Latest news with #SwanandKirkire
Time of India
11-07-2025
- Entertainment
- Time of India
From ‘Rimjhim Gire Saawan' to ‘Barso Re': The many moods of monsoon in Hindi cinema
With each passing decade, the portrayal of rains, or monsoon, has evolved in Hindi cinema. Rain comes bearing a medley of emotions. Imagine sitting with a cup of tea, a plate full of pakoras, and the beautiful Rim Jhim Gire Saawan playing in the background, as raindrops gently patter against the windowpane. Music composers, lyricists, and filmmakers have long given voice to the emotions stirred by downpour. The imagery of rain has been used to evoke everything from heartbreak and romance to joy, hope, and freedom. 'People fall in love during the rainy days' Music composer Lalit Pandit, who has composed several memorable rain-soaked melodies - Dekho Na (Fanaa), Hum Tum (Hum Tum), and the melodic La La Laaa from Mohabbatein, which features Aishwarya Rai and Shah Rukh Khan celebrating love - believes the rains provide the perfect setting for romantic numbers. 'People fall in love during the rainy days. Usually, people of a certain age step out in the rain, eat at small shops, drink tea, and run together for shade in cosy corners. These are unforgettable moments of life. Dil judd jaata hai aise moments mein,' he says. Lyricist and writer Swanand Kirkire reflects on the emotional and cultural depth rain holds in India, "Monsoon is a season everyone waits for. If the monsoon goes well, the harvest is good. Monsoon is related to fertility, hence romance, hence love,' he says. Swanand Kirkire says, "There are many songs about love in rain, there is sensuousness and longing also... But now, rain has lost its emotional pull. Urban sensibilities see rain as a hurdle. 'Yaar kya shuru ho gaya hai' – people start complaining on day one." But with each passing decade, the portrayal of rains, or monsoon, has evolved in Hindi cinema - from being sensual, romantic and melancholic to cheerful and full of hope. And, in the last five years, rain songs have dried up. Kirkire laments, 'There's nothing now. Urban sensibilities see rain as a hurdle—Yaar kya shuru ho gayi hai—people start complaining on day one.' The last time we saw our hero and heroine romancing the rain was in Sooryavanshi (2021) when Akshay Kumar and Katrina Kaif recreated the iconic Tip Tip Barsa Paani. Rimjhim Gire Sawan is my favourite rain song, especially the female version by Lataji. The way they step out and enjoy the rain, I love how it has been picturised. It shows the life of the middle class – Lalit Pandit, music composer A love letter to Mumbai: Rimjhim Gire Saawan (1979) Shot in real Mumbai rains, this romantic interlude from RD Barman's repertoire, features Amitabh Bachchan and Moushumi Chatterjee as a young couple taking a stroll around iconic places in Mumbai – Gateway of India, Bandstand, Marine Drive – while it pours. The song's picturisation is like a love letter to Mumbai and a reminder of simpler times when we could enjoy the rain without worrying about flooded streets & stalled traffic. Celebratory, joyful: Koi Ladki Hai (1997) The joyous composition, penned by Anand Bakshi, has a sing-song rhythm to it: Ghode jaisi chaal, haathi jaisi dum, o sawan raja kahan se aaye tum. It is one of those monsoon songs that compel you to step out of your house and do some 'chak dhoom dhoom', like Shah Rukh Khan and Madhuri Dixit. Love, nature and freedom: Barso Re (2007) Aishwarya Rai Bachchan's free-spirited celebration to this AR Rahman composition is unforgettable. The song has her rejoicing in the rain and blossoming nature while she tells the trees, river and mountains to remember her as she gets ready to elope with her lover. Celebration of first love: Barkha Bahar Aayi (1960) One of the earliest monsoon songs in Hindi cinema, it captures a young woman's (Sadhana) first brush with romance as she sings, 'Barkha bahar aayi, ras ki phuhar laayi, akhiyon mein pyaar laayi.' Bimal Roy kept the visualisation simple – Sadhana walking around the porch of her house, with focused shots of trees, puddles, and raindrops. Lata Mangeshkar's vocals and Shailendra's lyrical finesse add sparkle to Salil Chowdhury's evocative composition about first love. 'The brilliance of the song is complemented by the manner in which the wait and the longing have been portrayed,' lyricist Prasoon Joshi writes in the festschrift The Man Who Spoke in Pictures: Bimal Roy. Sensual and stormy: Bheegi Bheegi Raaton Mein, Ajnabee (1974) Zeenat Aman once called the RD Burman composition 'a sensual, sweet number.' With thunder, lightning, and suggestive lyrics by Anand Bakshi, the song rides the line between eroticism and tenderness, as she finds comfort in Rajesh Khanna's arms. Hope: Ghanan Ghanan (2001) After a long drought, rain becomes a symbol of hope, defiance, and resilience for the villagers in Ashutosh Gowariker's Lagaan. For them, rain brings hope and promise of a better tomorrow. 'Jo panchhi gaayenge, naye din aayenge, ujaale muskuraa denge andhero par, prem ki barkha mein bheege bheege tan mann, dharti pe dekhenge paani ka darpan.' The mischief of love: Ek Ladki Bheegi Bhaagi Si (1958) Romance and rain go hand in hand - but whether it turns mischievous or steamy depends on who you cast: Kishore Kumar or Rajesh Khanna. In this classic, Kumar flirts playfully with a rain-drenched Madhubala. Majrooh Sultanpuri's lyrics elevate SD Burman's playful tune: "Ek ladki bheegi bhaagi si, soti raaton mein jaagi si..." Sensual: Tip Tip Barsa Paani (1994) Akshay Kumar and Raveena Tandon's sizzling chemistry in the Mohra song gave melophiles one of Bollywood's most iconic rain songs – and one which was unapologetic of female desire. Raveena's translucent yellow sari in the song is popular to this day.
Time of India
09-06-2025
- Entertainment
- Time of India
Why Bollywood keeps naming films after old songs: Ae Dil Hai Mushkil, Hai Jawaani toh Ishq Hona Hai to Om Shanti Om
In today's Bollywood, nostalgia is more than just a sentiment—it's a marketing strategy. With increasing frequency, filmmakers are borrowing from the past to craft film titles that instantly spark recognition. Tired of too many ads? go ad free now Song lyrics, cultural phrases, and classic film references are being repurposed to emotionally hook audiences before the first trailer even drops. As one industry insider quipped, 'Nostalgia sells faster than popcorn at a multiplex.' Titles That Echo Familiar Tunes It's no coincidence that many recent titles sound eerily familiar—they often are. Take Jawaani Jaaneman (2020), for example. Its name is lifted straight from the foot-tapping 1982 disco hit from Namak Halaal, a song still embedded in Bollywood's collective memory. Similarly, Zara Hatke Zara Bachke borrows from a lyric in the iconic Bombay Meri Jaan, tapping into Mumbai's cultural soul. This trend has deep roots. Titles like Yeh Jawaani Hai Deewani and Jab Tak Hai Jaan were themselves drawn from classic Bollywood songs. But in the past decade, this practice has gained renewed momentum—anchored in the belief that a familiar title creates an emotional shortcut to audience interest. Does Nostalgia Translate to Box Office Success? Not always. Jawaani Jaaneman, despite the catchy title, failed to click with audiences—earning Rs 39.1 crore on a budget of Rs 34 crore and landing as a box office disappointment. In contrast, Zara Hatke Zara Bachke became a sleeper hit, grossing Rs 115.9 crore on a Rs 40 crore budget, proving that while nostalgia may attract attention, it's the film itself that must deliver. Filmmakers are aware of this. Veteran director said in an interview with India Today that using a line from a popular song or poem is an easy way to connect—but it must organically suit the story. Tired of too many ads? go ad free now Talking to the same news portal, lyricist Swanand Kirkire, however, has been more critical, calling the trend a 'marketing gimmick' that substitutes buzz for depth. Borrowed Lyrics, Fresh Films Some upcoming and recent films reflect this nostalgia-driven titling more clearly than ever: Hai Jawaani Toh Ishq Hona Hai (2025) – The title, from the 1999 hit song Sona Sona (Biwi No. 1), returns in a 2025 remake of a 2003 film, betting on youthful exuberance and song familiarity to reconnect with today's audience. Saiyaara (2025) – Named after the poignant track from Ek Tha Tiger (2012), the film taps into the song's emotional depth to signal a romantic, introspective tone. Haseen Dillruba (2021) – This Netflix thriller uses a phrase from Namak Halaal's Jawani Janeman, suggesting classic romance, even as the film delivers a modern, darker narrative. De De Pyaar De (2019) – Borrowed from Sharaabi's (1984) beloved track, this film combined nostalgic familiarity with a fresh plot about age-gap romance, helping it achieve commercial success (Rs 143 crore worldwide). Aankhon Ki Gustakhiyan (2025) – Though inspired by a Ruskin Bond short story, the title leans on the romantic lyric from Hum Dil De Chuke Sanam (1999), priming audiences for a love story rich in emotion. Param Sundari (2025) – A clever double play, this film uses both a trending song title from Mimi (2021) and the character names (Param and Sundari), ensuring a culturally resonant hook. Teri Baaton Mein Aisa Uljha Jiya (2024): The title is borrowed from the hook line of 'Teri Baaton'—a 2004 chartbuster by Raghav Mathur. The film modernizes the phrase in a futuristic love story, using the emotional recall of the original to attract both older fans and Gen Z listeners. Om Shanti Om (2007): The title comes from the retro classic song 'Om Shanti Om' sung by Kishore Kumar in the 1980 film Karz. Farah Khan's reincarnation drama not only paid homage to 70s Bollywood but also revived the melodramatic style of that era with a modern twist. Ae Dil Hai Mushkil (2016): Inspired by the famous line from the Mukesh song 'Ae Dil Hai Mushkil Jeena Yahan' from CID (1956), Karan Johar's film explored modern heartbreak and unrequited love—an emotional theme that resonates across generations. The Nostalgia Trade-Off While nostalgia-based titles do offer instant recall, their overuse raises concerns about creative stagnation. As one trade analyst points out, 'It's the business of feelings—packaged to look familiar, sound familiar, and feel safe.' But safe doesn't always sell. If the story behind the nostalgic title fails to resonate, the familiarity quickly turns into disappointment. In essence, these titles act as emotional triggers—a kind of cinematic shorthand meant to lure viewers. But the ultimate success of a film still depends on its substance. Nostalgia might open the door, but it's the storytelling that invites audiences to stay.
&w=3840&q=100)
First Post
23-04-2025
- Entertainment
- First Post
Lyricist Swanand Kirkire lashes out at Ranbir Kapoor's 'Animal' again: 'Sandeep Reddy Vanga rejected all forms of...'
He elaborated more and said, 'I don't even mind if that's a perspective. But the film claims that those who couldn't be alpha males became poets, as if poetry is the last resort of insecure men.' read more Remember how lyricist Swanand Kirkire expressed his displeasure over Ranbir Kapoor and Sandeep Vanga's Animal back in 2023? He has spoken about his issues with the film again. In an interview with The Lallantop, Kirkire said, 'Hindi cinema was helping men like me, coming from places like Indore, understand what gender equality truly means. Even in Anurag Kashyap's Dev D, women were shown as independent beings. And then, someone makes Animal.' He added, 'My issue isn't with the film being made—it's with the overwhelming acceptance it received. I remember the day I saw the film, I met a girl who had seen it twice.' STORY CONTINUES BELOW THIS AD He elaborated more and said, 'I don't even mind if that's a perspective. But the film claims that those who couldn't be alpha males became poets, as if poetry is the last resort of insecure men. And yet, the same film uses poetry and lyrics to turn Ranvijay into an alpha male.' And back in 2023, Swanand Kirkire had said, 'Guru Dutt's Saheb Biwi aur Ghulam, Hrishikesh Mukherjee's Anupama, Shyam Benegal's Ankur and Bhumika, Ketan Mehta's Mirch Masala, Sudhir Mishra's Main Zinda Hoon, Gauri Shinde's English Vinglish, Vikas Behal's Queen Shoojit Sarkar's Piku, and many such films in Indian cinema that taught me how to respect a woman.' He continued, 'Her rights and her autonomy and even after understanding everything, there are still many shortcomings in this age-old thinking. I don't know whether I succeeded or not, but even today I am constantly trying to improve myself. All thanks to cinema.' He added, 'But today after watching the movie Animal , I really felt pity for the women of today's generation. Now, a new man has been prepared for you, who is more scary, who does not respect you that much and who aims to subdue you, suppress you and feels proud of himself. When you, the girls of today's generation, were sitting in that cinema hall and applauding Rashmika, I in my mind paid tribute to every idea of equality. I have come home desperate, dejected and weak!' STORY CONTINUES BELOW THIS AD Vanga lashed out at Kirkire for his critique on the film. The official account of the film wrote- 'Do not let your knees fall ahead of your toes or cave in towards each other.' Vanga added, 'Keep feet shoulder-width apart to maintain a good base of support for balance. Land softly on the balls of the feet to help absorb the force of the landing. Yes…. now it landed perfectly (flying kiss emoticon) @swanandkirkire.'
Hindustan Times
22-04-2025
- Entertainment
- Hindustan Times
'Sandeep Reddy Vanga might get angry at me again, but…': Swanand Kirkire calls out ‘hypocrisy' in Animal
National Award-winning writer and lyricist Swanand Kirkire spoke about how Sandeep Reddy Vanga's Animal disturbed him and expressed his disappointment with the film's overwhelming reception. In an interview with The Lallantop, he also called out the film's hypocrisy, dismissing poetry in a dialogue and later using it to create a sense of thrill. (Also Read: Swanand Kirkire: Sad that there's inferiority complex among native Hindi-speakers) Swanand Kirkire cited examples of films such as Mehboob Khan's Aurat, Guru Dutt's Sahib Bibi Aur Ghulam, Vikas Bahl's Queen, and Shoojit Sircar's Piku to explain how cinema has taught audiences to look at women with empathy and respect, offering a progressive perspective. He revealed that in his tweet criticising Animal, his main issue with the film was not its existence, but the fact that someone could say something with such audacity and be embraced so readily by the public, especially by girls. He said, 'Hindi cinema was helping men like me, coming from places like Indore, understand what gender equality truly means. Even in Anurag Kashyap's Dev D, women were shown as independent beings. And then, someone makes Animal, and we accept it. My issue isn't with the film being made—it's with the overwhelming acceptance it received. I remember the day I saw the film, I met a girl who had seen it twice. She said, 'Bobby Deol is so hot.' What disturbed me was how Sandeep Reddy Vanga rejected all forms of positive masculinity and instead glorified its most toxic form.' Swanand also criticised a dialogue in the film where Ranbir Kapoor's character, Ranvijay, tells Rashmika Mandanna's Geetanjali that insecure men who couldn't become alpha males turned into poets. He said, 'I don't even mind if that's a perspective. But the film claims that those who couldn't be alpha males became poets, as if poetry is the last resort of insecure men. And yet, the same film uses poetry and lyrics to turn Ranvijay into an alpha male. In the Arjan Vailly song, where he's slaughtering hundreds, it's not the visuals but the poetry and music that create the thrill. You dismiss poetry in one dialogue but can't do away with it in your music. After this, Sandeep Reddy Vanga might get angry at me again, but that's okay.' This is not the first time the writer and lyricist has criticised the film. Earlier, when Animal was released, he took to Twitter and stated that because of Animal, 'the glorious history of Indian cinema is being embarrassed.' Soon after his post, the team behind Animal hit back at his remarks. The action drama film, co-written and directed by Sandeep Reddy Vanga and produced by T-Series Films, Bhadrakali Pictures, and Cine1 Studios, stars Ranbir Kapoor, Anil Kapoor, Bobby Deol, Rashmika Mandanna, and Triptii Dimri. The film was criticised for its portrayal of toxic masculinity and violence. However, despite this, it emerged as a blockbuster, collecting ₹915 crore worldwide. A sequel, Animal Park, is currently in the pipeline.
