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Love songs are the sparkling wine of film music; the elixir of the youth of this country. Look back and you will find umpteen love songs that occupied primetime in your halcyon days. But barring a few, most have suffered from mediocre, unimaginative picturization, which has been more or less a standard set-piece execution. The lovers running, sometimes alone sometimes together in wild plains, where they can hear each other\u2019s voices, but can\u2019t see each other (love is blind?), and the mandatory running around trees. Sometimes, in their quest for variation and variety, they can stretch things too far such as two lovers singing a soft, melodious duet in an open truck, speeding on the highway \u2013 a situation where you can barely hear each other\u2019s voices, let alone sing!<\/p>\n
Amid the general running around trees songs, there were a few who stood \u2018far from the madding crowd\u2019. Some songs created benchmarks. Roja\u2019s Chinna chinna asai <\/em>or Dil hai chhotasa <\/em>that had 65 frames in the song, showed how songs can be visual magnets \u2013 with lush visuals, natural vistas, and lingering close-ups of the stars. Directors who thought differently had a vision of their own. They distilled the essence of the song in the camera frames and created visual delights \u2013 like Dil ka bhanwar kare pukaar.<\/em><\/p>\n Vijay Anand in his song picturizations, has always struck me as a visualizer extraordinaire! He was the rebel without being loud. He remained different but was never an outcast. A breath of fresh air that stirred the stagnant thought process of song picturization, he continued in his own merry ways, putting fun and romance together in a sizzling pot-pourri full of cinematic delight!<\/p>\n Dil ka bhanwar kare pukaar<\/strong><\/em> (Tere Ghar Ke Saamne<\/em>, 1963) SD Burman \/ Hasrat Jaipuri \/ Mohd Rafi<\/span><\/p>\n