The Bourne Series

When I was in high school, my classmate RM~ lent me one of Robert Ludlum’s books. I returned it to him without reading it, and now I can’t recollect the reason behind not reading it.

Later, The Bourne Series of movies arrived along with Matt Damon. I immediately fell in love with Matt Damon’s portrayal of Jason Bourne. The perfect combination of brawn and brain (and integrity), he tremendously appealed to the sapiosexual in me.

In the Bourne Series, I have watched the first three movies (2002, 2004 and 2007) on TV and liked them. The remaining two have been theatre watches for me. I didn’t enjoy The Bourne Legacy (2012) as much – it didn’t feature Matt Damon, and I was glad when he returned in Jason Bourne (2016).

Moby’s “Extreme Ways” features in the movie series more than once, and in my illness spells, I used to think of KS~ while playing the song on loop. The blue and black combination in one of the videos held special meaning to me, and the grey one more so. Even as things fell apart, I loved that the picturisations had nothing more than Matt Damon's face. 

“Oh baby, oh baby
Then it fell apart, it fell apart
Oh baby, oh baby
Like it always does, always does”

Go on, listen to the song. 

Extreme Ways – The Bourne Identity (2002) – not the official version

Extreme Ways – Jason Bourne (2016) – the official version 

I like this version even more – the pace is different.

Extreme Ways - The Bourne Ultimatum (2007) - the official version

I discovered this version today. 

Bluffmaster! (2005)

Unlike books that leave much to the imagination of the reader, movies shape imagination via the actors chosen to play roles. If there are positive attributes associated with the actors, they spill-over and create a halo effect irrespective of the role. For instance, did you develop more empathy for cheaters after SRK, the emperor of romance, played one in KANK? When I first watched the movie, I had anything but empathy for the character. The unfairness of it all stung me deep. Especially since the consent of the respective spouses had not been obtained.

As I later reflected on the movie, I saw that SRK eventually did the ‘right’ thing by opting for the divorce, staying away from his lover and then got married to her after a gap. Marriages to affair partners don’t last as easily, but why bring in dosages of reality?

After writing about it in the context of neuroticism, I have found myself thinking about the role that Abhishek Bachchan’s casting has played in making con artists more acceptable. He comes across as a nice, funny guy who is westernised, and this has got highlighted multiple times in movies, including in KANK. In ‘Bluffmaster’, he cons and lies to his girlfriend and somehow by the end of the movie, he is back with her after a series of events that can pass off as light-hearted comedy.

Listen to this song. Does anything suggest that a con artist is at play? Or are we happy ignoring signs when he sings, “Yeah I'm a bad boy” because she is quick to sing, “But I'm a good girl” and asks him to come to her so that things get better. 

It takes a special woman, that's all?


 

Govinda music

Recently, I saw a photo doing the rounds on facebook that spoke of how it feels like we are back in the '90s. Well, Madhuri Dixit is back in Bollywood and Sanjay Dutt is back in jail – that’s where the similarity ends. I am not the teenager I used to be, and I don't feel nostalgic when I think of the rotten and often raunchy music from the '90s.

As you can see, the title of the post has nothing to do with the original Govinda and rasa lilas.

This morning, I got reminded of this song.

“Main Apni Shaadi Mein Na Jaun Meri Marzi
 Main Pairon Se Table Bajawaau Meri Marzi

 Main Kutubameenar Pe Ghar Banawaau Meri Marzi”

As a teenager, I laughed at the first line - ‘bunking’ one’s wedding came across as daring and different, and I had never bunked classes. As an adult, the line and its repeated usage of “Meri marzi” makes me think of the word ‘loser’ readily. Marzi is all about rights / wishes and associated freedom. Where are the duties?

The song makes for awful listening, yet I'll let you go ahead. Don't miss the children who give Govinda company.



When I was even younger, I mostly couldn’t stand Govinda – those were the days when the vulgar ‘Sarkay liyo khatiya’ and its likes were big hits. The dance steps were atrocious, and even fine dancers like Karisma and Govinda couldn’t save the song for me.

See for yourself.



This ‘item’ song is better. This is mostly attributable to the presence of Ms. Dixit (as she was known in those days). Strangely, this is when I noticed for the first time how expressive Govinda really is.



When David Dhawan decided to exercise his marzi and move on to Salman Khan, Govinda's career received a jolt. He has still not recovered fully from it. As for his stint in politics, I think he got away by singing "Meri Marzi" there as well.

Post his comeback, he played an IIM-A alumnus and serenaded Katrina. Ironically, this was in a David Dhawan movie starring Salman Khan as the lead hero.

I am not sure why this post has developed into a full-fledged post on Govinda (my intent was quite different). I remember reading in magazines how close he was to his mother, how her death affected him deeply and how he talks to his dead mother.

To the humble actor who arrives late on sets - what's next?

My Best Friend’s Wedding (1997)

Yesterday, I got up thinking of a song. I knew that it starred Julia Roberts, and I struggled to remember the movie. Then it came back to me – the song is “I say a little prayer” from the OST of “My Best Friend’s Wedding.”

Do you remember the picturisation of this song?

The lyrics go this way. I like the idea of praying for a loved one. Once a day is good enough though? 

The moment I wake up

Before I put on my makeup

I say a little prayer for you

While combing my hair now

And wondering what dress to wear now

I say a little prayer for you

Forever and ever, you'll stay in my heart

And I will love you

Forever and ever, we never will part

Oh, how I love you

Together, forever, that's how it must be

To live without you

Would only mean heartbreak for me

I run for the bus, dear

While riding I think of us, dear

I say a little prayer for you

At work I just take time

And all through my coffee break time

I say a little prayer for you

Forever and ever, you'll stay in my heart

And I will love you

Forever and ever we never will part

Oh, how I'll love you

Together, forever, that's how it must be

To live without you

Would only mean heartbreak for me

I say a little prayer for you

I say a little prayer for you

My darling, believe me

(Believe me)

For me there is no one but you

Please love me too

(Answer his pray)

And I'm in love with you

(Answer his pray)

Answer my prayer now, babe

(Answer his pray)

Forever and ever, you'll stay in my heart

And I will love you

Forever and ever we never will part

Oh, how I'll love you

Together, forever, that's how it must be

To live without you

Would only mean heartbreak for me

Peppy music and spontaneous lyrics

I listen to a lot of Bollywood music, and it has taken me a while to get used to the idea of liking the music and almost discounting the lyrics that sound like gibberish. While I know that all songs cannot sound like those from “Rockstar”, some attention to the lyrics would be nice.

Look at what “Rockstar” gives.

“Jo bhi main, kehna chahoon
Barbaad karein, alfaz mere”

Years ago, the sibling had a habit of singing songs in their English version. For example, “Panchi nadiya pawan ko jhoke” from “Refugee” became “Birds, rivers and gusts of winds” sung to the same tune. She had perfected the technique and many a Bollywood number got translated into English.

In recent times, Bollywood music has seen songs with verses from languages other than Hindi. I sometimes wonder if any thought has gone into the lyrics, or whether the attention is only given to the music and the mood of the song.

The song of 2011 is “Chammak Challo” – it makes use of a combination of Hindi, English and Tamil.



The interesting picturisation of “Dil Dance Maare Re” made me notice this song from “Tashan”. It uses a combination of Hindi, English and Bhojpuri.



Moving South, “Kolaveri di” uses Tamil and English.



Each song had something "different" - be it the singers (Akon, Dhanush) or be it the picturisation. Thus, I will remember them and perhaps stick to humming their tunes.

You sang to me

Quick question for you! Do you like it when names are taken in songs?

In the world of Bollywood, associations are simple and do not demand nimbleness of mental footwork. If the movie is named after the protagonist, his/her name *has* to appear in one song. After all, ek gaana to banta hai! Take a look at this for example.



What if the name cannot be used in the title? I still HAVE to cheer spoilt brat Aditi. Gaane mein naam liya jaaye!?



What if the protagonist uses a pseudonym? Fret not. Mere paas gaana hai.



It will not go with the character of the demure heroine if she expresses her jealousy directly. Radha-Krishna ki amar kahaani kaisi rahegi?