Down Melody Lane..::..Article on Films, Personalities, Music Reviews and More..

A plethora of stars, small and big, made their way onto the film screen. Names that stood out were Rajesh Khanna, Amitabh Bachhan, Joy Mukherjee, Shammi Kapoor (who made his debut in the 50s), Shashi Kapoor, Asrani, Deven Varma, Keshto Mukherjee, Sujit Kumar, Ranjeet, Prem Chopra, Asit Sen, Utpal Dutt. The giant movie production companies were fast being replaced by individuals and newer production companies, few of who would make it even into the seventies. Gemini, Vijay Anand, Navketan, and of course, RK Films and Rajshri made film history with gifts to the industry that will never be forgotten. BR Ishara's off-beat movies alongwith V Shantaram's, K Asif's, Kamal Amrohi's magnum opuses, created a kaleidoscope of what the Hindi film industry was capable of. Indian cinema was recognised as parallel to Hollywood and the Thames, and the word "Bollywood" was coined.

One stark trend that began with this decade was the glaring depiction of the poor-rich divide. The obvious reasons for this was the economic and political messages that were in vogue. High tax rates made Nehru's socialism seem like a misguided Robin Hood; coupled with political rhetoric and Indira's 'raid-raj' wherein the rich were dubbed outright wicked. The often lazy and poor were convinced into believing that they were poor because the rich were rich - reservations and handing out of freebies made them lazier, poorer and even more frustrated. This was the theme to dominate most social films of this era, even the so-called formula films.

The sixties had mainly fun films with large doses of romance, drama and family values. The comedian, vamp and villain made otherwise even monotonous movies immensely watchable. Pran was still the archetype of the villain, Prem Chopra following closely. Vinod Khanna had just made an entry as villain, but went on to become a much better hero. Even Sujit Kumar was appreciated, not only as villain, but in his later character roles too. The galaxy of heroines boasted some of the most versatile actresses and symbols of beauty ever to appear on the Hindi screen. Mumtaz, rising from stunt movies to the pinnacle of stardom, beauty and joie de vivre personified. Madhubala's illustrious career ended tragically. Sharmila Tagore, Vyjayantimala, Mala Sinha, Nanda, Asha Parekh were some of the most prominent. Nutan and Meena Kumari were the epitome of feminine virtue (60's brand), largely confined to sobbing roles. Musically, Kishore Kumar was coming to the forefront, and with the advent of Rajesh Khanna and Aradhana, Kishore became the icon for young music lovers. All singing henceforth would be at a high pitch. The music directors were still from the old school, RD Burman being the first to break the traditional mould.

The latter part of the sixties, (which spilled over until about the mid-seventies) saw a number of senseless loud movies with terrible actors, stories and forgettable music. It was as if the movie-goer was once again hankering for a change.

The 70s

Easily the most "happening" decade in the history of Indian cinema, it was heralded by the coming of a superstar, the likes of whom had never been seen and would not be repeated (at least, until the time of this writing - 2006). The name of Rajesh Khanna became synonymous with Hindi cinema. He became a virtual god. The entire industry appeared to revolve around this "Phenomenon", as he was called. His style of romance, intense yet fun loving is still the romance seen on the screen, irrespective of the action and sex that is now the excuse for movie making. Some of the best films ever had this Phenomenon as the lead player. In fact, in a movie of Rajesh Khanna, no-one else mattered. Nevertheless, the contribution of - his heroines, especially Sharmila Tagore, Mumtaz, Asha Parekh; extremely hummable tunes and soothing lyrics composed by the masters of that era; Kishore Kumar, the voice of Kaka (Rajesh Khanna's nick name); very intense directors and story writers - was by no means insignificant. In fact, all told, everything was tailor made for success. Amar Prem, Safar, Anand, Aradhana, Do Raaste, Dushman, Daag, Aap Ki Kasam broke every record in the book. Even his lesser films created waves that latter-day distributors would give an arm and a leg for.

Anyway, political turmoil in the country led to wide-spread frustration. As with most art forms, art is mainly the extension of the sociological temperament of any people. Hindi movies were no exception. And Amitabh Bachhan burst onto the screen with road-side mannerisms, loud, uncouth behaviour, and a celluloid vent to the frustrations of the common man, who always triumphed over evil using his fists. And screen fights became even more unbelievable than the stunt films of Ranjan, Cawas or Dara Singh.

It must be added that TV and video had made large inroads into the lives of the better-off. As it was, theatre goers from the classes had dwindled considerably by the mid to late seventies. The lower rungs of society dominated the fate of Hindi movies, and what better icon than Amitabh Bachhan? Given the roles that he played, Hindi film music fell to abysmal depths, since the plots and sequences demanded only meaningless lyrics and loud cacophonies. Some of his movies where Jaya Bhaduri or Rajesh Khanna were pivotal were very good, but by and large, his solo movies were pedestrian. The more meaningful films that he dared to do like Jurmaana or Saudagar were flops, and he was a total misfit. He instantly flipped back to doing what he did best - cater to the 'seetee wallahs'. Since Amitabh could never carry a movie on his own, unlike the previous heroes, he had to resort to having other superstars of the day like Dharmendra, Vinod Khanna, Sanjeev Kumar, Shashi Kapoor or Shatrughan Sinha as props - the multi-starrer was born. The new breed of box-office judges wanted more bang for the buck, and this was the solution.

Any such endeavour is sure to fizzle out, but surprisingly endured well into the eighties and even the new millennium, when Amitabh was crowned the Big B. So much for quality!