By: Ratnakar Sadasya

Love, Romance, Pyaar, Ishq, Mohabbat whatever names you call it love is an emotion that would stay in this world forever and would never disappear. Every one in his lifetime has loved at some stage or other and this love has found it´s way into our movies. Times may have changed, techniques may have improved, but love is something which has been a part and parcel of Bollywood and will be ever so.

The 50´s saw the rise of the star system and Bollywood had it´s first triumvirate of stars- Dilip Kumar, Raj Kapoor and Dev Anand. Each of them had their own distinctive style of acting and each of them had their own approach to romance as well. Dilip was the serious lover, intense and sensitive who would delve deep into it. He would die for his beloved (Devdas), scheme to make her his (Andaz), defy an emperor (Mughal-E-Azam). In many a tragedy Dilip broke the hearts of the audience with his portrayal of unrequited love. One of the greatest romantic scenes is from Mughal-E-Azam where he caresses Madhubala´s cheeks with an ostrich feather. Nothing is said much but the eroticism of the scene is something to be seen to be believed. In many ways Dilip was the classical lover, the typical tragic Greek hero who is destined to die for his love. There were also movies like Aan, Kohinoor where he played the swashbuckling lover to the hilt. Dilip could be Errol Flyyn as well as Marlon Brando together. No wonder he had a series of clones Rajendra Kumar, Manoj Kumar, Amitabh Bachchan who looked upto him.

If Dilip was the serious, intense lover, Dev Anand was the exact opposite, he was the flirty, flippant rogue who would shamelessly flirt with the heroine. His cocking of the eyebrows, ungainly walk, shrugging of shoulder all lent him the image of a modern day Lothario for whom love was fun. Dev provided some of the most interesting dimensions to love. He had no qualms about trapping an innocent girl into his love (Jaal), he flirts shamelessly with 3 women leaving us to guess (Teen Deviyan). But some of the best romantic scenes in Hindi movie come from Dev. One is the song "Dil Ka Bhanwar Kare Pukar" from the movie Tere Ghar Ke Saamne where he serenades Nutan on the steps of the Qutab Minar. Just take a look at the lovely picturization of the song, where he sings the song and Nutan smiles coquettishly on the steps. The entire song is shot in the Qutab Minar and Dev, Nutan´s performances in that song are something to watch. This is one of the most romantic numbers ever seen. Dev and Nutan made a real great pair, and it´s a pity they came together only in 2 films, the other one being Paying Guest. Another heroine with whom he made a real great pair was Mumtaz (though again they came together in only 2 movies). Watch the song "Hey Maine Kasam Li" from the movie Tere Mere Sapne. The entire song is picturised on the duo riding on a bicycle, through the open fields, declaring undying love for each other.

If Dev was the flippant rogue then Raj Kapoor was the tramp, the good hearted soul. Think Raj Kapoor and the name which comes to mind is Nargis. If you want to know why they made such a great pair watch the song "Pyaar Hua Ikraar Hua" from Shree 420 and you will know why. If any song deserves to be called the Romantic song of the century then it has to be this. The image of the 2 lovers huddled under the umbrella walking in the rain, singing to each other is the ultimate romantic fantasy any one can have. Think of it many of us would love to walk in the rain with our beloved, huddled close to each other. The most poignant part of the song comes when Nargis points to a group of kids and says "Hum Na Rahenge, Tum na Rahoge Phir bhi rahengee Nishaniyan" (Neither you nor I would be, but the signs of our love would always be there). True neither Raj nor Nargis is around but their kids still carry the same love their parents displayed on screen.

Another unforgettable romantic scene is from Awara where the tramp Raju (Raj Kapoor) displays his animal love for Nargis, when he slaps her and grabs her by the hair on the sands. Another great Raj Kapoor movie Anari directed by his close friend Hrishikesh Mukherjee has a wonderful romantic sequence with him and Nutan in the song "Woh Chand Khila, Woh Tare Hanse". Nutan makes playful fun of Raj´s innocence when she says "Samajhane wale, Samajh sakenge, Jo Na Samajhe Who Anari Hain". (Those who can understand will do, and those who don´t are always innocent).

One of the most unforgettable actors of the 50´s would always be Guru Dutt. One of the best film makers from India he combined sensitivity with social realism to create a series of classics. If Raj Kapoor and Nargis were synonymous, then say Guru Dutt and the name that immediately jumps to mind is Waheeda Rehman. She made her debut as the villain´s moll in CID and later starred in two of his classics, Pyaasa and Kagaz ke Phool. One of the best romantic sequences again comes from Pyaasa where the prostitute Gulabo (Waheeda Rehman) suggestively lures the disillusioned poet Vijay (Guru Dutt) to the tune of Jaane Kya Tune Kahi, and the way she plays a game of hide and seek with him as he follows her all the way. The subtle romance between the prostitute and a failed poet, two of society´s outcastes made this one of the greatest classics of all time. Another great romantic scene is from the classic Sahib Bibi aur Ghulam which saw Meena Kumari in an awesome performance as Chhoti Bahu. The song "Na Jao Saiya" where she drinks and begs her debauched husband (Rehman) not to go to the kothi bought out the yearning of a tormented soul neglected by her husband and yearning for his love so brilliantly. Though Sahib, Bibi Aur Ghulam was ostensibly directed by his assistant Abrar Alvi, the touch of Guru Dutt can be seen throughout the movie.

Come the 60´s and it bought with it color and escapism. The 60´s was the era of candy floss romances set in a hill station (Simla, Nainital or Darjeeling). The era was dominated by boy meets girl in a hill station where they would croon songs to the music of O.P. Nayar or Shankar Jaikishan. This era saw the decline of Dev-Dilip-Raj trio and the emergence of a new breed of stars- Rajendra Kumar, Manoj Kumar, Sunil Dutt, Raaj Kumar, Biswajit, Joy Mukherje, Dharmendra and above all Shammi Kapoor.

Shammi Kapoor was to 60´s Bollywood what the Beatle´s were to rock and roll - a trendsetter. In terms of thematic content Shammi´s movies were strictly formulaic, boy meets girl - papa doesn´t agree - papa agrees - boy and girl get married. But what differentiated Shammi from the rest of the pack was the way he expressed his romance. No mooning looks or glances, no shayari, his romance was exuberant to the core. At a time when the heroes had 2 left feet with regards to dancing, Shammi was the first dancing star, much before Jeetu became popular as Jumping Jack. Shammi cared a heck as to what the world would say, if he loved some one he would go all out to express it. No hiding of his feelings for him. Just watch the way he serenades Sharmila on a shikara in Dal Lake in Kashmir ki Kali with "Yeh Chand sa Roshan Chehra", or the way he serenades Vyjayanthimala at the party with "Badan Pe Sitare" in Prince. Helped in no small measure by the tunes of Shankar Jaikishan and O.P. Nayar, he created a cult following. Shammi brought eve teasing into films (forgive me feminists) but it was done tastefully. But Shammi was not just boisterous romance as he proved with his unforgettable romance with Hema Malini in Andaz as a widower who falls in love with a widow. There were imitators like Biswajeet and Joy Mukherjee but sadly to say none were even close to him. Shammi was Shammi no one could replace him.

If the 50´s belonged to Dilip Kumar, the 60´s belonged to another Kumar, his clone, Rajendra Kumar. Though nowhere as talented as his guru, nevertheless Rajendra Kumar wooed audiences with his imitation of Dilip Kumar. He often played the tragic lover or the soft one who wooed his beloved with shayiri and elegance. Called the Jubilee Kumar for delivering hits in a row, he rose to stardom when ironically the original one Dilip Kumar was in a state of decline with flop after flop. He was the dreamy eyed romantic of an old school whom many now a days would not identify with. Coupled with the fact that he was no great shakes as an actor, many wonder how he became such a big star. He did have an effect on the ladies of that time though (My Mom is one of his biggest fans).

Another talented but underrated actor who emerged in the 60´s was Sunil Dutt. Sunil had also given significant portrayals in the 50´s films like Sujata where his song with Nutan on the phone "Jalte Hain Jiske Liye" is regarded as one of the best picturised songs ever. He attained fame with Mother India as the wayward son of Nargis (whom he married incidentally). But he gave some of his finest performances in the 60´s and one of his best was Gumrah. As a cad who romances the wife (Mala Sinha) of Ashok Kumar, Sunil Dutt put in one of his finest performances. He again gave a brilliant portrayal as the supportive husband of Vimmi in Hamraaz who can't get over her missing lover (Raaj Kumar). Some of the outstanding songs in the movie were "Tum Agar Saath Dene Ka Wada Karo" (where he declares his love for her) and "Kisi Pathar ki Murath Se". The latter song is sung by him at a party where he expresses his anguish over Vimmi´s cold attitude towards him.

In the 60´s came two of the greatest romantic classics of all time from Bollywood - Guide and Pakeezah. Pakeezah starred the under rated Raj Kumar in one of his best performances and Meena Kumari as the courtesan with whom he falls in love with. The dialogue "Yeh Paav Zameen Par Mat Rakh Li Jiye, Maile Ho Jayenge" is one of the most romantic pieces of dialogue ever heard.

Guide was one of the most significant movies in Bollywood in that it broke many conventions. For the first time a heroine broke away from her uncaring husband to live in with her lover and she doesn´t hesitate to reject him when she finds out he cheated her. Waheeda Rehman put in one of her finest performances to date and the song "Aaj Phir Jeene ki Tammana Hai" expressed the repressed desire of a lady to break free from all the conventions of the world. Dev Anand and Waheeda Rehman had earlier starred together in other hits like Kala Bazaar, Solah Saal, but Guide was to be a landmark in their movie careers.

The 70´s saw the arrival of a young star who with just a toss of his head and a crinkly smile saw many females going gaga over him much the way their daughters do now on Hrithik Roshan. Yes you are right on target, I am referring to Rajesh Khanna the man who created a mass hysteria among females when the Khans and the Roshans were still in their diapers. If Mohd. Rafi, O.P. Nayar were responsible for creating the Shammi Kapoor magic, then Kishore Kumar and R.D. Burman were the men behind Rajesh Khanna. From the time when he serenaded Sharmila Tagore with "Mere Sapnon Ki Rani" on a moving train in Aaradhana he drove his way into female hearts. He crooned "Oh Mere Dil Ke Chain" to Tanuja in Mere Jeevan Saathi wooing her with his trademark smile while he gave assurance to Asha Parekh with "Jis Gali Mein" in Kati Patang. Khanna was the tragic lover dying for the sake of his beloved in movies like Aaradhana, Safar, Aap Ki Kasam, Premnagar, Amar Prem. He told Sharmila that he cared a heck when he crooned "Kuch to Log Kahenge" in Amar Prem. He expressed love for Mumtaz´s "Yeh Reshmi Zulfein" in Do Raaste. Yet he bought many shades to love as a dying patient who urges his beloved (Sharmila Tagore) to marry some one else in Safar, a husband who suspect´s his wife (Mumtaz) in Aap Ki Kasam, a rich man who seeks the solace of a prostitute (Sharmila Tagore) to escape his unhappy marriage in Amar Prem, he bought a new dimension to love and romance. Unfortunately a series of mediocre movies, stereotyped performances bought about his downfall.

The 70´s also saw some wonderful romantic movies. One of the best was Aandhi a sensitively directed movie by Gulzar about the estrangement between an ambitious wife and her husband. One of the most poignant and touching scenes of love from this movie is the song "Tere Bina Zindagi Se Koi" where the husband (Sanjiv Kumar) and the wife (Suchitra Sen) meet at the ruins and express their love. The wife misses her husband greatly and that anguish is beautifully expressed in the lines. "Jee Mein Aata Hai Tere Daman Me Sar Jhuka ke Hum Rote Rahe" (Wish I could bury my head in your bossom and weep my heart out).

Another beautiful song picturisation of love is from Abhimaan where the husband (Amitabh Bachan) and wife (Jaya Bhaduri) meet after separation in "Tere Mere Milan Ki Yeh Raina". The most touching part during the song is when Jaya breaks down on the stage and Amitabh consoles her encouraging her to sing. This scene brings tears to my eyes whenever I see the movie and shows the power of love. There are some other song picturisations from 70´s which are really romantic. Both the movies are the standard run of the mill fare but its these 2 songs which stand out. One is the song "Chura Liye Hai" from Yaadon Ki Baraat where Zeenat Aman croons out her love for Vijay Arora. What stands out in this song is Zeenat´s seductive movements, the guitar tunes and Asha´s silken voice making it one of the most romantic songs I have heard. Another of the best romantic songs which I have seen is "Jaane Jaan" from Jawani Diwani picturised on Randhir Kapoor and Jaya Bhaduri. The movie was a routine boy meets girl sort but this song picturization stood out with the hide and seek game being played by Randhir and Jaya and the haunting music by R.D.Burman. I do get goose pimples whenever I see this song.