Remember that immortal song from the film "Kinara"? That lovely assertion "meri awaz hi pehchan hai" has over the years grown to be the signature tune of Lata Mangeshkar. This tribute to her on her death anniversary would like to state that unbelievably varied are the moods of that voice.
A truism this statement may appear to be. Let us hence in our blog try an appreciation which possibly is a little different. Very rarely are Lata's "naughty" ditties discussed, right? Sure, she avoided the oomph songs. It seems, she found "abhi na jao chodkar" 'suggestive'! To be very frank, till this date, I have not deciphered why/how!
Hence this attempt to understand her "bahon me chale" from 'Anamika'. Well, listen to that refrain. The hook line is " baho me chale aao". The queen of pronunciation, rather enunciation, that she was, Lata takes a slight, almost unnoticeable, pause after "aa", and it is heard as "aa o". In my opinion, that pause adds a cute naughtiness, without the open invite sounding vulgar.
In fact, she has sung the entire song as if it is more a chatter than an overtly seductive 'come hither' type. The whisper effect, enhanced by the impossibly high note (she alone could manage it so musically) stanza finally, adds a subtle allure to that naughtiness, right? May be, it adds to the mystery in the film, too, I suppose.
Yet another interesting facet of Lata's artistry is that her voice enacts the screen emote, right? Well, the song is picturised on Jaya Bhadhuri. Then she was the sweetheart of Bollywood, surely not the "angry old woman" (just a take on the famous Amitabh persona, no ageism/no aspersions meant, please!) much derided now.
In my opinion, Lata's rendering of the Majrooh Sultanpuri verse manages to capture the cute innocence (notice, please, in this context Lata's smile in the song. She does not laugh, nor does she simper, she cutely smiles, right?) of Jaya's sweet face then. This R.D. Burman product in the Lata version of naughtiness has all the charm of the Asha sizzle without the sensual provocation, right? No wonder, "unki awaz hi pehchan hai" as our title puts it!
Pratima@At the BMCC, the Internationally renowned project n light artist, Herr Philip Geist from Berlin, Germany, literally performed magic in the evening.
With two haze machines, four projectors, and a software programme, it was graphic design as the witchery of light, accompanied by lovely sound effects. The College building appeared 'ethe-real'! Beautiful beyond words!
Quote of the day: "Art washes away from the soul the dust of everyday life, " asserts Pablo Picasso.
Word of the day: exclusive. Exclusive refers to something unique, restricted to the person, group, or area concerned. Lata's rendering of the naughty ditties is exclusive, for instance.
Let us learn grammar: A di-transitive verb, as the very name suggests ('di' in Latin means two), uses two objects, direct and indirect. A direct object is necessary for the meaning of the sentence to be complete. Let us look at an example. We learn grammar/music/painting/cookery/gardening, and so on. Unless the object is stated, " we learn ..." would be incomplete. Hence it is the direct object (" what" is the question often asked to locate it).
Now look at this sentence. "She explains grammar to students". The "to students" is extra information, not necessarily crucial to the meaning of the statement. Hence the indirect object ("whom" is the question that places it).
No comments:
Post a Comment