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Best Hot Love Songs of Bollywood
Hot Bollywood Numbers
Sexual Liberation of Bollywood
There is nothing in this universe that is as harmonious as music, and there is nothing as full of energy as the attraction between a young man and woman. This combination of passion, energy and rhythm creates a very hot deal, with numbers that can put a hall full of audience on fire ... well....almost !
Lust alone can be ugly, but when combined with love, music and the creative art of cinematography, it can attain an artistic beauty without losing its animalistic and instinctive appeal for the viewer. Here are ten great Bollywood numbers that attained this feet, and in the process, not only became milestones in the sexual liberation of the very Indian Bollywood, but also contributed to the sexual liberation of Indian society. The comfort with which Bollywood approaches subjects related to sex and physical intimacy owes a great deal to such successful cinematic depiction of a subject considered highly controversial till a couple of decades ago.
For a civilization that celebrated sex in a pragmatic manner, as evident in Kamasutra - the ancient Indian treatise on sexual practices, and did it without the guilt that most other ancient civilizations burdened themselves in respect of sexual behaviour, the increasing sexual repression that it acquired since the medieval times can be seen as an irony rather than a natural inheritance, ... reaching an almost pathological state during the last few centuries. That is why the liberation from this sexual repression, even with all its imperfections and consequences, marks a phase of natural correction that was probably long overdue !
These songs have melody, theatre and beautiful bodies. What is more important, however, is the adventure and courage that characterized these numbers, and which is one of the hallmarks of any great art. Even more important is the fact that they could carry these adventures to successful completion !
movie: Janbaaz (1986)
Jab jab teri soorat dekhun...
This number was a 3very bold number by the standards of the time, but its musical melody, that ensures its popularity and success is even stronger. Its many positive facets make it a very popular song, while its great melody helps it retain that popularity even after more than three decades. The great acting skills and on screen chemistry of the two actors, Dimple Kapadia and Anil Kapoor is instrumental in creating its sensual effects, particularly with its close and intimate scenes and contribute in no less measure to its success. This melodious number was sung by Sapna Mukherjee and Mahesh Gadhvi, its great music was composed by Kalyanji Anandji and lyrics were written by Indivar. Interestingly, this seemingly Westernized song is actually based on Raag Charukesi in Kaherva Taal of Hindustani classical music.
movie: Julie (1975)
Bhool gaya sab kuchh...
This relatively simple movie of the seventies about the pre-marital affair of a young teenager and its social consequences in a conservative Indian society is definitely a cinematographic milestone because of its bold theme and melodious music. The strong acting performance of two relatively lesser known actors of Bollywood, Lakshmi and Vikram, aided by the great music composed by Rajesh Roshan and excellent lyrics written by Anand Bakhshi create a number that is bold, beautiful and at least a couple of decades ahead of its time. The golden voices of Kishore Kumar and Lata Mangeshkar have made this musical melody eternal, almost completely overshadowing the sexually liberating milestone that this number must be remembered as. An eternal masterpiece of music!
movie: Ashiq Banaya Apne (2005)
Ashiq banaya apne ....
This number has to be one of the strongest contender for being the boldest song of Bollywood in depicting young passion, particularly because it was created at a point of time when social restrictions related to sexually implicit scenes had not been done away with as yet. The back of topless Tanushree Dutta took Bollywood to a hitherto unimaginable plane in a society that India was ... still conservative in spite of all the adventures and sexual liberation that it had witnessed during the last few decades. Emraan Hashmi is the male lead in a role that he has made his own. The music of this popular number was composed by Himesh Reshammiya who is also the singer, while the lyrics were written by Sameer. The music is great, but the song is here for the bold scenes
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movie: Dayavan (1988)
Aaj phir tum pe pyar aaya...
This number has everything that can be there to make it a great one, but it is the initial kissing scene, one of the most passionate one till that time, that cements this number's place in the history of Bollywood adventures against prevailing sexual repression. Again, this is a number far ahead of its time, its great asset is the on screen presence of two great actors, Madhuri Dixit, who had just arrived on the big screen and was yet to become the great phenomenon that she eventually metamorphosed into, and Vinod Khanna, who was one of the biggest stars of the seventies, before his self-exile and return. This musical number is sung by Pankaj Udhas and Anuradha Paudwal, its music was composed by Laxmikant Pyarelal and its lyrics were written by Azeez Qaisi. The screen dominates the musical notes in this great number.
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movie: Aradhana (1969)
Roop tera mastana pyar mera ...
This truly great number can be credited as being the first really hot love song of Bollywood, even without anything that could be rated as "adult". Its greatness is due to the silent on screen passion enacted by the two actors, Rajesh Khanna and Sharmila Tagore, aided of course by a great musical melody composed by S D Burman, which was worded by Anand Bakhshi and sung by the man whose fate changed with this movie, and who in turn changed the musical canvass of Bollywood ... Kishore Kumar! This is a musical gem that will last forever, and so strong is its ability to mesmerize the listener that not a soul in conservative Indian society could think of complaining against it as being offensive to their highly conservative approach on what was being depicted on screen.
movie: Jism (2002)
Jaadu hai nasha hai....
If there is one single song that marks the liberation of Bollywood from the tentacles of age old traditional social conservatism of Indian society, and signals its transformation into a liberal sexuality that synchronises with the norms of 21st century humanity, it is this song. The same can also be said about the movie, and the full credit goes to one of the most glamorous pairs of Bollywood in recent times, Bipasha Bashu and John Abraham, known as much for their beautiful bodies as for their skillful enactment of such roles. This melodious number was sung by Shreya Ghoshal, its music composed by M M Kreem and its lyrics written by Nilesh Misra. It is a song that marks the big divide between conservative Bollywood dictated by the Indian social values and the new Bollywood that was about to break those shackles and go berserk... literally so .... and I must add, not necessarily for the good!
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movie: Murder (2004)
Bheege honth tere ....
This movie will always be remembered for taking the theatrical erotica to a new plane in Bollywood. Its theme of extra-marital sex and adultery only added to the charm and all credit goes to the two actors, Mallika Sherawat and Emraan Hashmi, hardly known till then, who put the screen virtually on fire with their act. The musical song was sung by Kunal Ganjawala, its music composed by Anu Malik and its lyrics written by Sayeed Qadri. The success of this song as well as this movie lies in a tight rope walk where the story upholds the need for keeping sex within the boundaries with the family and still manages to depict the extramarital adventures. The great music contributes in its success.
movie: Mr. INDIA (1986)
Kate nahin kat te yeh din yeh raat...
If this is a man's world, then a lady that can cast a spell on the menfolk is going to rule it ! That is exactly what some of them did, with their electifying presence that could charm and hypnotize a million hearts. This number belongs to Sridevi, the leading female star of Bollywood in the eighties, with an almost invisible Anil Kapoor in company. The scintillating number was sung by Kishore Kumar and Alisha Chinai, its music composed by Laxmikant Pyarelal and lyrics written by Javed Akhtar. The number is bold and adventurous by the standards that prevailed when it was created, and its success owes as much to the melodious music as to the beautiful and elegant depiction of sensual passion by Sridevi.
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movie: Beta (1991)
Dhak dhak karne laga...
Till the eighties, the hot songs of Bollywood were those that belonged to the most charming ladies and their sensuality. Few could match Madhuri Dixit in this respect. This number, aided by great and tantalizing music composed by Anand Milind, is an example of how she could put the screen on fire with her presence in those conservative days of a bygone era. This number is sung by Anuradha Paudwal and Udit Narayan and its lyrics written by Sameer. Anil Kapoor complements her presence on screen. This number belongs to a period where Bollywood was beginning to enter into such adventures, and thus marks one of the earliest great numbers in this regard.
movie: Rangeela (1995)
Hai Rama yeh kya hua ....
There are few greater enigmas in the history of Bollywood than Ram Gopal Verma as the Director ... a genius on his day and beyond comprehension on another ! He was at his best in this movie, and this song is part of that success story, depicting the forces that bind a man and woman in one of the best forms of musical theatrics ever witnessed in Bollywood. It depicts the attraction, the restlessness and the bonding that is a always inherent in passion that marks the man-woman physical intimacy. This number was sung by Hariharan and Swarnlata, its music composed by A R Rahman and lyrics written by Mehboob. Urmila Matondkar and Jackie Shroff are the two actors who have made Verma's conceptualization a reality. The fact that the song depicts acting and not reality - it is a movie in a movie - helped in making it an acceptable proposition.
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