With the dance-based ‘ABCD-2’ vaulting over the Rs. 100 crore barrier, a reflection on choreography in Hindi films down the ages.
Had I been the kind who rated films, I’d have given Any Body Can Dance 2 (aka ABCD 2) two-and-a-half shrugs – but that’s not surprising. For one, this isn’t a film meant for anyone over twenty. It isn’t for those who don’t follow dance-based reality shows on TV. (I don’t.) And it isn’t for those who don’t care much about hip-hop dancing. Oh, as a physical feat, the choreography in the film is impressive, all right – it’s like the routines we applaud at the gymnastics competitions in the Olympics, feats of timing and precision and balance. But after a couple of song sequences, I tuned out. To my mind, this wasn’t exactly choreography. No – that’s perhaps unfair to the choreographers. Let me just say that what I look forward to in movie choreography is something else.
I find it difficult to watch many of the older songs, because the choreography is very basic – and seen today, boring at a visual level. Take Ashiana, from 1952. I pick this because the music is by Madan Mohan, whose death anniversary is coming up in a couple of days. Mera qaraar le jaa is a magnificent song to listen to, but on screen, it’s just Raj Kapoor sauntering about and mouthing the words. This isn’t to say the song is shot badly. It’s just that it’s not very interesting from a choreographic viewpoint – which is the case with most songs from the 1940s and 50s, unless the song was some sort of item song, featuring a well-known dancer. Sometimes, the actors skipped about in a large house (Koi mere dil mein, Andaz, 1949). Sometimes, they played the piano (Jawan hai mohabbat, Anmol Ghadi, 1946). Sometimes, they even danced (Ghar aaya mera pardesi, Awara, 1951) – though with that giant set, who really paid attention to the choreography?
You’re right, in a way, if you say these songs aren’t about “choreography” as such – these characters aren’t meant to be executing steps. But I speak of choreography in the larger sense, of infusing the song with the character of dance. Take Blackmail, from 1973. The actors don’t dance in Pal pal dil ke paas, but there’s an exquisite sense of rhythm throughout the song. There’s a motif carried right through – Raakhee reads letters written by Dharmendra, who hovers around putting those words into song. The concept is aided by the execution. Directors like Vijay Anand knew how not to make song sequences feel static, the way songs from earlier decades were. They kept the camera moving. They kept changing the setups. Even the letters are showcased differently. One of them is stuck in a tree. Another one contains rose petals. This is one of my favourite kinds of song sequence, where the choreography is at a conceptual level.
Then there are songs that employ concept-level choreography as well as dance steps, like Agar main kahoon, from Lakshya (2004). The song is about Hrithik Roshan teasing Preity Zinta – she wants florid declarations of love, and the slacker that he is, he can’t see why he should be bothered when it’s evident he loves her. So after some goofing around, the song begins with Hrithik reading the newspaper – he’s really that banal. Yawn, I love you, whatever. And she replies: Why don’t you spiff up what you’re saying? Why don’t you say this in a roundabout way? And the “steps” transform her words into choreography. She brushes off imaginary specks of dust from his shirt. She goes around him in a circle. As with classical dance, the lyrics are the basis for her actions. This song is an extraordinary instance of choreography – it warrants an essay of its own. As does Pehla nasha, from Jo Jeeta Wohi Sikandar (1992). Aamir Khan waltzes with his… sweater, thinking of Pooja Bedi. Ayesha Jhulka sees him (her bedroom window is opposite his), thinks he’s thinking of her, and waltzes with… air. The intoxication of first love (from the lyrics) and the day-dreamy sense of time pausing when in love is reflected in the slightest amount of slow motion throughout. And all in the most mundane surroundings – their classroom, her father’s mechanic shed. It’s magic.
There’s just so much more to talk about. About actors like Shammi Kapoor and Govinda who are terrific at emoting (while dancing) in song sequences. About the pleasures of outré song picturisations – the rows of dancers around the Daliesque eye in O haseena zulfon wali, the dance on a train in Chhaiya chhaiya. About Helen. About dancing stars like Vyjayanthimala, Waheeda Rehman and Hema Malini. About Zeenat Aman’s early-70s pout, and how no other choreography was necessary. About the surprisingly agile Dilip Kumar in Nain lad jaihe. About the superb resurrection of the mujra in the recent Agent Vinod. (Again, note how the lyrics form the basis of the stylised movements.) About dance-based films like Pakeezah and Navrang.
Speaking of the latter, I have to mention Sanjay Leela Bhansali, Shantaram’s spiritual successor. The man is such an outsized romantic, it’s not at all surprising that his films are practically wall-to-wall musicals. The characters speak in rhyme. They don’t act so much as do some kind of performance art. And the songs ratchet up this feel by several notches. Take Aankhon ki gustakhiyaan from Hum Dil De Chuke Sanam (1999). A boy romances a girl from a conservative family during a wedding – it’s a clandestine affair conducted in the open. Or take the joyous burst of colour from the dancing girls in Chhail chabeela, from Saawariya (2007). Or take Tattad tattad, from Goliyon Ki Raasleela Ram-Leela (2013), in which Ranveer Singh proved that today’s actors are no slouches when it comes to singing and dancing. In this multiplex era, when so many of our films strive for a globalised look and feel so as to not alienate non-Indian viewers, how wonderful to see such unabashed celebrations of song and dance, as if to remind us that this tradition is part of what makes Indian cinema Indian cinema.
An edited version of this piece can be found here. Copyright ©2015 The Hindu. This article may not be reproduced in its entirety without permission. A link to this URL, instead, would be appreciated.
Other songs mentioned in the piece above:
venkatesh
July 11, 2015
Oh Shammi dancing is one of the greatest joys of Indian Cinema.
For some reason our very Mr. KH never really seems to be enjoying the dancing, which is such a shame. He always seemed above it.
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Sev
July 12, 2015
Isn’t Kareena Kapoor the worst example to cite in a post on choreography and dancing?
And I agree, what is most often over-looked (in my opinion) is that Govinda, Shammi K, Madhuri, Rani, Shahid etc can emote well while dancing whereas Katrina Kaif, Aishwarya Rai etc have such stiff or forced expressions on their faces. I remember cringing when Ash Rai was going on in the Dola Re song with those weirdly huge grins while Madhuri’s grin seems more “adaa” than anything.
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imran
July 12, 2015
Loved reading this. Sadly I cannot call a single great song sequence so far this year. Last year was fairly weak as well, with the only standouts being Tharki Chokro and Bismil. It does seem there are only a handful of filmmakers who are interested in actually using songs to tell the story. Luckily, we get two Nikhil Advani movies this year, he’s one of the few that really puts effort in.
Did anybody catch the new Magic Mike? I really loved some of the choreography in there. Despite being rooted in stripping, we get the slick, cool hip hop stuff of ABCD/Step Up but its looser, with more personality and emotion, not leaving me totally cold like those films do.
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MANK
July 12, 2015
Vijay anand was an unparalleled master at song picturizations.even today there are hardly directors who can match up to him. the picturization of every song in guide, Jewel thief ,there mere sapne or johnny mera naam is a masterpiece
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Iswarya
July 13, 2015
BR: What would you call the best-choreographed songs in the same sense as you’re talking about here, when it comes to Tamil examples?
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brangan
July 14, 2015
Sev: Isn’t Kareena Kapoor the worst example to cite in a post on choreography and dancing?
Wasn’t talking about the dancers but about the choreography. Just look at the stylised interpretation of the words…
Phenke nazar ke sikke usne… such a smooth segue from nazar (she takes her hand to her eyes) to sikke (then takes them sidewards to “count” the sikke)…
Lage ke nayi hoon main (she parts the curtain of hair, as if unveiling something nayi, new)
The whole song is like this… It’s nothing “new” as such, for classical dance has been translating words to movements for centuries. But in films, the movements tend to get ossified, stale — and it’s great when you see some lovely new choreography like this.
This looks like the work of Saroj Khan, though I’m not sure.
imran: Hmmm… yeah, I too cannot recall anything truly great this year. Did like the free-flowing Pehli baar from DDD though.
Iswarya: In recent times, I really enjoyed “Othakadai machan.” This isn’t conceptual as such, but VERY nice steps.
eg. look at the line jeyicha maalai maathu, thothaa aalai maathu (around the 0:53 mark) — just love the smoothness of the choreography here.
For ‘maalai maathu’ they exchange garlands (thought in a very ‘manly’ way). They pull away for “thothaa” (hand on the forehead, indicating sadness, dejection, etc.). And then they jump around from that pose to occupy the position of where the other one was previously (i.e. aalai maathu).
This kind of “interpretive dance” is a long way from a song like this one, where the movements are from Bharatanatyam and hence very ill-fitting. In the sense, why would the light tone of this song demand classical poses for lines like “maaman machan muraiyendru…”?
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Santa
July 14, 2015
Talking about choreography in ‘item’ songs, I think the high-bar was set (at least in recent times) by Kajra-re, although one might debate whether it is an item number at all. Some of the others that come to mind immediately (Fevicol, Sheila ki jawani, etc.) seem just crass compared to it.
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Iswarya
July 15, 2015
BR: Thanks. Never seen this song before. Very imaginative, indeed. I don’t watch much of recent movies, and so was wondering about the old examples and there seemed so few. Of course, my topper of the list in Tamil would always be this song.
(Never posted video links here before and not sure how it’s done. There’s no preview option either. BR.. Can you fix this if it doesn’t work?)
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Apu
July 18, 2015
As usual, it was a pleasure reading this piece. Choreography and the way you described it, the fact that it does not need to be “dance” to be choreography. Loads of examples of that, in fact, just now was listening to “Badi Mushkil” from Lajja at work and almost reached out to YouTube to watch it.
The other thing about choreography is the way it tells a story, and exposes relationships between characters and their emotions. Like “Rang Barse”, like “Tum Se Hi” in Jab We met.
This year I did think “Galla Goodiyan” from DDD was a well choreographed piece with all the actions, emotions, implications rolled into it.
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Apu
July 18, 2015
And yes, “Dil Mera Muft Ka” was choreographed by Saroj Khan. Classical dancing, as you rightly said, manages to convey poetry as it is – like a poetry in dance.
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Di
September 2, 2015
“Wasn’t talking about the dancers but about the choreography. Just look at the stylised interpretation of the words…
Phenke nazar ke sikke usne… such a smooth segue from nazar (she takes her hand to her eyes) to sikke (then takes them sidewards to “count” the sikke)…
Lage ke nayi hoon main (she parts the curtain of hair, as if unveiling something nayi, new)”
Firstly LOVED reading your blog on choreography.. how detailed and indepth look at choreography and how it moves the story etc. until I read the above (and the references of Kareena in the blog!). It is like comparing Ganga/river with a small talab/pond! There is no comparision whatsoever! What Kareena/kareena’s choreographer highly ineffectively trying to do shady copy of kathak moves/Rekha’s classic dance that has been copied over and again without much success. The way Kareena (or even Aishwarya’s Umrao Jaan or Madhuri in devdas which was kathak alright but had no nazakat.. if madhuri repeatedly ‘hits’ shahrukh with her heavyly bordered and embroidered dupatta during her dance then it is not terribly subtle in my opinion ) comes and plombs down on the “stage” is laugh worthy and then after initial nakli kathak-like moves, she directly starts bollywood item number!! And it is criminal to talk about choreography (and what you are trying to say) and not Rekha in this song, which is masterpiece and generated imitation songs of kathak/courtesan in BV for eternity.
Just this one piece is timeless classic and puts rekha down as living legend along with all the actor-acting greats It is all about acting, nazakat, delivering what her character is all about (a courtesan who is in love, dressed up from head to toe, dances like charm and who is also refined or at least a budding poet in the movie) and ohhh, the moves–if someone could kill with a single nazar, it would have to be our rekha. You could watch it again and again and again and it doesn’t date or age. Would anyone remember agent vinod mujra for posterity no matter how many coins kareena flips or how low her blouse goes down or how much navel exposed?
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Di
September 2, 2015
P.S. It would be criminal to not mention Madhuri in any choreography blog.
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brangan
September 2, 2015
Di: It would be criminal to not mention Madhuri in any choreography blog.
I don’t think so. You seem to view choreography through the dancers. This piece talks about the steps, the situations — i.e. the things behind the dancers. In that comment, I am not talking about Kareena. I am talking about the steps, the interpretation of the words by the choreographer.
In any case, I’ve always maintained that one cannot be exhaustive in these illustrative pieces or in reviews. The whole “How can you not mention…?” argument I have little use for (or patience with).
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Di
September 2, 2015
“the steps, the interpretation of the words by the choreographer”
saroj khan and madhuri had the famous synergy and a great partnership in BW; a great actress/dancer who could implement what the choreographer wanted (same chorepgrapher directing kareena for instance would fail miserably in same song). They both rose in their fields with their individual talents, together in jugalbandi.
Anyhow I get your yr point.
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