Some directors have an uncanny knack of visualizing and filming songs in a way that blends into the narrative (of the movie). They use unconventional song-filming styles to wow the discerning viewer. When I think of this, the first few that come to my mind are Vijay Anand, Raj Khosla, Manoj Kumar, Raj Kapoor, Mani Ratnam and Zoya Akhtar. I still remember when I first listened to some of the songs, I couldn’t imagine the way they might have been shot. Their songs don’t follow the trodden track. For instance, Waheeda Rehman truly lived the song “Aaj phir jeene ki tamaana hai” on screen, celebrating the newfound freedom. Or Raj Kapoor pioneering the dream sequence in the song “Ghar aaya mera pardesi” in Awara. “Ae ji, O ji” from Ram Lakhan, gave Anil Kapoor, one of the best introductions a hero could have asked for.
The song that I want to talk in more detail about is from Abrar Alvi’s Sahib Bibi Aur Ghulam. Rehman essayed the role of a husband/zamindar (Sahib), Meena Kumari - the lonely and complex Choti Bahu (Bibi) and Guru Dutt - the confidante (Ghulam). The movie, set in a feudal era portrayed the ambiguous relationship between the biwi and the ghulam. The debate whether Guru Dutt ghost-directed the movie or not is still alive.
All the songs from the movie are beautiful but this song deserves a special mention – “Saaqiya aaj mujhe neend nahi aayegi.” It was sung by Asha Bhosle and was filmed on Minoo Mumtaaz. Behind the camera was V K Murthy, the famous cinematographer, who contributed to most of the iconic scenes in Guru Dutt’s movies (the famous crucifix scene from Pyaasa or the beam shot in the song “Waqt ne kiya kya haseen sitam”). At the first go, the song looks like a usual mujra; zamindar relaxing on a sofa, blowing a hookah and sipping wine, while the dancers in bright sequined dresses are dancing.
When you look closely, you will realize that there is more to it than what meets the eye. Lights and shades are used to maximize the effect. The main dancer minoo mumtaz is focused in light while the background dancers are all in silhouette, almost like the director is asking the audience to focus on the main character, both in the song and the movie. This song continues the mystique that forms the central theme of the movie. The dark undertones that dominate the story are amply reflected in the song through effective use of shadows. This song tells us what can be done with black and white.
Does anyone want to see the song in color?
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