Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Happy song’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie songs and a regular contributor to this blog.

Our country is a land of villages, and it lives in the hearts of the farmers of this land. There is an immeasurable bond that we Indians have with the mitti (soil) of this land; that which cares for us and provides for all our needs.
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When Hindi movie music directors wanted to create songs of a particular mood, they would explain the situation to the lyricist and he would write a song for the occassion. Then music director would compose the music and get the song recorded.
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When India won the world cup on 2nd april 2011, it was a great feeling for millions of Indian cricket fans and they celebrated late into the nights and well into the next day and the next. The fact that the final was played on saturday and there were two days of holidays on the following days (Sunday being the normal holiday and monday being Indian calender’s new year day), people had enough time to celebrate and get over the hangover.
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“Kaala Sonaa” (1975) to my mind is inspired from “Westerns”. In this movie, Feroz Khan plays Clint Eastwood. Unlike Clint Eastwood, who would barely speak, our desi tough guy would not be averse to multi task. He would find time to romance, sing and dance, in addition to performing his day job of seeking revenge for the murder of his father.
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Meena Kumari is typed cast as a tragedy queen in the minds of many movie watchers, but that is not entirely correct. For the first decade of her career, she played happy roles and it was only in the second decade of her career (viz 1960s) that she began to work in the tragedy roles.
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This article is written by Raja, a fellow enthusiast of Hindi movie music and a regular contributor of write ups to this blog.

When I was a young boy I never quite understood why a movie was often referred to with the director’s name attached to it. For example, people would talk about Hrishikesh Mukherjee’s Anand or Bawarchi or Shakti Samanta’s Aradhana. For me these were movies of Rajesh Khanna first and foremost. Yet they would invariably be attached to the director, as if he owned the movie.
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