Bhaubeej (1955)

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It’s Diwali time, and I had to cover a film based on the festival. And what could be more appropriate than a movie titled Bhaubeej?

Bhaubeej (also known as Bhau Beej, Bhai Dooj or Yama Dwitiya) is a Hindu festival celebrating the sacred bond between brothers and sisters, much like Raksha Bandhan. On this occasion, sisters perform aarti and pray for their brothers’ well-being, while brothers traditionally give gifts to their sisters.

The Marathi film Bhaubeej also revolves around the relationship between a brother and sister. The siblings are separated by fate and meet again as adults, albeit under unfavourable circumstances. Does this plot sound familiar? There must be umpteen films that have explored the theme of family members being separated and reunited years later. While some conclude on a happy note, others, like Bhaubeej, take a tragic turn.

The film was made under the banner of Vaibhav Chitra and produced and directed by Rajan Kumar. It features well-known names such as Sulochana, Chandrakant and Suryakant in prominent roles. The film is also remembered for its music by Vasant Kumar Mohite, who, apparently, composed music for this film alone.

The Plot

The initial plot revolves around a poor family living in a village. The father is no more, and the mother, Geeta, lives with her three children. The eldest is a son, Sarjerao, followed by two daughters, Maina and Manjula.

It’s Diwali time, and the day of Bhaubeej. Maina performs aarti for her brother while singing the hit song Soniyachya taati ujalya jyoti. She is gifted a valuable necklace, which her mother has carefully preserved for years. Maina promises to safeguard it always. (Why anyone would gift a school-going girl an expensive necklace and expect her to wear it every day is beyond comprehension!)

Amidst the festivities, however, Geeta is in a sombre mood. She tells her children about her own brother, with whom she has lost touch. The last time they met was on the occasion of Bhaubeej. Their separation was the result of a bitter family dispute involving their now-deceased father.

Once upon a time, their family was extremely wealthy and influential. However, their father lost everything due to his addictions and extravagant ways. He also insulted Geeta’s brother, following which the two never met again. Her brother apparently moved to Mumbai, settled there and made a name for himself. He had written to Geeta a few times, but she never responded because she did not want him to know about their desperate circumstances or become a burden on him.

Every year, Bhaubeej brings back memories of her brother. She tells Maina never to let anything come between her and Sarjerao and to cherish the bond they share.

Sarjerao is aware of his responsibilities and attends school regularly, but the same cannot be said of Maina. She frequently bunk classes and visits the nearby house of Chandrabai, a Tamasha artist. Maina has a natural flair for dancing, and Chandrabai is impressed by her talent. Unfortunately, her own daughter, Champa, does not appear to be equally gifted. Seeing Maina’s potential, she tries to win her over by gifting her a new frock. Maina, being rather gullible, readily accepts it and promises to visit them often to play with Champa and practise dancing.

Sarjerao is furious when he discovers that Maina has skipped school to visit Chandrabai’s house. He forcibly brings her home and complains to Geeta. She is equally angry. Chandrabai, after all, was partly responsible for their father’s indulgent ways, and Geeta wants her family to stay away from the woman.

In a fit of anger, Geeta brands Maina with a piece of wood, leaving a permanent mark on her body.

The family visits the famous Jyotiba fair (mela), where Maina insists on getting a tattoo on her hand. She chooses to have her own name tattooed.

Later, the family proceeds to a bhandara, a traditional large-scale community feast organised by a wealthy man. There, Geeta unexpectedly meets her long-lost brother. He is shocked to see her living in such difficult circumstances. He has become wealthy and successful and is, in fact, the person organising the bhandara. His wife has passed away, and he has a daughter named Maya. He convinces Geeta that she must accompany him to Mumbai, where they can all live together.

Meanwhile, Maina meets Champa, who tells her that her mother is participating in a sawal-jawab Tamasha competition. Chandrabai is competing against a performer from Mumbai (played by Nalini Chonkar), but loses the contest. She realises that the times are changing and that her troupe needs fresh talent to survive. Maina appears to be the answer. Her dancing skills could attract more patrons and bring in much-needed money.

Chandrabai deceives Maina and takes her away from the village, far from her family. Meanwhile, Geeta, her brother and Sarjerao become increasingly worried about Maina’s disappearance. They search everywhere but find no trace of her. Eventually, they come to terms with the fact that Maina has been lost in the fair.

So, Geeta finds her long-lost brother but loses Maina in the process! (Movie mela justice, anyone?)

The scene now shifts to Mumbai, where the family has settled. Years pass, and the children have grown up. Sarjerao (Suryakant) is now a strapping young graduate who assists his uncle in the family business.

The uncle’s business partner has passed away, and his son Bajirao (Chandrakant) has joined the firm. Suffering from hypertension, the uncle wishes to gradually relieve himself of business responsibilities and hand over the reins to the two young men. Once they have settled into their roles, he also plans to arrange their marriages.

His proposal is that his daughter Maya should marry Sarjerao, while Geeta’s younger daughter, Manjula, should marry Bajirao. Geeta readily agrees to these arrangements.

Sarjerao, however, cautions his mother about Bajirao. Ever since his father’s death, Bajirao has inherited considerable wealth, which he has been spending rather irresponsibly. Geeta, though, believes that marriage and the responsibilities that come with it will bring about a positive change in him.

The marriages eventually take place. Sarjerao and Maya settle down happily, but the same cannot be said of Bajirao and Manjula.

Manjula is a traditional, old-fashioned girl, while Bajirao has modern tastes and a very different outlook towards life. Their contrasting attitudes lead to frequent disagreements. Manjula is unwilling to change or even consider being flexible in adapting to her husband’s ways. Bajirao, too, is equally adamant, and their differences soon turn into regular confrontations. Unfortunately, he resorts to mistreating her, making their married life increasingly unhappy.

But the biggest problem in their relationship is the presence of another woman in Bajirao’s life. He regularly visits a Tamasha theatre, where he seeks entertainment from a beautiful lavani performer who turns out to be none other than the grown-up Maina (Sulochana). (So, this is where Maina has ended up in Mumbai!)

To complicate matters further, Maina is in love with Bajirao. She enjoys the attention and affection he showers on her, along with the expensive gifts he keeps bringing her. Bajirao’s visits to the theatre are therefore not merely for entertainment; they have developed into a relationship that threatens his marriage to Manjula.

Manjula is unfortunately the one who bears the brunt of Bajirao’s behaviour. He withdraws large sums of money to splurge on Maina, much to Sarjerao’s disapproval. Sarjerao resents his behaviour and confronts him, but Bajirao couldn’t care less. After all, he argues, he is spending his own money!

Matters take an unexpected turn when Sarjerao and Maina come face to face, and he recognises her as his long-lost sister. What will happen when Maina discovers that Bajirao is married to her own sister? How will this complicated situation be resolved? More importantly, will Bajirao be willing to give up Maina?

The complications continue to mount, eventually leading to an emotionally charged climax, once again on the day of Bhaubeej. The film ends on a tragic note, bringing the story full circle.

The Music

Kavi Sanjeev has penned the beautiful lyrics, while Vasant Kumar Mohite has composed the music. The film has a number of enjoyable songs, including the Sawal-Jawab sequence followed by Sawal Mazha Aika.

However, the more memorable numbers are the Asha Bhosle solos: Soniyachya Taati Ujalya Jyoti, Asa Kasa Khatyal Tujha Kanha, Chaal Majhya Paayat, Attarachya Phaya Tumhi Mala Aana Raaya, Khulvite Mendi Mazha Rang Gora Paan and Padala Padar Khandyawar. All these songs are picturised on Sulochana.

My Thoughts

The film has a straightforward story that relies largely on its three leading actors to deliver. Sulochana is undoubtedly the show-stealer. She plays a role quite different from the innocent and gentle characters she had become famous for. This may well have been one of the reasons for the film’s failure, as audiences found it difficult to accept her in the role of a lavani dancer involved in an affair with a married man. She is particularly effective in the emotional scenes in the second half. However, her discomfort during the dance sequences is evident. The choreography also tends to be repetitive, which does little justice to the well-composed songs.

Chandrakant convincingly portrays both the husband and the lover, while Suryakant is adequate in his role.

Perhaps the audience was expecting an emotional brother-sister story and found it difficult to come to terms with the story that actually unfolded. The film’s ending, which involves a rather drastic measure, is not entirely convincing. It almost seems as though the director knew how he wanted to end the film but was unsure how to navigate the story towards that conclusion.

Whatever its fate at the box office, the film comes into focus every Diwali, thanks to the evergreen song Soniyachya taati ujalya jyoti.

Raat (1992)

My Reviews,

In 1992, Ram Gopal Varma came up with Raat, a horror film that was quite different from the kind of films that audiences were accustomed to seeing in Hindi cinema at the time. The Ramsay Brothers were undoubtedly the pioneers of the horror genre in India, and audiences had grown familiar with their staple formula: an isolated haveli with a spooky atmosphere, inhabited by frightening characters, with a beautiful heroine thrown in to add a touch of sensuality and sleaze. And, of course, there would invariably be a haunting song playing late into the night!

Raat, however, took a different approach. A psychological thriller, it was a songless film set in an urban environment, featuring ordinary people and everyday situations. The horror creeps in gradually, building suspense until it culminates in a fast-paced and chilling climax.

The Plot

Raat revolves around Minnie, whose full name is Manisha Sharma (Revathi). She is a college-going girl who is a reasonably good student but occasionally skips classes to pursue more interesting activities, such as catching a film!

Minnie’s father, Mr Sharma (Ashok Khurana), is a businessman, while her mother, Shalini (Rohini Hattangadi), looks after the family. They also have Bunty (Master Ateet), a school-going boy, living with them. He is the son of Minnie’s elder sister, who, along with her husband, has unfortunately passed away in an accident. Bunty is therefore being brought up by his grandparents. The household also has a servant, Narayan (CVL).

The Sharma family has recently moved into a new bungalow and is still settling into its surroundings. The film opens on their first night in the new house, setting the stage for the strange and unsettling events that are about to unfold.

The film opens with a deserted town, with not a soul in sight. Minnie gets off a bus and begins walking. She eventually comes across a car. As someone opens its door, she catches a glimpse of the person inside and immediately starts running. She frantically knocks on doors, hoping someone will come to her rescue, but there is no response. The person continues to chase her until she is cornered and the pursuer moves closer. Minnie watches in sheer terror, and just as things are about to take a turn for the worse, the scene breaks.

Minnie wakes up with a start. It was all a bad dream! She looks around and gradually realises that she is safe in her bedroom in the family’s new house. She gets ready and sets off for college.

Minnie meets Rashmi (Jaya Mathur) outside the house. Rashmi is her friend, college classmate and, as it happens, her neighbour now. The two head to college, but Minnie has little intention of attending the lecture. She is more interested in meeting her boyfriend (?) Deepak (Chinna).

Minnie has made her plan for the day. She tells Deepak and Rashmi about a new comedy film that is playing and suggests that they all go for a show. Who can refuse Minnie? And so, the three land up at the cinema.

The film is hilarious, and Minnie is thoroughly enjoying herself. She is completely engrossed in a particularly funny scene when something strange happens. She suddenly looks around and realises that she is all alone in the theatre. Where have the others gone? And, more importantly, how has the entire audience disappeared?

The film has stopped playing, and there is pin-drop silence. Minnie rushes outside but cannot find anyone. Her friends, the theatre staff and everyone else seem to have vanished. She wanders around until she reaches the manager’s cabin. Seeing someone seated inside, she walks in, only to receive a terrible shock when she discovers who it is. The shock jolts her back to reality.

She is actually sitting in the theatre, between Rashmi and Deepak, with the audience completely engrossed in the film. Was it a dream or a hallucination? Minnie cannot make sense of what has just happened. Everything around her seems perfectly normal.

Later, Rashmi takes Minnie home to show her the new music system that her father has recently purchased. The two girls are keen to enjoy some Michael Jackson numbers. Inside, they meet Rashmi’s grandmother (Nirmalamma), who appears to be a rather strange and eccentric lady. When Rashmi mentions that Minnie’s family has moved into the neighbouring bungalow, the old lady reacts with visible surprise and unease. Minnie is puzzled by her reaction and wonders what could possibly be the matter.

Back at the Sharma bungalow, Bunty returns from school and pesters his grandmother for his favourite toy, a doll. She tells him that she is busy and will give it to him later. But an impatient Bunty is in no mood to wait. He decides to retrieve it himself from the storeroom.

The storeroom is a dark, rather eerie place, situated below the ground-floor level, almost like a cellar. Bunty knows that the doll is kept in an old cupboard. Its door does not shut properly and keeps making a creaking noise, adding a creepiness to the atmosphere. He manages to find his doll but soon senses that someone or something is nearby. Who could it be?

Meanwhile, Minnie returns home and asks about Bunty. Unable to find him anywhere, she eventually makes her way to the storeroom. There she finds Bunty holding something. He turns around to reveal his new companion — a cat! How the cat got into the house is a mystery. The animal gives Minnie a rather intense stare, leaving her with an uncomfortable feeling that something is not quite right.

That night, Minnie has another disturbing dream. This time, she imagines hands emerging from the walls and trying to strangle her.

Bunty grows increasingly fond of the cat and spends most of his time playing with her. But an unfortunate incident is waiting to unfold. One day, as Minnie’s father reverses his car, the cat gets in its way and is accidentally crushed under the wheels. He asks Narayan to bury the cat in the garden before Bunty returns home. Narayan does as instructed but also tells Shalini that the death of a cat in the house is traditionally considered inauspicious.

Shalini is not particularly superstitious and does not pay much attention to his remark. However, later, when she visits Bunty’s room, she is in for a shock. Bunty is happily playing with a cat that looks identical to the one that was just buried! Shalini is horrified and cannot understand how this is possible. Minnie’s father, however, tries to calm her down, suggesting that one cat can easily resemble another and that there is no reason to worry

The following day is Deepak’s birthday, and he has invited Minnie to spend the day with him. They plan to visit a picnic spot about 50 kilometres outside the city. Minnie is initially reluctant but speaks to her father for permission, cooking up a story about a “girl” friend’s birthday and a party at her farmhouse. However, her father has already seen her with Deepak and sees through the excuse. He tells her that there is no need to lie to him. He trusts her completely and is confident that she will not do anything inappropriate. Minnie is delighted by her father’s response and the faith he has in her.

The next day, Minnie and Deepak head out as planned and spend the day together. Unfortunately, their return journey takes an unexpected turn when Deepak’s motorcycle gets a puncture. He leaves Minnie by the roadside while he goes looking for a place to get the tyre repaired.

Once again, Minnie finds herself in a dreamlike situation. She sees something terrifying and lets out a scream. When Deepak returns, he searches for her and eventually finds her staring at him with wide, unblinking eyes, almost like a cat looking straight at its prey. Deepak is genuinely frightened by her strange behaviour. However, just as suddenly, Minnie seems to return to normal, and the two make their way home safely.

But something is clearly not right. Minnie walks into the house as if she is in a trance, without even exchanging a word with Deepak. Her behaviour is becoming increasingly disturbing. Something is definitely wrong with Minnie, but what exactly is happening to her?

These strange episodes continue, and things take a much darker turn when Rashmi is brutally murdered, apparently at Minnie’s hands while she is in one of her dreamlike states. Event the police inspector (played by Tez Sapru) investigating the case gets killed in an accident. Has this something do with Minnie? She keeps slipping into these strange phases, only to return to normal afterwards. The most disturbing part is that she has absolutely no recollection of what transpired or how she behaved during these episodes.

The situation becomes even more frightening when, one day, Minnie turns on her own father and tries to kill him. He watches in sheer horror as his daughter behaves like a woman possessed. It is almost as if someone or something else has taken control of her body. But how can he possibly believe that? After all, this is his own daughter, and there must be some explanation for her inexplicable behaviour.

With Minnie’s condition getting increasingly alarming, it is time for the family to seek medical help. Her father consults a psychiatrist, played by Anant Nag, hoping to understand what is happening to his daughter.

Meanwhile, Shalini learns that Rashmi’s grandmother knows something about the mystery surrounding the bungalow. Apparently, a murder had taken place in the very same house about seven years earlier, and the repercussions of that incident seem to be haunting the Sharma family. Shalini is advised to seek the help of a tantrik, Sharji (Om Puri), who might be able to deal with the supernatural forces at play.

Will the psychiatrist and the tantrik succeed in getting to the bottom of the mystery? Will they be able to save Minnie and bring her back to normalcy?

The Music

Thankfully, the film stays away from songs altogether. There is no typical haunting number that suddenly pops up to create an artificial sense of fear, as was common in many horror films of the time. Instead, Manu Sharma’s background score complements the narrative beautifully, sustaining the tension, thrill and suspense throughout. The music becomes an integral part of the storytelling without ever overpowering it.

My Thoughts

The primary objective of a good horror film is to scare its audience, and Raat is fairly successful in achieving that. Ram Gopal Varma consciously avoids the usual tropes of the genre and attempts to make a fresh film that is more in tune with the times. His direction is tight and never allows the viewer to relax. Right from the opening scene, there is an unsettling feeling that stays with you. Small details, such as the creaking cupboard and the abstract painting near the dining table, create an eerie atmosphere and leave a lasting impression. The unusual camera angles focusing on seemingly ordinary objects, along with abrupt cuts, further add to the suspense and keep the audience on edge.

Revathi is marvellous as the possessed woman. She begins as an ordinary college-going girl, enjoying her carefree life, and her sudden transformation into a terrifying character is remarkably convincing. What makes her performance particularly effective is that she never overdoes her reactions. A more exaggerated portrayal could easily have diluted the impact. Her interactions with other family members are also very natural, making the contrast with her possessed state all the more disturbing. It is a pity that she did not receive an award nomination for this performance. The supporting cast is equally impressive, although the character of the old lady provides a few unintentionally funny moments.

There are very few negatives, but a little more attention to detail would have helped. The family is shown to have just moved into the bungalow, yet everything seems to be perfectly in place. There is no mention of the usual teething problems associated with moving into a new house, such as not being able to locate things or getting accustomed to the new surroundings. Another loose end concerns Rashmi’s murder. We hear very little about her family or their reaction to her death. Surely, her grandmother would have suspected something unusual and wanted to discuss her granddaughter’s mysterious death with someone? This aspect could have been explored further.

Overall, Raat is a satisfying horror film that has aged rather well. It also brings to mind Bhoot (2003), another Ram Gopal Varma film. One can certainly see the influence and legacy of Raat in the later film. In many ways, Raat laid the groundwork for the kind of urban horror that Varma would explore more than a decade later.

“Chaand” 90s Songs

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The moon and Hindi film songs have shared a long and fascinating relationship. Whether it is chaand, chanda, chandrama or chandamama, the moon has played many roles in our songs. Chandamama door ke, Chanda re meri patiya le ja, Woh chaand khila, Aadha hai chandrama, Chaand aahe bharega, Dheere dheere chal chaand gagan mein – there are so many songs dedicated to the moon. It can be a companion, a silent witness, or someone to whom you can pour your heart out, share your state of mind, or even complain! It has inspired romantic, dreamy and sad songs, and how often have we heard the beloved compared to the moon?

There is something rather amusing about this comparison, though. The moon, with its craters and barren landscape, is hardly the picture of beauty we imagine it to be! Yet, in the world of Hindi film songs, it remains the epitome of beauty, romance and longing.

The reason for remembering this celestial icon is Kojagiri Purnima (which is being celebrated today). Also known as Sharad Purnima, The festival marks the end of the monsoon season and transition to a cooler climate. Another festival just around the corner and depicted in movies is Karwa Chauth, when women eagerly await the sighting of the moon to break their fasts, praying for the longevity, health, safety and prosperity of their husbands. The Eid kaa chaand is another favorite representation in our movies.

Festivals or otherwise, the moon has inspired us with some truly memorable Hindi film songs. Today’s post explores songs from the 1990s onwards that present the moon in its many forms—as a confidant, a symbol of romance, an object of longing, and much more.

Which moon songs come to your mind?

1) Song: Chaand Aur Piya
Film: Aashik Aawara (1993)
Credits: Anand Bakshi | Laxmikant-Pyarelal | Sadhana Sargam

Aashik Aawara starred Saif Ali Khan and Mamta Kulkarni in the lead roles. The situational song is set against the backdrop of Karwa Chauth, when the heroine observes a fast for the hero. It is primarily picturised on Mamta Kulkarni and her mother, played by Rita Bhaduri.

While the heroine is praying happily for the hero, the mother, in a sad mood, hopes to see her husband, despite knowing that he is having an affair and made it clear that he will not return home that night. For her, the occasion becomes a test of faith and trust of their marital relationship. While the song may not be particularly remarkable musically, it highlights the significance of the moon and the Karwa Chauth ritual in a married woman’s life, symbolising her hopes and faith in her husband’s well-being and their relationship.

2) Song: Chaand Se Parda Kijiye
Film: Aao Pyaar Karen (1994)
Credits: Shyam Raj | Aadesh Shrivastava | Kumar Sanu

Aao Pyaar Karen may have flopped at the box office, but its songs were popular at the time of release. This song is set during a birthday celebration, with Somy Ali playing the birthday girl. Saif Ali Khan, however, sings the song thinking of his love (Shilpa Shetty), even as Somy Ali mistakenly assumes that his words are meant for her.

The song is essentially a paean to the heroine’s beauty. The hero playfully asks her to keep her distance lest the moon catch sight of her and attempt to steal her beauty. The underlying thought is reminiscent of the classic Sasural (1961) song Teri pyari pyari surat ko kisi ki nazar na lage, which similarly celebrates the beloved’s beauty while expressing the wish to protect her from the evil eye.

3) Song: Chaand Ne Kuch Kaha
Film: Dil To Paagal Hai (1997)
Credits: Uttam Singh | Udit Narayan, Lata Mangeshkar and Chorus

Set at a Valentine’s Day party, the melodious song carries a message of love. The moon has urged the night to fall in love, and the same message, “Pyaar Kar,” is extended to human beings. Three characters express their individual perspectives on love, with Shah Rukh Khan, Madhuri Dixit and Karisma Kapoor singing the three stanzas. Karisma’s portion is particularly moving, as it captures the pain of unrequited love and the longing of a woman whose beloved remains unaware of her feelings.

4) Song: Gali Mein Aaj Chaand Nikla
Film: Zakhm (1998)
Credits: Anand Bakshi | M.M. Kreem | Alka Yagnik

Zakhm was a serious offering from Mahesh Bhatt. In the film, Pooja Bhatt and Nagarjuna are a married couple but in a complex relationship because they are from different faiths. Their relationship is not accepted by the hero’s family. Although he continues to support her, he visits her only occasionally, leaving her to raise their son largely on her own.

The song plays in the background when Nagarjuna finally visits the home of the woman who has been waiting for him. Poetically, his arrival is compared to the moon who has finally risen and its brilliance has illuminated the whole area.

5) Song: Mera Chaand Mujhe Aaya Hai Nazar
Film: Yeh Hai Mumbai Meri Jaan (1999)
Credits: Indeevar | Jatin-Lalit | Kumar Sanu

There is an interesting story behind the song. The film was originally conceived as Mr Aashiq in 1996, starring Saif Ali Khan and Twinkle Khanna. After the initial version was abandoned, Mahesh Bhatt reworked the project into Yeh Hai Mumbai Meri Jaan. According to records, some songs filmed for the earlier version were retained in the eventual release.

This is a soft romantic composition. The song expresses the hero’s excitement as he imagines being with the woman he loves. He compares her to the moon and asks the night to pass slowly, as he wants to savour the moment and prolong the romantic meeting. The lyrics also suggest that their romantic relationship has not yet reached its fulfilment: he longs for their love to blossom. There is a mix of excitement and anticipation.

6) Song: Chaand Chhupa Badal Mein
Film: Hum Dil De Chuke Sanam (1999)
Credits: Mehboob | Ismail Durbar | Udit Narayan, Alka Yagnik and Chorus

This is a multilayered song with the moon playing a key part. Aishwarya Rai celebrates Karwa Chauth at her in-laws’ home, although the circumstances make the celebration more of an obligation than a choice, given her forced union with her husband. As she participates in the rituals, she recalls the festival at her parents’ house. That was the time when she had shared a romantic interlude with the hero, played by Salman Khan, the man she truly loves.

The song thus captures both the festive traditions of Karwa Chauth and the underlying romance between the principal characters. And the moon is perceived differently – the hero wants to take advantage(!) of its absence; on the other hand, the woman are pleading the moon to appear soon, so they can celebrate its arrival.

7) Song: Chaand Aaya Hai
Film: Dil Hi Dil Mein (1999)
Credits: Mehboob | A.R. Rahman | Udit Narayan, Kavita Krishnamurthy

This is a kind of obscure remake film starring Kunal Singh and Sonali Bendre. The song is set during a Garba / Dandiya night, when the community gathers for traditional dancing during Navratri. The festive setting provides an opportunity for the lovers to express their attraction in a public celebration.

The moon is used as a metaphor for the heroine, describing how it has appeared on the earth in the form of a beautiful person. The actors communicate through their expressions and give a hint of romance. The lyrics also encourage them to seize the moment. A celebration like this offers a chance to speak, listen and reveal feelings that might otherwise remain unspoken.

8) Song: Yeh Chaand Koi Deewana Hai
Film: Chhupa Rustam (2001)
Credits: Anand Bakshi | Anand–Milind | Kumar Sanu, Alka Yagnik

Mamta Kulkarni and Sanjay Kapoor feature in this famous and catchy song centered around the moon. This song uses the moon as a metaphor for a hopelessly lovestruck admirer. The opening thought conveys that the moon itself is a long-time lover. The lyrics imagine the moon as a deewana, wandering about and staying awake all night in pursuit of someone.

9) Song: Chaand Sifarish
Film: Fanaa (2006)
Credits: Prasoon Joshi | Jatin-Lalit | Shaan and Kailash Kher

Aamir Khan expresses his feelings for Kajol in this superhit song. The moon is personified as a messenger who will put in a word for the hero and convey the intensity of his love, including his willingness to lose himself completely in it. An unusual thought, perhaps, but one that is presented as deeply romantic! The hero is quite bold to express his feelings in a flirting manner. The song is wonderfully melodious, and its distinctive whistling has become one of its most recognisable and memorable features.

10) Song: Chaand Ki Katori
Film: Guzaarish (2008)
Credits: Vibhu Puri | Sanjay Leela Bhansali | Harshdeep Kaur

And finally, an abstract and offbeat song. This song uses the moon as a metaphor, describing it as a little bowl in the night sky. Sung beautifully, it has a distinctive, almost whimsical quality, though the lyrics carry a deeper meaning. Beneath the playful imagery lies a reflection on life’s struggles, fragile relationships, unfulfilled dreams and the hardships faced by the less fortunate. The contrast between the charming imagery of the moon and the underlying sadness gives the song a unique character. Sanjay Leela Bhansali’s composition complements the unconventional lyrics, making this an interesting departure from the usual romantic songs that celebrate the moon.