Yeh duniya mere kaam ki nahin
Habshi
about the making of one of the best Bollywood movie of all time - Heer
Ranjha.-the only one made in all poetry. Its time for another one .
Heer's dresses were bright yellow when she is flirting ,
bright red when love blossoms and black when she is distressed at the
parting. They were deliberately selected .
When she goes off to marry someone else and Ranjha is
heartbroken , Chetan Anand didnt like the tunes and lyrics composed by
Kaifi and others , cancelled the recording and everyone went home .
When he rang the composer at 3am , the latter said he was so
sad that he felt like saying 'Yeh duniya , yeh mehfil mere kaam ki
nahin' . Anand said hold it there , call the artists right now and so
they all gathered at 4 in the morning and recorded it that very night
.
It took three months to film it in the deserts and mountains .
This is what I mean by saying that songs and dances are the toughest
and most entertaining part of these movies and what makes them so
watchable and gives them such repeat value .
Habshi
Seeker
Yeh Duniya, Yeh Mehfil Mere Kaam ki Nahin.
"Habshi" <hab...@anony.com> wrote in message
news:nnicdu4it4t1n6o46...@4ax.com...
Habshi
at that time .
VSR...@hclinfinet.com
>
> Fascinating program on B4U called studio beat , was discussing
> about the making of one of the best Bollywood movie of all time - Heer
> Ranjha.-the only one made in all poetry. Its time for another one .
It was not exactly poetry. "Rhyming dialogues" explains it better.
BUt indeed a good experimentation. People say it failed because of this
experiment. I thik it failed because of Priya Rajvansh. Priya to chetan
anand had the same effect as Sharda to Shankar J.
> Heer's dresses were bright yellow when she is flirting ,
> bright red when love blossoms and black when she is distressed at the
> parting. They were deliberately selected .
> When she goes off to marry someone else and Ranjha is
> heartbroken , Chetan Anand didnt like the tunes and lyrics composed by
> Kaifi and others , cancelled the recording and everyone went home .
> When he rang the composer at 3am , the latter said he was so
> sad that he felt like saying 'Yeh duniya , yeh mehfil mere kaam ki
> nahin' . Anand said hold it there , call the artists right now and so
> they all gathered at 4 in the morning and recorded it that very night
> .
> It took three months to film it in the deserts and mountains .
Wasn't the time needed not for the shooting, but waiting for Rajkumar's
beard to grow?
> This is what I mean by saying that songs and dances are the toughest
> and most entertaining part of these movies and what makes them so
> watchable and gives them such repeat value .
Coming back to the song, I was mesmerised by its lines
"un ko khuda mile, hai khuda ki jinhe talaash
mujh ko bas ek jhalak mere, dildaar ki mile".
I have been humm this for decades.
SKalra902
>
>It was not exactly poetry. "Rhyming dialogues" explains it better.
Neither "poetry" in its accepted meaning, nor 'Rhyming dialogues", but more or
less "Rhyming Verses".
>
>BUt indeed a good experimentation. People say it failed because of this
>experiment. I thik it failed because of Priya Rajvansh. Priya to chetan
>anand had the same effect as Sharda to Shankar J.
My personal opinion is that Priya Rajvansh came on to be a little too
sophisticated for the Indian masses. Her diction had a "unique" quality, one
that at that time we used to call kind of "aristocratic", similar to that of
Simi Garewal.
Who can forget her first film "Haqeeqat" and her innocent face on the screen,
esp. in the song "zaraa sii aahat hotii hai to dil sochataa hai...", or her
tender protests in the song "merii duniyaa me.n tum aayii.n, kyaa kyaa apne
saath liye.." in Heer Ranjha!
Happy listenings.
Satish Kalra
Habshi
times and Priya Rajvansh a full figured Punjabi girl was excellent as
she was in Haqeeqat and Hanste Zakham . All the songs are truly
memorable . Was just showing it on dvd to a female friend and she kept
saying I didnt know this song belonged to this movie after every song!
The songs are immorta;
- Milo na tum to ham gabrayan , milo to ankh churaya
the girl sings when I dont see you I get scared , when I do I cant
meet your eyes
-Meri duniya mein tum aayin
You came into my world fulfilling all my dreams
and best of all
-do dil toote do dil hare
two hearts have broken , two hearts have lost beacause of you people
of the world .
In fact I have translated all these excellent songs and there are
stored on a web site .
On Mon, 06 May 2002 22:50:13 +0530, VSR...@HCLInfinet.com wrote:
It was not exactly poetry. "Rhyming dialogues" explains it better.
BUt indeed a good experimentation. People say it failed because of
this
experiment. I thik it failed because of Priya Rajvansh. Priya to
chetan
anand had the same effect as Sharda to Shankar J.
I have been humm this for decades.
Pradeep Dubey
> Rawat wrote:
>
> >
> >It was not exactly poetry. "Rhyming dialogues" explains it better.
>
> Neither "poetry" in its accepted meaning, nor 'Rhyming dialogues", but more or
> less "Rhyming Verses".
>
> >
> >BUt indeed a good experimentation. People say it failed because of this
> >experiment. I thik it failed because of Priya Rajvansh. Priya to chetan
> >anand had the same effect as Sharda to Shankar J.
>
> My personal opinion is that Priya Rajvansh came on to be a little too
> sophisticated for the Indian masses. Her diction had a "unique" quality, one
> that at that time we used to call kind of "aristocratic", similar to that of
> Simi Garewal.
Satish says: Priya Rajvansh a little too sophisticated ...
Habshi says: Priya Rajvansh a full figured Punjabi girl was excellent
...
I agree with VSRawat that whatever success this movie (or Haqueeqat)
had was in spite of Priya R. What a dialog delivery!! I still get
nightmares of some scenes where she is shown running :-)
when priya rajvansh
ran once
ran scared every 'ansh'
Yes, 'heer' of bollywood can even be the 'haqueeqat' of Priya R!
Pradeep
Ashok
>My personal opinion is that Priya Rajvansh came on to be a little too
>sophisticated for the Indian masses.
>Satish Kalra
For the RMIMasses, too!
Ashok
SKalra902
That is absolutely hilarious, Ashok. My hats off to you.
Happy listenings.
Satish Kalra
Amit Malhotra
"SKalra902" <skal...@aol.com> wrote in message
news:20020506141643...@mb-ct.aol.com...
> Rawat wrote:
>
> >
> >It was not exactly poetry. "Rhyming dialogues" explains it better.
>
> Neither "poetry" in its accepted meaning, nor 'Rhyming dialogues", but
more or
> less "Rhyming Verses".
>
> >
isn't there a name for such sort of scripts? I remember watching "Cyrano De
Bergerac", a french movie starring Gerard Depardieu, all lines rhyme and are
written in equal lengh. It was play originally written by Edmond Rostand
in 1893 (or 98, can't remember). The original text is in french and contains
really beautiful poetry. They all call it a "Romantic Play". is Heer
Ranjha a play too or shall we call Heer Ranjah with rhyming "verses" a "long
Poem"... "long song" ?? There has to be some category under which it can be
placed.
Amit Malhotra
Ritu
Does that imply Ashok, that you too agree that Priya Rajvansh was the
best thing to happen to Indian Cinema ?? :-))
I too think Priya Rajvansh was great. Her dialogue delivery provided
great entertainment value on the comedy front! Though, unfortunately
she was quite under control in Heer Ranjha :-(. One has to watch
Kudrat to hear that unique brand of 'Priya Rajvansh' dialogue
delivery. And to top it she had Raaj Kumar for company..sone pe
suhaaga. The duo provide the best moments in the film.
Another film where she's amazingly deadpan is Hanste Zakhm. Heer
Ranjha by far is her best attempt at acting.
Though on a serious note Priya Rajvansh has noteworthy credentials.
She has graduated from the Royal Academy of Dramatics, London. And on
a close look one realises that her dialogue delivery is very
theatrical. I guess cinema was really not her medium.
Also, I have never seen more expressionless eyes than her's. Her face
is like a sphinx. Completely closed. No expression ever reaches her
eyes... It's almost eerie in a way. She ofcourse had the typical Panju
good looks but I feel in her case the beauty was only skin deep. She
completely lacked warmth, emotion or charm.
Cheers
Ritu
VSR...@hclinfinet.com
She was aristocratic in her manners, but the fatal flaw was her wooden
face (emotionless) as well as her incorrect, broken dialogue delivery.
Had someone else had been there in the golden, diamond, platinum,
evergreen gems like Heer Ranjha, Haqeeqat and Ha.nsate Zakhm, she would
have achieved immortality. How mahy loveliest songs got wasted on her
beautiful but emotionless face.
The nearest she came to emotion was in heer ranjha's "milo na tum to ham
ghabaraaye.n"
But think, what a complexity and depth was required in these gems.
- aaj socha to aa.nsu bhar aaye.
- tum jo mil gaye ho
- ye maan meri jaa.n (ok, she didn't sing, ut she was there spoiling the
beautiful lines "jo maikhaane ja kar main saagar uthaaoo.n, to phir ye
nasheelii nazar kis liye hai)
- betaab dil ki tamanna yahi hai
- hai tere saath meri wafa
What a waste. It adds a million feathers to the mastery of Madan Mohan
that all these songs survived in flying colours in spite of her, most of
the RMIM asses might agree.
-Rawat
Abhay Jain
<VSR...@HCLInfinet.com> wrote in message
news:3CD80103...@HCLInfinet.com...
>>
> What a waste. It adds a million feathers to the mastery of Madan Mohan
> that all these songs survived in flying colours in spite of her, most of
> the RMIM asses might agree.
^^^^^^^^^^
>
> -Rawat
>
RMIM asses ??
What a compilment.
Abhay Jain
VSR...@hclinfinet.com
Ohsorry!
my keyboard. hell. sometimes thoughts run faster than what fingers can
punch.
an extra space.
should be "RMIMasses". as mentioned by someone previously.
-Rawat
Srinivas Ganti
>"Ritu" <rc0...@rediffmail.com> wrote
>One has to watch
> Kudrat to hear that unique brand of 'Priya Rajvansh' dialogue
> delivery. And to top it she had Raaj Kumar for company..sone pe
> suhaaga. The duo provide the best moments in the film.
> Another film where she's amazingly deadpan is Hanste Zakhm.
I was so thrilled when I saw a clip in another movie. Hema Malini
sees Raaj Kumar in a party and screams. Jaani's dialogue goes
something like this..."batameez be-adab, kaun hai ye laDkii".
Unfortunately the movie didn't have more of his histrionics.
At that time I was at the peak of Raj Kumar admiration and used
to leave voice mails of his dialogues on ppl.s phones.One RMIMer
thought that ppl. from Taliban are after him.
sg.
Surajit A. Bose
"Srinivas Ganti" <gant...@hotmail.com> wrote:
> One RMIMer
> thought that ppl. from Taliban are after him.
?
Why would the Taliban be after some poor RMIMer? Because the Taliban are
anti-music perhaps?
-s
Ritu
> >"Ritu" <rc0...@rediffmail.com> wrote
>
> >One has to watch
> > Kudrat to hear that unique brand of 'Priya Rajvansh' dialogue
> > delivery. And to top it she had Raaj Kumar for company..sone pe
> > suhaaga. The duo provide the best moments in the film.
> > Another film where she's amazingly deadpan is Hanste Zakhm.
>
>
> I was so thrilled when I saw a clip in another movie. Hema Malini
> sees Raaj Kumar in a party and screams. Jaani's dialogue goes
> something like this..."batameez be-adab, kaun hai ye laDkii".
Yeah ! my friend and I had freaked out on that dialogue.. I think it
went like 'yeh badtameeez [pause] betahzeeb [pause] ladki kaun hai'...
Another one was Priya Rajvansh trying to be sad and large hearted at
the same time..'bhagwan ne kismat toh nahin di lekin dil baaahuut bada
diya hai' (all spoken in a drone ..absolutely no voice inflections or
modulations)
And by the way.. the first dialogue was from Kudrat itself.
-Ritu