So I finally got around to finishing up my list of RajRahul Shah Rukh Khan songs for Episode 2 of the Bollystalgia Podcast ... it's my favorite songs of his through the 90s and now most of this past decade as well. Again, the sound levels may be a bit wonky, but I figure it'll get better as I keep messing around with it ...
Anyway, from Deewana to Billu, here are some of the most gorgeous ballads, charming melodies, and rocking dance numbers from Shah Rukh Khan's filmography. This was fun because it made me re-visit a lot of the songs that I've forgotten from the early and mid 90s. It also re-established how much I love cheesy Yash Raj movies.
You can see the original blog post on SRK, with video links, here.
If anyone has songs they'd like to add, or thoughts/comments they wanted to share, please comment or email/tweet me, or even send an audio clip of your comments, and I'd be happy to include them in the next podcast.
Up next? My epic Salman Khan love-fest list, BollyDisco!, Villain's Lair songs, Rain songs, and more ...
Rhea Kapoor Reveals Some Secrets About Sonam and Herself.
Rhea With Sis Sonam Kapoor
One is obsessed about food, the other about fashion. One doesn't mind showing her dirty feet and hates makeup, the other is glamorous. They are two young Bollywood sisters who seem as different as chalk from cheese, and yet, Rhea and Sonam Kapoor share not just clothes but also space. "Sonam and I share each other's clothes a lot. Her style is a little more glamorous. I like simpler things. But she always takes my things," Rhea, 23, who has produced the movie Aisha that stars 25-year-old Sonam, told IANS.
"You know how girls always need pieces to mix and match everything. I buy only those things...jackets and plain pants. And Sonam buys ridiculous things; she obviously can't wear a ridiculous thing and go for coffee. So she just takes my things all the time," said Rhea.
"But thank god we don't have the same foot size. I am 37 and she is 39. She is like giant, so she can't take my shoes," she added with a bout of laughter.
Unlike Sonam, Rhea likes to sit with her legs on the sofa and is not bothered about what her hair looks like. She "hates" makeup and hasn't visited a parlour for a manicure since a year.
"I haven't done a manicure in a year. I don't like people touching my hands. My feet are not even pedicured...I randomly clean them," Rhea said while raising her right foot to show her dirty feet.
"Sonam is obsessed with spas; she loves getting her nails done and stuff. She always wants me to go to a parlour with her. For her Saawariya premiere...she told me - 'You're not coming to the premiere with these cuticles; they look disgusting!' " said Rhea.
Nevertheless, Rhea too is quite stylish. She also opts for the best of high street fashion labels and likes to mix and match them with her mother's jewellery.
But more than fashion, it's food that Rhea is obsessed with.
"I am obsessed about food. I constantly eat. My whole focus is always on food. I can't wear skirts and shorts any more because my legs are so heavy. I haven't gone to a gym in a long time. Every move of mine revolves around my next meal. I plan my whole day according to my food," Rhea says.
However, Rhea calls Sonam a "junkie".
"Sonam is not like me when it comes to eating. She is more of a junk addict. She eats every sort of junk...chips, chocolate, biscuits...give her a book and one packet of Hide & Seek biscuits...it will be over in seven minutes. But I am a proper foodie...I need my appetizers, soup, meal and desserts," she reveals.
Meanwhile, Rhea has plans to take over production from her father, veteran actor Anil Kapoor.
"I am going to take over from dad. There are some interesting, really fun projects that I am working on. But obviously my whole focus is on Aisha right now," she says.
Rhea, who was assistant director in Wake Up Sid, says direction might be an option for her in future.
"I want to direct, but there's still a lot of time for it. It is just too much responsibility to direct a project and I am too young and immature for it. All I know is after working on Wake Up Sid and Aisha, there's no way in hell that I want to act," she says.
And why is that?
"When you grow up with a father who is an actor and a sister who is an actress, it's not a faraway thing. I know the realities of being an actress. I know what it's like to be an actor and I don't want to do it. That's all.
"And especially after I worked on Wake Up Sid, I found the whole process of being behind the camera very interesting. Besides, I am too much of a control freak to just say my lines and go away. Nah! No acting for me," she concludes.
Aisha, based on Jane Austen's novel Emma, is scheduled for an Aug 6 release.
Short post here just to touch on the callbacks for our next Zuppa del Giorno show, the which I'll be directing. They have taken place this week, and after a little more coordinating and ruminating we should have our third performer. This was effectively my first time on the other side of the table in an audition process, and I learned a lot from it (possibly at the expense of the actors involved?), both as someone conducting an audition process and as an actor in said audition. More anon on that. (I'm really racking up the promised 'blog topics here.)
This post is really just to say that everyone who came in was awesome. It was an extremely unconventional callback process, due to the developmental and improvisational nature of the show, and each actor handled it with style. See if this doesn't terrify you: We set out a table of assorted random objects, and had people in two-at-a-time. The game they played was to tell a story between them, with one person verbally telling the story and the other telling it physically. They could use any of the "props," and at any time they could switch positions, yielding their vocal or physical storytelling to the other, or swooping into the other role. And they just kept going until I said, "Scene."
Tough, no? Awful, really, for people psyched to have an opportunity. If I could have come up with any other way to find out what we needed to know, I would have done that. But I wish you could have been there, Dear Reader, because what everyone did was unique and effective and inspiring. So, thanks, Auditioners. I would like to take you all out for milk and cookies.
Hey! So today is my 33rd birthday, and I am super excited to be another year older and wiser. I absolutely refuse to be one of those chicks who thinks my life is over at 40, I'm really enjoying my 30s and wouldn't go back to my 20s for ANYTHING. Life is so much more secure, stable, comfortable, confident and just plain HAPPY in my 30s.
Anyway, realizing that it was my birthday once again led me to think of how my sisters and I, back in our days of being in a band together, always had a song handy in case it was someone in the audience's birthday. The obvious choice was this one:
BAAR BAAR DIN from Farz (1967)
But sometimes we'd choose more off-beat ones, like O MAMMA DEAR MAMMA from Saajan Bina Suhagan (1978) (check out the baby Padmini Kohlapuri in it!), or one of our personal favorites:
HUM BHI AGAR BACCHHE HOTE from Door Ki Awaaz (1964)
Occasionally we'd get a request for O NANHE SE FARISHTE from Ek Phool Do Mali (1969):
or AAYE HAI BAHAAREN from Ram Aur Shyam (1967)
Another standby of ours was:
AATI RAHENGE BAHAREN from Kasme Vaade (1978)
Great stuff.
I only wish my birthdays could be as cool as these:
AAO JHOOME from Ek Ladka Ek Ladki (1992)
MACHALJANE KA DIN HAI from One Two Ka Four (2001)
HAPPY BIRTHDAY TO YOU MR. PEDRO from Prem Deewane (1992)
MERE RANG MEIN from Maine Pyar Kiya (1990)
GAA RE MANN from Baabul (2006)
BIRTHDAY PARTY (tamil song) from Maya Bazaar (1995)
Nalam Vazhvu Ennalum (tamil song) from Marupadiyum (1993)
I remember on my 15th birthday, my sisters and I got into a fight with our friends over whether you're supposed to sing "Happy Birthday" BEFORE blowing out the candles/cutting the cake or after. We were pretty sure it was before, which is clearly the American way. In Bollywood, it appears you sing AFTER the candles are blown out/cake is cut. What do you think, my friends? We finally decided the the Bollywood way was what we would refer to as "Heppy Bird-day" (said in the accent). Those friends were definite HFS (Hindi Film Star) wannabes anyway.
Sooo this year, my sweet husband tried to book me a spa day, but I refused ... too expensive and unnecessary. I'll have the babysitter for a couple of hours tomorrow and will do the requisite mani-pedi or hair appointment if I have time after working out. We'll do dinner after he gets back from work ... but I hope he doesn't have to work late, or else I'll be singing this:
I guess I'll be happy as long as my birthday doesn't turn out like this:
Or the most memorable birthday scene in Hindi Cinema for ME ... the scene in Darr where Shah Rukh Khan shows up at Juhi Chawla's birthday!
TERRIFYING.
Anyway, if someday I do get around to throwing myself a big soiree for my birthday I hope it's as awesome as this party:
Thanks as always for checking out the blog, and hope that if you have links to any great birthday songs/scenes from Hindi or Tamil movies that I've missed, you will definitely let me know.
Amitabh Bachchan's daughter Shweta Nanda and Australian cricketer Brett Lee walked the ramp for the designer duo Abu Jani-Sandeep Khosla at the finale of Couture Week in Delhi on Sunday evening. Guests like Steve Waugh, Suzanne Roshan, Dimple Kapadia, Rinkie Khanna, Nikhil Nanda, Nitasha Nanda, Shobaa De, Shahnaz Hussain among others were spotted on the front row.
Amithab Bachchan's Daughter Shweta Nanda at the finale of The Delhi Couture Week
Big B's Daughter Shweta Nanda Walks The Runway For Designer Duo Abu Jani-Sandeep Kosla at The Delhi Couture Week – Grand Finale Show
Sweta Nanda Walks The Ramp For Abu-Sandeep.
Shweta Bachchan Nanda
Abu Jani and Sandeep Khosla with Shweta Nanda and Brett Lee
Shweta Nanda with husband, businessman Nikhil Nanda at The Delhi Couture Week
Shweta Nanda , daughter of megastar Amitabh Bachchan and Aussie cricketer Brett Lee provided a a perfect ending to the Delhi Couture Week, gracing the runway for the finale show by designer duo Abu Jani and Sandeep Khosla.
It is no secret that the designers are a hot favourite of the Bachchan family and Shweta, donning a three-dimensional lotus motif dress, carried off herself gracefully on the ramp last night while Brett, wearing a beige dhoti and off-white sherwani showed the world that his skills go beyond the popping crease.
"I loved the drama, the dazzle and the lotus. It makes you feel special and the clothes gave me the confidence," Shweta said after the show.
Echoing similar sentiments, Lee who also launched his fashion label at the couture week, said, "I am honoured to walk the ramp for them and they have used amazing materials".
"I'll wear this dress when I play against India next time," he jokingly said.
Jani and Khosla, returning to capital after four years paid a tribute to Hollywood glam dolls Madonna, Lady Gaga and Kylie Minogue, with their collection, ALMOST 24.
"For the first time we have tried to be experimental,funky and avant-garde with a new concept. We thought it would be fun and the response has been good. Its timeless elegance meets here and now, in your face, rock chick glamour," said Jani.
"This is 21st Century India in all her myriad glory.There's all the tehzeeb of the past tinged with a tongue in cheek nonchalance," said Khosla.
The designers admit they prepared for the show in 12 hours and the dancers on the ramp made it all the more special, though they wanted to have them in more numbers.
The sensual collection had saris, empire line jackets,and gowns.The collection was divided into three parts Abaan which had multi coloured floral thread embroidery with bling, Sonaar which payed homage to Sonar Kella, the book and film by Satyajit Ray and 'Shabb' which had a monotone of Gothic black forms.
Cheering the designer duo in the front row were celebrities like Dimple Kapadia, Rinki Khanna, and Shobha De.
I had no idea this thing existed until I was invited by The Ensemble Studio Theatre (thanks entirely to Tom Rowan) to participate as an actor this year. But that's what a lot of my acting career is like, so it's tough for me to judge whether or not I should have heard of it.
Imagine you're at a party where you don't really know anybody. You're supposed to be there, and yet no one would miss you for a moment if you slipped out the door. People are buzzing about, trying to connect with very specific intentions, and tremendous drama and change is unfolding all around you. You, meanwhile, are just sort of holding your arms out, hoping someone will pick up on your invitation to a hug. That, my friends, is an apt metaphor for my experience as a career actor, my general attitude toward parties, and frankly the beginning of my experience here at The Southampton Writers Conference.
It was cool, I don't mind telling you. I am a huge writing nerd, and love excuses to hear writers talk about their work and processes. I've been to another writers' conference twice before, the CVWC in upstate, both times as something of a tourist. I was just a shade closer to being an actual participant this time, working there as an actor for their playwrights, which means I get to attend readings and rub elbows with Emily Mann and - yes - spend a little time cloistered away in my room working on my own playwriting. Pretty sweet, and those strange party feelings always fade eventually (but must they always appear in the first place, galdurnitall?). More on that in a future post, I think.
To sum it all up (because Blogger ate a good three paragraphs that it told me it had saved yesterday [Blogger, you jerk][just kidding love you mean it never change]): social difficulties were surmounted, the quality of work was astounding, and the level of talent of my fellow actors was simply inspiring. I'm not just blowing positive-attitude smoke here. Without dropping names, the actors I got to work with were - across the board - professional, talented and fun. Most all of them were working, many you'd probably recognize, and just about all of them (with the exception of me and I think two others) had some previous association with EST. So in some small way, I checked off a personal goal in getting to work with that theatre (see 11/17/08). I hope, of course, to work with them again someday.
The work itself involved reading two plays twice - Tom's BurningLeaves and Ben Rosenthal's Neptune Kelly - in a cycle in which the first reading gave the playwrights material with which to revise, and the second came after two days' revisions and a brief rehearsal period, and was presented to whomever from the conference wished to attend. It was a good structure, and left us with time to sit in and do readings for Emily Mann's playwriting workshops, and on Saturday night her attendees presented some of their work to the rest of the conference in the form of our performing readings of about five minutes of each playwright's in-class creations. Any time I had spare from this schedule was generally spent in my room mulling over and revising my own much-neglected play-in-progress Hereafter.
(PS and also: Dear Reader, I'm certain that if the occasion arises in which I announce I'm going to once again write a bunch of interconnected scenes and see if after-the-fact they can be melded into a cohesive whole, you will of course come to my apartment, knock on my door and, when I open it, shout "NOT AGAIN," and punch me square in the nose. Hard. Because you love me. Anyway: I'd appreciate it if you could.)
It was interesting to be working on Burning Leaves again, particularly because I felt it was already a rather finished product the last time I performed it in November of 2008. Tom, fortunately, is a much smarter playwright than I, and had already made some significant cuts to the play before I read it again for the conference. In particular, he cut a monologue for my character in which he explains what traumatic series of events led to his fleeing New York. He had gotten feedback suggesting that this was one of the more irresponsible and less admirable things the guy does, sharing the burden of such personal history with his student. I missed it of course - it was a heart-breaking story to tell - but a great edit. In the course of the week Tom did more to streamline the play and adjust the balance of ethics and plot logic between characters, and I felt good about the final reading. I always want to do better, but I felt good. Again: my fellow actors were amazing; just committed and specific and true as all git-out.
Neptune Kelly is a cracker of a script. I had zero experience with this one before they sent it to me, and I have to admit that on first read I flinched a bit from it. It has a combination of earmarks of the kind of material I'm usually not too keen on: highly stylized, allegorical, verbose. Normally this makes for the sort of trying-too-hard off-off-Broadway showcase that's out there to MAKE a STATEMENT. As soon as we got in the room, though, I knew I had let prejudice in on my initial judgment, because the play rocks. It's not as allegorical as it first may seem - for one, it doesn't wrap anything up neatly - and the beauty of its verbose style is that it stems from committed, crisis-filled characters. It's funny, bold and poetic in the least pretentious way, and we had a ball with it. I had only one scene in Neptune Kelly (once again playing a teacher, somehow) but it sort of made up for my lost monologue in Burning Leaves, being an explanatory story for why my character committed and extreme and self-destructive act. I got to make this vaulting little journey from resolution to profound regret over a couple of pages, and in so doing propel another character into direct action, and that's just the kind of smarts and specificity that Ben's working with which allows him to create such a weird-but-true world.
Finally, the presentation of Ms. Mann's students' work was great fun, and surprisingly fulfilling. I've always been a fan of short-form presentations of theatrical work and the way its informality can invite more audience involvement and great spontaneity in the actors' performances, but you often have to take a certain lackluster quality into account for such undertakings. Timing may be off, words may be stumbled over, etc. Such was the quality of the writing and the acting of this little presentation that it lacked no luster. I laughed, I cried, it was better than lots and lots of the fully produced shows I've seen in my life. I was lucky to be a part of it (particularly, extremely lucky, actually, because my scene partner is an amazingly good actor). We had fully-formed, five-minute segments of passion, manipulation, Alzheimer's, shuddering regret and even loving cannibalism. Egad I love theatre.
Perhaps the most uplifting thing to come out of the whole experience for me is that I was asked to return this Friday, to participate in a staged reading of one of the attendee's plays, Wild Animals You Should Know. Thomas Higgins penned the script, and I'm a big fan of it. (Very odd: Thom had a script in The SFOOBSPF, in which I just participated.) It has a lot to do with the Boy Scouts of America, so that's a like a little visit into my childhood, and it is working with some of the same themes as Burning Leaves does. And, somehow, the reading is being directed by Joe Mantello.
Today I was humming this gorgeous old favorite from 1983 - Tumse Milke Zindagi Ko Yun Laga from Chor Police, the directorial debut of Amjad Khan which apparently tanked. I don't remember much about the movie, but I always loved this song! And upon re-watching, am a bit scandalized by how sensual it is! Parveen is either a tremendous actress, or she really had some warm fuzzies for Shatrughan Sinha. I can't think about Parveen too much because it is just too strange and sad.
Anyway, this beautiful song was sung by Lata Mangeshkar and composed by R.D. Burman.
For this season, Vivienne Westwood presents kind of an earthly like look, with frizzed hair and a brown make up color palette.
This seems reenforced by her always glam rock style: layers, printed t-shirts and a hard attitude on the runway.
Burgundy, brown, bordeaux, grey and a greyish blue, with strong touches of shocking colors such as yellow, violet and fuchsia, complete the meaning of the collection.
Add a bit of glow, fluid fabrics, and some scotish patterns, and you'll see: the british are coming.
Para esta temporada Otoño-Invierno, Vivienne Westwood presenta un look un tanto terrenal, con cabellos rizados y una paleta de coloresmarrón para el maquillaje.
Esto se ve reforzado por su eterno estilo glam rock: superposición, remeras estampadas y una actitud frontal en la pasarela.
Los colores borgoña, marrón, bordeaux, gris y azul grisáceo, con toques fuertes de tonos impactantes como el amarillo, violeta y fucsia, completan el sentido de la colección.
Añade un poco de brillo, tejidos fluÃdos y algunas estampas escocesa, y verás que llegan los ingleses.
Sonakshi Sinha and Salman Khan in a Scene From Dabangg More Pictures of Sonakshi From Dabangg Below
Ok...so I get up late on a Friday. It's 12pm and the first thing I do before I sip my hot cuppa chai is log on to Twitter and Facebook. Cut to Thursday afternoon. When you log in, you see the entire world awake, Bollywood celebrities going ga-ga about the Dabangg promo. From veterans like Satish Kaushik to new comers like Imran Khan, the list was endless. I too send a text message to Sonakshi congratulating her and the promo. She replies in affirmative saying that she will call up once she gets a bit free from her prior commitments. Cut to Friday. It's 12.15pm. I sip my tea and comment on the twitter page of Sonakshi Sinha, "You didn't call. OMG." At 12.16pm, my phone rings and my blackberry signals, 'Sonakshi Sinha calling'. I love Twitter, we all do, don't we? But we all love Sonakshi Sinha too. Yes, it just wasn't the promo which took the tweetiepies by surprise, oh no! It was the fact that the word 'beautiful' had a new meaning and it all changed on a mystic Friday afternoon. Welcome Sonakshi Sinha. Welcome to the world where dreams are sold, welcome the newest of the many Sinha's who've taken our cinema to new heights.
So elated is this beautiful girl, that she spoke her heart out, "I spoke to Rani Mukerji, my favourite actress. I got hundreds of text messages, my Twitter page was all filled up and my mother was keeping track on all of it."
So when asked, what did the eldest of the Sinha member, Mr Shatrughan Sinha thought of the Dabangg promo, Sonakshi answered, "My father and I saw the promo together and instead of me watching the promo, I was looking at him. He had tears in his eyes after seeing the Dabangg promo. He loved it and that for him, was his most emotional moment. For me too." Theatrical Trailer of Dabangg Click Here >> Song Promo of Dabangg Click Here >>
But it's not only Dabangg which she wants to talk about, the daughter of Shatrughan Sinha is very excited and anxiously waiting for his father's best ever role to come out in RGV's Rakta Charitra. She quotes, "I am eagerly looking forward to Rakta Charitra. I did visit the sets with my mother one day while he was shooting one of the key scenes with Vivek Oberoi. Whatever I saw, I had no words to describe it. It's like sounding too biased but it's still the truth. He is a class apart."
But before we parted ways, I had to ask the debutant, what she thought when people commented on Dabangg to open with a bang at the box office this Eid. "It's obviously going to work well for me as an individual if that's what the trade pundits have predicted. It's going to do even better for the Khans (Arbaaz, Salman) and Shree Ashtavinayak, as we all have had faith in this project right from the day of its inception. Never before has anyone commented so much in advance before a Hindi film's release and that too on networking sites. Thank you Twitter and Facebook."
Now imagine a life without these networking sites. For starters, it's working...and how! And as I write the final words to end this brief but beautiful talk with Sonakshi, two more Bollywood celebrities, Riteish Deshmukh and Kunal Kapoor tweet - "Extremely happy for my friend Arbaaz 'Robinhood Pandey' Khan and Dabangg looks like a Hindi pulp movie. Really looking forward to this one."
I hope Mr Ridley Scott and Russell Crowe are following our Indian 'Robinhood' Pandey. A much needed inspiration for them! Subhaan, Subhan, Suban Nadiadwala
Images of Sonakshi Sinha From the Film DabanggSonakshi Sinha With Salman Khan in a scene From Her Debut Film Dabangg
Sonakshi Sinha With Salman Khan in Dabangg
Sonakshi Sinha in Dabangg Opposite Salman
Sonakshi Sinha With Salman Khan in Her Debut Bollywood Movie Dabangg
Sonakshi Sinha in a Scene From Her First Film Dabangg
So I think there is a plethora of Rain Song Lists online, between blogs, articles and fan videos on YouTube, but after Filmfare's recent Rain Songs article and Dhoonya Dance's Facebook call for Favorite Rain Songs, I figured I might as well immortalize my favorites too, for posterity ... my favorite rain songs are ALL OVER THE PLACE in era & type (sexy vs. romantic vs. fun/dance-y). The title of this post refers to my favorite Bollywood rain song - "Parbhat Se Kaali Ghata Takrayee" from Chandni.
I'm not going to add commentary, there's plenty of commentary out there already on rain songs and the highlights/ridiculousness of them, plus the themes and repeat offenders of the rain songs are made obvious by skimming the list. I just wanted to list some of my favorites or ones that have remained in my head over the years ...
Pyar Hua Ikraar Hua (Shree 420) - 1955
Yeh Raat Bheegi Bheegi (Chori Chori) - 1956
Ik Ladki Bheegi Bhagi Si (Chalti Ka Naam Gaadi) - 1958
O Sajna Bharka Bahar (Parakh) - 1960
Dum Dum Diga Diga (Chhalia) - 1960
Rhimjhim Ke Tarane (Kala Bazaar) - 1960
Dil Tera Deewana Hai Sanam (Dil Tera Deewana) - 1962
Jaane Chaman (Gumnaam) - 1965
Chup Gaye Sare (Do Raaste) - 1969
Rama Rama (Naya Zamana) - 1971
Tum Jo Mil Gaye Ho (Hanste Zakhm) - 1973
Gore Rang Pe Na Itna (Roti) - 1974
Hai Hai Yeh Majboori (Roti Kapada Aur Makaan) - 1974
Bheegi Bheegi Raaton Mein (Ajnabi) - 1974
Prem Kahani (Prem Kahani) - 1975
Pyar Ke Din Aaye Kali Badal (Mahachor) - 1976
Rim Jhim Gire Saawan (Manzil) - 1979
Aaj Rapat Jaye (Namak Halal) - 1982
Mujhe Kya Hua (Justice Chaudhary) - 1983
Sajna O Sajna (Paisa Yeh Paisa) - 1985
Jhan Jhananan (Nazrana) - 1987
Kaaten Nahin Katthe (Mr. India) - 1987
Parbhat Se Kali, Lagi Aaj Sawan, Aa Meri Jaan (Chandni) - 1989
Dhak Dhak (Gharana) - 1989
Na Jane Kahan Se (Chaalbaaz) - 1989
I Love You Pyar Karoon Choon (Mahasangram) - 1990
Tip Tip Tip Tip Barish (Afsana Pyar Ka) - 1991
Megha Re Megha (Lamhe) - 1991
Dekha Teri Mast Nigahon (Khiladi) - 1992
Teri Isi Ada Pe Sanam (Deewana) - 1992
Obsession theme music (Darr) - 1993
Sun Sun Barsaat Ki Dhum (Sir) - 1993
Rhimjhim Rhimjhim (1942: A Love Story) - 1993
Jaanewale Zara Ruk Jaa (Roop Ki Rani Choron Ka Raja) - 1993
Saajan Re Saajan (Dulaara) - 1994
Tip Tip Barsa Pani (Mohra) - 1994
Dekho Zara Dekho (Yeh Dillagi) - 1994
Mere Khwabon Mein (Dilwale Dulhaniya Le Jayenge) - 1995
Na Na Na Mere Jaan-e-Jaana (Bandish) - 1996
Chak Dum (Dil To Pagal Hai) - 1997
Chori Chori Jab Nazrein Mili (Kareeb) - 1998
Tujhe Yaad Na Meri Aaye (Kuch Kuch Hota Hai) - 1998
Aankhon Se Tune (Ghulam) - 1998
Jo Haal Dil Ka (Sarfarosh) - 1999
Boondon Se Baaten (Thakshak) - 1999
Sawan Barse (Dahek) - 1999
Taal Se Taal (Taal) - 1999
Ghanan Ghanan (Lagaan) - 2001
Ishq Kamina (Shakti: The Power) - 2002
Idhar Chala Mein Udhar Chala (Koi Mil Gaya) - 2003
Bhaage Re Mann (Chameli) - 2003
Daiyya Daiyya (Dil Ka Rishta) - 2003
Dheere Dheere (Kyun Ho Gaya Na) - 2004
Hum Tum (Hum Tum) - 2004
Laga Prem Rog (Maine Pyar Kyun Kiya) - 2005
Barsaat Ke Din (Barsaat) - 2005
Woh Lamhe (Zeher) - 2005 I actually like the remix better, but for the purposes of this video:
Zoobi Doobi (3 Idiots) - 2009 I don't actually love this song, but figured I should add it since so many others love it. It's cute and all, but it's just not one of my favorite songs. It is however, a recent example of a rain song!
Kodu Potta (Raavanan) - 2010 *I tried to do a Raavan song, but couldn't resist some VIKRAM, especially when he's in the rain, so I had to do a song from the tamil version*
**Also, just had to do a shout-out to my favorite Tamil rain song of all time, from the movie Karuthamma - 1994 (esp. the part where the guy belly-flops into the water at 1:39)** - I think tamil rain songs will have to be immortalized sometime soon too - :
Clearly there's many more that I've probably missed, but these are the ones that I can think of/remember from my own memory. Based on this I'll have to crown Rajesh Khanna and Sridevi the King and Queen of Rain Songs.
Thanks for letting me share them with you and please feel free to tell me about your favorites! I feel like I'm missing a huge chunk from the 80s and I know there were TONS!
Unbelievably, I woke up this morning with this song in my head. I have no idea why. Perhaps because I was thinking about item numbers in relation to UPodcast, Totally Filmi, Beth Loves Bollywood and Filmi Girl's upcoming podcast? After all, Raveena Tandon is an "item girl" in this movie - the actual heroines are Shilpa Shetty and Raageshwari.
Main Khiladi Tu Anari was an Akshay Kumar starrer, with Saif Ali Khan in the secondary hero role. This song, MAD or My Adorable Darling, was picturized on Saif and Raveena, as Saif plays a film actor in this movie. I thought this song was super annoying so I have no idea why I woke up with it playing in my head, but there you have it.
Thoughts:
- WHAT IS UP with the background guys' outfits? Sparkly, Glittery Silver belly & moob-baring tops? For the GUYS? - The hair is SO 90s. - Whenever people try to tell me Saif Ali Khan is hot, THIS is the guy that keeps popping up in my head. That HAIR. - How quickly did Saif have to run around to jump out of each of the letters M-A-D at 0:41? - Love the disco background. - BTW I love Raveena. Even if she looks like Minnie Mouse at around 2:18. - When the guys finally get to change, they become Black Panthers? With orange biker shorts?
Enjoy! My Adorable Darling, aka MAD from Main Khiladi Tu Anari (1994)
