Shashi,
I have only one thing for you, sincerely
It totally amazes me about the depth of your observation and moreover the ease and simplicity of conveying your findings to the "aam-junta". I'm taking liberty of saving this post for your reference, truly very very well written.
thanks for sharing your thoughts with us.
Here's what Shashi has to say....
1. Firstly let me say that crap is universal - there is no direction to it. There are enough instances of mulch marketed as art in every movie sector - be it Hindi, southie production, Punjabi film or a Chiranjeet's Bangla action thriller.
Now what can an MD do about it. Quite a few things. MDs have refused illogical words, cheap words and even suggested changes. For instance Pancham was hesistant of even making Lata say the word 'badmaashiyon' written by Gulzar. The MD has to willingly participate in the making of an item song. These are experienced music composers (most of them) who know what the output sounds like.
Pancham had only a few instances of sheer desperation - and mostly in the 90s where he agreed for either a 'Main Na Jhooth Bolun' or a 'Step by Step' or 'Dil To Chaahe Hamaara', etc. Even then he has been foolishly candid (foolish - from a self-marketing perspective) to complain about the detierorating words.
An MD can rise above the words if needed. At the same time, an MD can become careless and compose mindlessly.
In Boppi's instance this happened due to his sheer overload of work, his penchant to lift music, his strategy to record 5-8 songs a day. Where is the time to nourish the tunes?
Forget the Padmalaya banner movies, Boppi was lackluster even in his other ventures in the 90s. I like Boppi's earlier works - be it Aap Ki Khaatir, Manokamna, Toote Khilone, Aangan Ki Kali, Lahu Ke Do Rang, etc. Even in the 80s he would still provide one odd good song in movies like Taxi Chor, Laparwah, etc.
However his music compositions degraded wherein his arrangements were half-hearted, his interlude music pieces were completely uninspired.
Many would point to his output for Prakash Mehra. I only see Boppi carrying on KA's tradition with Prakash Mehra. Even there KA far exceeded Boppi in giving the masti-bhara Kishore Kumar numbers.
Pancham on the other hand - his music never suffered. In fact in the 90s you will find him completely adventurous in music arrangement. Take albums like Gunhegar Kaun, Jeene Do, Parinda, Gurudev, Chor Pe Mor, Khule Aam, Siyaasat - he gave mind-blowing music pieces. In fact it almost seemed as if he cared 2 hoots for what people wanted. Only in rare instances did he attempt to compete with the prevalent LP - say in Alag Alag or tried a SJ in Awaara Baap.
Even when he did not have the right resources - as in Anyay Hi Anyay - he still managed to churn out some decent music arrangements. His non-filmi albums Dil Tera Hua or Tera Mera Pyar Jawan are still quite experimental to date. Lots of people complain of it being too electronic - I find this as a different sound he was experimenting with.
Even in the 80s when Pancham was the most overworked - he rarely allowed his quality to suffer. In fact he confidently composed beauties like Zameen Aasmaan, Ram Tere Kitne Naam, Sunny, Andar Bahar, etc. You would not find him reusing his same arrangements - repeating work with the same singers and lyricists.
In fact in the 90s post Rafi and KK - Pancham experimented the most with the singers. Sure many of his attempts backfired. But he did not sit comfortable dependant on Asha and Amit and borrow whatever was succeeding. Instead he was still being innovative with a Sudesh Bhosle, Babla Mehta, Gautam Mukerjee, Kavita, Alka, Jayshree Shivram, etc.
The difference between LP, Boppi, KA and RR on one side - and Pancham on the other is - the amount of compromise a composer would make to be in the rat race. Pancham bemoaned the fact that he did not get enough work - but he NEVER compromised to get work or to succeed. If he made a 'Boliyan Ve Boliiyan' or a 'Seene Mein Shole' or a 'Maine Kaha Tumne Suna' - he made it as per his wishes. If the director tried to impose - as in the case of Oonche Log, Dacait, Indrajeet - the difference is quite apparent. Pancham went overboard to admit his compromise.
I have never ever heard or read either LP or Boppi admit to ripping Mori Kante - I heard them backbite each other on who made a better Jumma Chumma or a Tamma Tamma.
So to return to your point - I do believe Pancham made some compromises - but the instances are so few to dim his creativity. Even if a lyricist gave him a line like 'I am a sexy playboy' or 'Baat Thi Yaar Ek Bair Ki' or 'Sholo Se Garam Ho' or 'Duniya Kii Aabaadi Mein Aayega Zalzala', etc. - he managed to still churn out....dunno why I suddenly remember my friend Dr. Viyakar - the word is aah "humdinger!!!".
2. Ok...I have to admit - out of the Bangla movies you mention - I have only heard Birodh, Kalidas and Purshottam properly. The remaining I am saving - need something to look forward for the next few years. Hence I can comment only on these movies. And let me also admit - I have no clue of the meaning of Bangla lyrics - am language challenged when it comes to Bangla.
However - I can read RD Burman or Rahul Dev Burman in any language. I am still proud of digging out a Kalidas - when 2 of my esteemed and veteran Bengali friends could not.
Anyways - Birodh was a dual language movie - I find both Shatru and Birodh with potential. As far as Pancham is concerned - he rose above even horrible lyrics in Hindi - what was it 'Babuji Dil Doge...Dil Lene Ka Dil Dene Ka Mausam Aa Gaya'. If someone showed this line to Dada Burman - tandav!!!
Purshottam seems to be growing on me day by day - be it the Amit Kumar number or 'Dit Paari' sung by a audibly tired/ailing Pancham.
As for no one remembering any song from these movies, I do not have the details - but I would have these questions:
1. How well was the music marketed?
2. How timely was the movie made and delivered to screen?
3. The fate of the movie
In the 90s most movies stopped having the 25 week silver jubilee runs. Even then...there was always 3-4 movies released every week. In those days the only people who succeeded (read Subhash Ghai, Yash Chopra, the Barjatyas, etc.) were the ones who invested in marketing their product. Then even if you had a weak product like 'Hum Tumhare Hain Kaun' or 'Khalnayak' - you still got attention and limited time adulation.
Imagine if the same amount of effort was spent on a Gurudev or Siyaasat or Rama O Rama - they would've succeeded more than what they received.
The same I believe would apply for Bangla movies. In case of Purshottam I do know that Pancham was closely associated with both Biswajeet and Prasanjeet - so there is no refusing that movie. In fact when I heard it was Prasanjeet's directorial debut - I purchased the VHS of this movie. Alas even though hiis intent was good his narration was muddled and amateurish.
As for your statistics that 90% of times Boppida's associated with his southern remake outputs - well...if we did do an analysis of his assignments in the 80s thru 90s - 90% of his output is/was for those banners.
One more thing - what I hated about his output was - he hardly spent any time composing. Most of the numbers were direct lifts from the original Tamil or Telegu songs. It was like Boppi and Indivar and Arun Paudwal spent time doing timepass in the recording studio.
Pancham - we associate him with so many unique sounds. What was so unique or signature about Boppi in any of these numbers? Actually it was Indivar who shone more than Boppi in these songs - cause one can still recognize his 'Ooi Ooi Garmi Hai Kahan Hai' or 'Pyar Ki Gaadi Tez Chalaao'.
Boppi also composed with veteran wordsmiths like Kaifi Azmi and Amit Khanna - but in the 80s - even his 'Sachche Ka Bol Bala' or 'Ham Rahe Na Hum' sounds like his output for Indivar.
Finally I am not ignoring Boppi's worthy output - in fact I have a list of my own favorites. But none of them I listen for their music arrangement. These are good...some even great songs. But only to listen. Nothing there for me to go "ooh...check out those drum beats" or "wow.....what a riff on guitar" or "omygosh...what is that sound".
Pancham was and is the only music composer - who went on extended vacations during his music pieces - be it interlude or M1/M2/M3 music.
As I had mentioned - I think we have gone beyond Pantera - my last post on this thread. Thanks for being patient to my ramblings.
Shashi
