![]() ![]() The coming of VCR and cable networks impacted not just films but even its songs. This era also had television opening up to private productions. The songs of Dilwale Dulhaniya Le Jaayenge have acquired a cult status.Īs 1990s brought curtains down on the decade and even a millennium, Bollywood songs became bigger. Now, there wasn’t any need for any cut-ins as actors were close enough to fit in the single frame! There was DDLJ too which was a mixed bag of tracks – one for party, one for shaadi and one for the ‘sarson ke khet’ too! And among all of it, its manner of picturisation also changed with more proximity between the actors. Sooraj Barjatya’s films seemed written around a dozen of songs with the plot connecting each number. There was open flirting as guys and girls broke into a dance number at the drop of a hat. There was dance, a lot of it! There were celebrations too as onscreen romance became more fearless. A portion of the 1990s also introduced us to the three Khans, Madhuri Dixit, Karisma Kapoor and others. Each song, be it “Pehla Nasha”, “Ae Mere Humsafar”, “Dil Hai Ke Manta Nahin” or “Bahut Pyar Karte Hain”, made us believe in love.ġ990s – The decade of celebration Sooraj Barjatya and Sanjay Leela Bhansali’s films are loaded with celebratory songs.Īs 1980s drew to a close, the softness and subtle nuances of these songs began giving way to fast and orchestral forms too. There was romance, longing, betrayal and confessions and every aspect was shot with a proper screenplay of its own. On the other side of the camera, it introduced us with the voices of Udit Narayan, Alka Yagnik and Kumar Sanu, on the front these songs majorly had a dreamy set-up, making anyone fall in love. Towards the 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 musical blockbusters. Aamir Khan and Pooja Bhatt film Dil Hai Ke Manta Nahin is one of the biggest musical hits recently. On the other hand, both the Kapoors wooed their ladies in their super romantic numbers. Bachchan’s songs were either playful or had intense action happening (not literal fighting but the thrill of the climax). This perfect combination reciprocated well onscreen too. While Lata Mangeshkar, Mohammad Rafi, Asha Bhonsle, Kishore Kumar and Hemant Kumar were the mainstay of the playback singing scene, big actors like Amitabh Bachchan, Shashi Kapoor and Rishi Kapoor gave them the apt face value. The structure of songs had a relative stability. They were written and woven as per the requirements of the film and in the respective situations. Music and songs in this period were intimately connected to the storyline. “Pyar Mein Dil Pe Maar De Goli” had as much stuff happening in the song as in “Pyaar Karne Wale”. ![]() Parveen Babi and Zeenat Aman lead the epic playlist of this era. They romanced the actors in a setting that perfectly fit into the smooth screenplay. The only thing which changed was how a film’s female lead began doing exactly what Helen did a decade back. From “Piya Tu Ab To Aaja” to “Mera Naam Hai Shabnam” and “Chadti Jawani Meri Chaal Mastani”, the songs of this phase still hold a place in our party playlist.ġ980s – The decade of growing romance Amitabh Bachchan films gave us some of the biggest romantic numbers Bollywood ever had.Ĭome 1980s and the royal reign of RD Burman continued. This has been called the golden phase of Bollywood not just because of its blockbuster films, but also for its legendary songs. ![]() A lot of zoom shots were used for the same, both on their faces and their hip shakes. Most of them were filmed as party songs where these beauties danced their way trying to get through the main lead’s heart with their piercing eyes or body movements, literally trying to hypnotise everyone watching them. They either happened inside the villain’s den or were meant to add thrill to the climax. This might be the cabaret or the disco phase but the placement of these numbers highlighted the plot. The 1970s was a phase when cabaret and disco dance took a front seat.Įven in their guest appearances Helen, Bindu and Aruna Irani became the perfect face of RD Burman’s tracks in the 1970s.
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