ghar ka chirag serial hindi version of the song

He stages a Karz- style performance to recreate the foul murder.

The common understanding is that music had been an integral part of our folk, classical and theatre traditions, and it was a natural extension to films.

Our early films were largely based on our existing theatre forms.

Very soon film songs assumed an identity of their own; they could be enjoyed decoupled from the films they were set in.

Gramophone records and radio became the primary source of propagation and circulation of film songs to people, and soon they became the most identifiable feature of popular culture.

Sangita Gopal and Sujata Moorty in their lead essay in the anthology Global Bollywood, edited by them, have highlighted the larger role the film songs play in our culture.

But what about the primary question: What role do they play in the narrative of the film The long-term average number of songs in a film has been eight.

Song sequences, often accompanied by dance, were such an integral part of lm that when the Wadias attempted to release a lm Naujawan (1937) without any songs, audiences were furious that Wadia had cheated them.

The producers had to include a trailer explaining the absence of songs.

But we are familiar with a complaint often made that the song(s) were a drag in the film, and the film would have been tighter without a couple of songs in the film.

The film music we know has disappeared I am referring to the days when music was made in the music room of music directors like Naushad, C Ramchandra etc., followed by rehearsals with real musicians, and final recording after several takes.

But one positive outcome of the demise of that ecosystem is that we are seeing more innovative stories and tighter scripts without songs.

The purest form is when a character simply tells a story to a group of children without any allegorical meaning.

But the more common form is when a protagonist uses this device to narrate his (or her) feelings which he was hesitant to tell directly.

Saigal starts with a prose-style narration, follows by the song in tune, and again ends with a prose-style narration.

The audio quality is poor, but it depicts a common scene when the mother has to tell a story to her cranky child to make her eat.

Anand Bakshi was a master of producing rhyme-less, prose-style lyrics.

This was perhaps the first song sung by Amitabh Bachchan in a film.

An expectant Sita was abandoned by Ram due to gossip by his subjects about her chastity for being in the captivity of Ravan.

She was given shelter by the sage Valimki where she gave birth to the twins Lav and Kush, who were educated by the sage.

They go about singing her story to Ayodhya where the residents are mesmerized by the two divine lads and their melodious voice.

Hearing the poignant tale, Ram becomes restless and is filled with remorse.

I thank Arunkumar Deshmukh for giving the correct names of the singers.

Lav-Kush in this version choose to come directly to the point and shame Ram for subjecting Sita to Agni-pareeksha.

They tell the audience that Ramayan is written with the tears of a woman: Jab tak Bharat ki sitaaon ke dukhade honge choorna nahi, Hey Ram tumhari Ramayan tab tak hogi sampoorna nahi.

Monty enacts the story on the stage which makes Simi Grewal restless who confesses to the crime.

Now Shahrukh Khan remembers his past life, and he has to nail the villainous producer Arjun Rampal.

Ghar Ka Chirag Serial Hindi Version Of The Song