out, put the Hindu girls in a spot, and smother the tempers of Hindu men with "exalted" ideas of "pure" love.
Now for the hard facts. Mr. Radhakrishnan writes in the context of Love Jehad that "conversion to Islām from the other religions is nothing but the conversion from untruth to truth and it has been prescribed as a sacred duty of the Muslims." According to an Egyptian website answering queries on Islām, "it is permissible in Islām for a Muslim man to marry a non-Muslim woman (Christian or Jewish) and not vice-versa." However, we see a different set of rules in different countries being followed. In India, we see love (prima facie) as a tool for Islamic conversion and getting more children.
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