One prominent example is the dream sequence inĪwara. Ram Teri Ganga Maili, Kapoor got Bhairavi moulded to match his ideas in such a way that it became ‘RK Bhairavi’ in his cinema. From the trendsettingīarsaat, which had five songs in the raga, to his last film The composers - be it Shankar-Jaikishan or Laxmikant-Pyarelal - were arrangers, the real music director always being Kapoor himself and his favourite raga, the Raag Bhairavi. Kapoor, who had sung his only song for an obscure film calledĭil Ki Rani, could paint a picture of the theme, the full sequence, in his mind before he approved a tune, he says. This comes in the book even before Bharatan analyses the music of a Naushad or a Salil Chowdhury. To illustrate this idea, he dedicates the second chapter to the genius of Raj Kapoor whom he considers a consummate “audio visionary”. Bharatan says a film tune is “hewn”, not created. A point he explains with the example of Satyajit Ray, who in the 1960s took to composing for his films. However, film historian Raju Bharatan, in the introduction to his bookĪ Journey Down Melody Lane, says that film being a visual medium, the ability of a filmmaker to align the abilities of the composer with his own vision is paramount. What constitutes a film song? Classicists stress the primacy of the ragas while poets vouchsafe for the importance of lyrics.
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