India produces more than 1000 films each year and Indian film industry is considered as largest film industry. Music plays the most significant role in the melodramatic mainstream cinema. Mira Nair, a renowned film maker has once said that “my intense, not so guilty, Bollywood pleasures these days are associated almost exclusively with songs.” Her most critically acclaimed film ‘Monsoon Wedding’ is a testimony to this statement. Apart from good direction and script the film is also famous for its music.
From the beginnings of sound film production in 1931 through mid-1940s, Mumbai film studios and their employees dominated the film industry and its music. ‘one of the remarkable thing about Bollywood sound is the longevity of its dominance in Indian popular culture, and its ongoing importance to the culture even after actual and specific processes of production have changed completely’. Right from the arrival of sound in Indian cinema and progressing through various stages growth viz. the studio era, the post independence era, the golden era of 50s and 60s, the angry young man phase of 70s and post satellite era of 90s till now one factor which has grown in matter of importance is music. It is a significant factor which at times even determines the success and failure of a film.
Indian mainstream cinema is often referred to as bollywood. This term is more prevalent these days but there are some filmmakers like Subhash Ghai who believe that it is a wrong term to use. “We are not trying to copy Hollywood” he further adds “we are making films for audience of billion people. Over 80% of these people don’t have enough food in their bellies. Our country does not provide its people with pool halls, basketball courts and video parlours, so we make films for them that will let them forget their lives for 3 hours. We create total fantasy, not the polished reality that Hollywood portrays”. Music and song are very important part of day to day Indian life. The film songs provide an escape from the worries of daily life. It is fantasy land where you dance with your dream girl and feel good. The ‘make believe world’ serves as a feel good to the audiences and gives them a reason to forget the harsh realities of life. Another successful film director of 70’s, Manmohan Desai said, “I want people to forget their misery. I want to take them into dream world where there is no poverty, where there are no beggars, where fate is kind and God is busy looking after his flock”. This take us back to a relevant point made by Marshal Mc Luhan who wrote, “the movie is not only a supreme expression of mechanism, but paradoxically it offers as a product the –the most magical of consumer commodities, namely dreams”. A film is not merely a film rather a package for entertainment. The audiences are, generally, perceived as individuals looking forward to watch a spectacle which will make them feel good about life. This spectacle needs to be larger than life and characters just like us, yet different in many ways which makes easier for a viewer to relate to.
Music: The most original element
Most viewers around the world find Indian films as a melodrama with stock themes and stereotypes but there is one element which has always been truly original as ever since the inception of film production in India that is music. Traditional Indian plays and dramas all had songs of one sort or another. This method was carried over to the cinema, where each film includes about half a dozen songs, sung off screen by a voice not the actor’s, who merely lip-synchs the sung words. Indian audiences are ‘resigned to stock characters and predictable dialogue’. Along with they believe that ‘tired old stories’ can yet ‘be brought back to life by good stars and six or eight great songs’. These audiences ‘can accept repetition of story lines’ but ‘they will reject a film’s music if it has no originality’.
Music as a sub-industry has thrived with the growth of film industry. Even today, film music constitutes a major part in overall music production. Until the early 1980s, these film songs were the only form of popular music in India that was produced, distributed and consumed on a mass, and even today film music accounts for majority-nearly 80 percent-of music sales in India. Good singers and music composers are always in demand. Film song competition based programs like ‘Antakshari’ on Zee TV have run successfully over a decade. The longest ever running film ‘Dilwale Dulhania Le Jayenge’ (1995) which completed 15 years of non-stop running in 2009, has an equally popular music. The music itself made record sales of 12.5 million units.
Songs are perceived as the quintessential “commercial” item in a film. To those unfamiliar with popular Hindi cinema, song sequence seems to be ruptures in the continuity and verisimilitude. However, rather than being an extraneous feature, music and song in popular cinema define and propel plot development. Many films would lose their narrative coherence if the songs were removed. Some scholars have described the popular film as operatic where the dramatic moments “are often those where all action stops and song takes over, expressing every shade of emotional reverberation and doing far more effectively than the spoken word or studied gesture”. For instance there is usually a song for introduction of hero/heroine, celebration of festival, a turning point in life of the main character, declaration of a requited or unrequited love or climax.
With the proliferation of film song based programs on television by late 1990s, producers, distributors and exhibitors see songs as the main way of enticing audiences into theatres, and producers have been spending inordinate amount of money in visualization of songs. Some of them are shot on the French Riviera, in the Swiss Alps, the South African Coast, with its characters wearing clothes not worn in India and driving cars never seen before. The pre dominant function of the song is to display love, fantasy, desire or passion and in this case it is overwhelmingly related to love. The general belief in the film industry is that love and romance are best expressed musically.
Film audiences and flight of fantasy
14 million Indians go to watch movies on a daily basis (about 1.4 % of a population of one billion) and pay equivalent to average Indian’s day’ wages (US $2-4) to see film. What makes these films of stock characters popular along with certain other factors is music. Audiences enjoy viewing a film more if it is accompanied with good song and dance sequences. This is a ‘wholly voyeuristic cinema, where the object of desire could be anything from Dutch tulips to fancy telephones instruments’ and through which the viewer ‘lived at second hand a lifestyle lived elsewhere’. Indian film viewers ‘went to the movies for the same reason as back in the nineteenth century, a newly literate working class in Britain chose to read stories of the rich and the famous’. As a character in George Gissing novel remarks, ‘nothing can induce working men and women to read stories that treat of their own world. They are the most consummate idealists in creation, especially the women... the working class detest anything that tries to represent their daily life.’
About film industry Justin Hardy writes, “the current finely tuned Bollywood formula has evolved to give audience maximum escapism and minimum reality”. When the lights go down hardy claims, “every member of audience knows what they are going to get” namely “what they want and what they have paid to see”. Further, he adds “These people do not want realism”-“ they want to be transported”. The mass audience is generally, more interested in their flight to the fantasy land and leave the cinema hall with a general feel good factor. The most successful films so far have been dealing with the themes of love and romance usually with happy endings. There are very few which have done well commercially despite not having the former factors.
People have different opinions on the inclusion of songs into the film. Satyajit Ray once said, “If I were asked to find room for six songs in a story that is not expressly a ‘musical’, I would have to throw up my hands and give up. If I were forced, I would either revolt or go berserk”. His films deal with more serious subjects and depicting the life of characters with a touch of realism. Further Ray notes, “Six songs per film, per every film is accepted average”. Similarly he calls attention to disjuncture between singing voice and speaking voice. “To one not familiar with the practice (i.e. playback) the change of timbre usually comes as a jolt”. Even then he accepts that he “would not mind songs if they did not go against the grain of a film”.
Hollywood musicals and Bollywood song-dance sequences
Fifty years have passed since the golden era of Hollywood musicals Bollywood is still seen as occupying this ‘older’ space primarily through an invocation of the ‘cultural sphere’ of ‘dung cakes’ by media-ethnographers like Hardy who, though acknowledging the presence of other contingences/audiences. If musical is defined as “a play or movie in which an often simple plot, developed by dialogue is interspersed with songs and sometimes songs” then interspersion becomes “interruption” via Bollywood song and dance. These dance sequences sometimes act as a show stoppers in the film. The star performer can quite spectacularly stop the show as a proof of his or her extraordinary talent. The Bollywood song and dance comes closer to Homi Bhabha’s concept of “stereotype-as-suture”, which is describes as a “recognition of ambivalence of that authority and those orders of identification”.
Steven Cohen writes about Hollywood that an important feature of this cinema is the ability of the ‘female performer’s ability to stop the show (and the story)’ which can be easily applied to Bollywood as well. Basically, this ‘provides the star with a ready excuse to do a number’. A new catch phrase ‘item number’ is in vogue these days which is used to describe a ‘highly sexualized song with racy imagery and suggestive lyrics’. These songs have become USP for most Bollywood films. A trend which was restricted till 70s to be performed only by the vamp usually a cabaret
dancer or gangster’s moll has been taken over by the lead actresses. Each one of them is trying to outdo the other in their performances. Laura Mulvey has pointed out, the show setting equates femininity with spectacle; it crystallises her position as a static icon of male desire, differentiating feminine exhibitionism and passivism from masculine voyeurism and agency. Therefore, ‘to-be-looked-at-ness’ becomes an ingredient of the film package. Some of these dance numbers are so popular that people recall the film not by it title but by the song.
Hollywood musicals were produced most during 30s, 40s and50s, rather it was taken over by other genres like western and film noir. The audiences, somehow, could not enjoy them as they used to do before. Rather the new genres paved way for new entertainment. An analyst writes about Hollywood that “It is still a business where the hits make up for all the losses along the way...Everyone wants to reproduce that success even just once”. Gradually, there was less demand for Hollywood musicals. Even after so many years there are filmmakers who come up with musical films now and then under the influence of Bollywood films. It is generally believed that only Bollywood has been able to maintain the trend of musicals and majority of the films has song and dance till now.
Music: Global influence and Current Practices
‘Slumdog Millionaire’, the most successful film of 2008 which won 4 Golden Globes, 7 Bafta and 8 Oscar awards was inspired and influenced by Bollywood films. This film won the Oscar for best soundtrack which was given by Indian music composer A. R. Rehman. His music has “a style that might be considered truly post modern as well as transnational”, in his reconfiguration of the old sounds of Bollywood via new technologies. Rahman’s songs also formed the basis of Andrew Lloyed Webber’s musical ‘Bombay Dreams’, produced in London and New York in 2002 to 2004. Many film makers around the globe are experimenting with use of music to enhance the effect of the film.
Lately we have witnessed beginning of a new phase of Indian mainstream cinema. The cinema of ‘stock characters’ with stereotypical themes is coming up with new significant themes. Post 1990s cinema used to be more obsessed with lives of characters that are super rich and affluent. Last decade has witnessed a shift in the focus of film makers as they are coming up with the stories of real women and men from small towns and the alleyways of big cities, are back on the big screen, and spectators are lining up to watch and applaud them, weep and laugh with them. Recently released films like ‘Do dooni chaar’, ‘Band Baja Baraat’ or ‘Peepli live’ have been a welcome change. What remains unchanged is the role of music. All these like any other bollywood film had nice music, song and dance to entertain audiences. Films may acquire new forms, new themes, new approach, new stories, new characters but one thing which is eternal is the presence of song and dance in them. This may seem to be a negligible factor but definitely hard to neglect in any bollywood production.