What is Bollywood though a strain and dance? From a “running around trees” to a age of remixes, Indian films have seen adequate in terms of changing trends. And given Bollywood cinema are musicals, a good wrapping and picturisation of a songs turn as critical as a simple plot. We competence determine that left are a days when a films had lively tunes and a aberration of pleasing shots, though we can't omit that be it any age, shelf life or not, strange or recreations, dance numbers or regretful ballets, songs have always been a essence of Bollywood.
Here’s a demeanour behind during how songs have remained an constituent partial of a films, be it woven into a screenplay, holding a story brazen or usually a pointless jubilee giving some lighter moments to a movie.
1950s – The decade of impassioned close-ups
The black and white epoch of 1950s was noted by songs shot in immobile frames with all a movement function by a eyes and eyebrows of a lead actors. The usually change came about was an contingent slight ‘movement’ within a given frame. So from impassioned close-ups of a face to some applicable cut-ins of a moon, a flowers and a rustling of leaves, Bollywood songs welcomed some-more elements that combined to a dynamics of a romance.
1960s – The decade of pristine dance
Actors like Vyjayanthimala, Waheeda Rehman and Mala Sinha solemnly brought dance in a 1960s. They competence be clad in sarees, though their dance was as pristine as gold. Songs like “Honton Mein Aisi Baat” and “Piya Tose Naina Laage Re” ring not usually a beauty of these divas though also a sanctification of songs of this era.
1970s – The decade of lively eyes
Even in their guest appearances Helen, Bindu and Aruna Irani became a ideal face of RD Burman’s marks in a 1970s. This competence be a low-pitched or a disco proviso though a chain of these numbers highlighted a plot. They possibly happened inside a villain’s basement or were meant to supplement disturb to a climax. Most of them were filmed as jubilee songs where these beauties danced their approach perplexing to get by a categorical lead’s heart with their trenchant eyes or physique movements, literally perplexing to hypnotise everybody examination them. A lot of wizz shots were used for a same, both on their faces and their hip shakes. And frequency did that looked odd.
This has been called a golden proviso of Bollywood not usually since of a blockbuster films, though also for a mythological songs. From “Piya Tu Ab To Aaja” to “Mera Naam Hai Shabnam” and “Chadti Jawani Meri Chaal Mastani”, a songs of this proviso still reason a place in a jubilee playlist.
1980s – The decade of flourishing romance
Come 1980s and a stately power of RD Burman continued. The usually thing that altered was how a film’s womanlike lead began doing accurately what Helen did a decade back. They romanced a actors in a environment that ideally fit into a well-spoken screenplay. Parveen Babi and Zeenat Aman lead a epic playlist of this era. “Pyar Mein Dil Pe Maar De Goli” had as many things function in a strain as in “Pyaar Karne Wale”.
Music and songs in this duration were closely connected to a storyline. They were created and woven as per a mandate of a film and in a particular situations. The structure of songs had a relations stability. While Lata Mangeshkar, Mohammad Rafi, Asha Bhonsle, Kishore Kumar and Hemant Kumar were a buttress of a playback singing scene, large actors like Amitabh Bachchan, Shashi Kapoor and Rishi Kapoor gave them a good face value. This ideal multiple reciprocated good onscreen too. Bachchan’s songs were possibly witty or had heated movement function (not verbatim fighting though a disturb of a climax). On a other hand, both a Kapoors wooed their ladies in their super regretful numbers.
Towards a second half of 1980s and early 1990s, we had films like Qayamat Se Qayamat Tak, Ram Lakhan, Saajan and Dil Hai Ke Manta Nahin – all low-pitched blockbusters. On a other side of a camera, it introduced us with a voices of Udit Narayan, Alka Yagnik and Kumar Sanu, on a front these songs majorly had a unreal set-up, creation anyone tumble in love. There was romance, longing, profanation and confessions and any aspect was shot with a correct screenplay of a own. Each song, be it “Pehla Nasha”, “Ae Mere Humsafar”, “Dil Hai Ke Manta Nahin” or “Bahut Pyar Karte Hain”, done us trust in love.
1990s – The decade of celebration
As 1980s drew to a close, a density and pointed nuances of these songs began giving approach to discerning and orchestral forms too. A apportionment of a 1990s also introduced us to a 3 Khans, Madhuri Dixit, Karisma Kapoor and others. There was dance, a lot of it! There were celebrations too as onscreen intrigue became some-more fearless. There was open flirting as guys and girls pennyless into a dance series during a dump of a hat. Luckily, all of it never looked jarring. Sooraj Barjatya’s films seemed created around a dozen of songs with a tract joining any number. There was DDLJ too that was a churned bag of marks – one for party, one for shaadi and one for a ‘sarson ke khet’ too! And among all of it, a demeanour of picturisation also altered with some-more vicinity between a actors. Now, there wasn’t any need for any cut-ins as actors were tighten adequate to fit in a singular frame!
As 1990s brought fate down on a decade and even a millennium, Bollywood songs became bigger. This epoch also had radio opening adult to private productions. The entrance of VCR and wire networks impacted not usually films though even a songs. The strech grew and so did a income that went to furnish songs.
2000s – The decade of discerning moves
In a 2000s, there was augmenting skin show, discerning moves and shrill compositions. New faces like Hrithik Roshan and Aishwarya Rai combined to a star value. Both being shining dancers with pleasing personalities shone onscreen. No film was finish though their dance number. And while these dual filled adult for a opening part, others like Shah Rukh Khan and Aamir Khan kept a intrigue intact. While SRK kept swelling his arms, Aamir’s antics in marks like “Aati Kya Khandala” even if it lacked lyrics, done any of their strain a inhabitant favourite. And amid all this, filmmakers like Karan Johar kept giving us Kabhie Khushi Kabhi Gham to repair any lax ends.
Sometimes a songs were used to deliver a character, sometimes, in a finish credits to uncover a “happily ever after”. They were all shot incomparable than life on a bill that could be adequate to furnish a apart film altogether. This proviso saw a board of songs grow to unreasonable levels.
2010s – The decade of objectification
As 2000s entered a second decade, a “item songs” were behind and with some-more action. 2010 alone gave us dual of a biggest new marks – “Munni Badnaam” and “Sheila Ki Jawani”. While a heroines kept rambling and turning, a discuss around objectification of a womanlike physique kept intensifying. The lens zoomed in and out of their torsos and bellies, from their lips to their hips. But who cared, as filmmakers kept tough offered their cinema on these songs and cinefans kept dancing to them during any party.
In 2010s, songs mislaid their storytelling partial too. Its screenplay wasn’t unequivocally worked upon. All a actors had to do was get into some gymnastic-like dance, that was discerning cut on a modifying table. And before we could see their faces or decider their moves, a shot had altered 5 times! Romance too became indulging in a tangible ‘act’. Suggestive shots and symbolism dead and Bollywood began propagating “see it to trust it”.
This was a Ranbir Kapoor-Deepika Padukone-Anushka Sharma-Ranveer Singh phase. They were a rarely discriminating bodies representing a mannequin-ish support onscreen. They were too pleasing even when they played Holi or too spick and camber even sweating it out underneath a sun. Their songs emphasised their beauty as a camera changed in and out of their face to their chiselled appearance.
Whatever happened to a epoch when close-ups meant that of eyes and a prudery that came with any glance. Today, close-ups would meant saying a prosaic abs of Jacqueline Fernandez on a 70 mm. The new age emplacement with remixing and recreating aged classics has also in a approach injured a loyal sorcery of not usually a strange compositions though even a approach they were produced. Today, “Laila O Laila” won’t remind us of a lively Zeenat Aman though of Sunny Leone from Raees. And this trend will usually grow. In a deficiency of originality, a memories of a iconic strain videos from a years left by will be transposed with some revamped series and a faces of new age actors, even if they don’t have a shelf life!