In this lesson, we will delve into the music of the Hindi film industry, commonly known as Bollywood.

Bollywood Films

Since the release of India’s first sound film in 1931, music has been a central component of the Hindi film industry. Bollywood soundtracks, known as filmi, have evolved significantly over the years. Earlier films often featured traditional musical styles, closely connected to the classical music of India covered in the previous lesson.

Video Assignment: Cinema Asia: India

Please watch the film Cinema Asia: India. This documentary provides insight into the cultural and musical impact of Bollywood.

As you watch the film, consider these questions:

How do mainstream Indian filmmakers feel about the term "Bollywood," and why?
Which 1995 film has remained in theaters for over 500 consecutive weeks?
What is a "masala" movie?
Why do many Indian films have an idyllic, fantasy-like quality?
What is a playback singer?
Which playback singer, described as a "living legend," has had a career spanning over 50 years?

Closed captioning is available for this video.

Cinema Asia: India. Films Media Group, 2007, fod.infobase.com/PortalPlaylists.aspx?wID=103640&xtid=40154. Accessed 2 July 2017.

If the above link doesn't work, you can access this film through the TU Library website by searching for the film title, "Cinema Asia: India."

I recommend watching with the Closed Captioning turned on.

Reading Assignment: The Significance of Film Music in India

As you are beginning to learn, songs (music with a singer, as opposed to instrumental music) are an essential part of the Indian film industry. While music plays an important role in Western films, it often serves as a backdrop to enhance drama or emotional impact—unless, of course, the film is a musical or a Disney cartoon. In contrast, music in Indian cinema (filmi music) often takes center stage, acting as a dominant force in storytelling and an integral part of Indian popular culture.

To better understand the importance of filmi music in Indian society and its many functions, please read this article.

If you prefer, you can listen to the accompanying audio transcription provided below.

After reading or listening, reflect on the following:

What are some ways that film music is heard in towns and cities?
Why do very few Indian movies exclude songs?
How are songs for Indian films composed or written?
What emotion in Hindi cinema is most commonly expressed through song?
What does the phrase “running around the trees” mean in the context of Bollywood films?
Based on the article, identify three specific ways that filmi music directly impacts or reflects Indian culture.

Ganti, Tejaswini. Bollywood. Routledge, 2013. pp. 90 - 99. 2 July 2017 <http://www.myilibrary.com?ID=459101>

Artist Profile:

A. R. Rahman

Picture of A. R. Rahman

A.R. Rahman, born A.S. Dileep Kumar on January 6, 1967, in Chennai, India, is a globally celebrated composer, singer-songwriter, and music producer whose work has redefined Indian and international film music. His musical journey began when he was just four years old, learning piano from his father. When his father passed away, Rahman supported his family by working as a keyboard player and arranger for various bands. He later founded the rock group Nemesis Avenue.

Rahman’s breakthrough came in 1992 with the score for the Tamil film Roja, which propelled him to national fame. His innovative fusion of Eastern classical traditions, electronic music, and global genres transformed the Indian film music industry, earning him widespread acclaim. His talents extended far beyond India, with his work on Slumdog Millionaire (2008) winning him two Academy Awards, making him the first Asian to win in the music category. He has collaborated with global icons such as Mick Jagger and the band U2. He has also contributed to projects like We Are the World 25 for Haiti.

Rahman has received prestigious awards, including two Grammys, a BAFTA, a Golden Globe, and numerous National Film Awards. Beyond his artistic achievements, Rahman has made significant contributions to society, founding the KM Music Conservatory to provide music education to underprivileged children. His ability to seamlessly blend diverse musical traditions and his commitment to social causes have cemented his status as one of the most influential musicians of his generation.

Check out some of A.R. Rahman’s most iconic compositions below and experience the genius of a cultural icon who continues to captivate audiences worldwide!

Listening Assignment: "Jai Ho" from Slumdog Millionaire

"Jai Ho," composed by A.R. Rahman, is an iconic song from the 2008 film Slumdog Millionaire. Originally written for another project, Rahman realized it was a perfect match for the film's triumphant finale, capturing its themes of resilience and triumph. The phrase "Jai Ho" translates to "Let there be victory" or "May victory prevail," aligning seamlessly with the film's narrative of perseverance and success. Featuring a fusion of Hindi, Urdu, Punjabi, and Spanish lyrics, the song's multilingual composition amplifies its global appeal and unique charm.

Musically, "Jai Ho" masterfully blends traditional Indian motifs with contemporary rhythms, creating a soundscape that's both timeless and modern. Its energetic beats and inspiring lyrics have cemented it as an anthem of victory and hope. The song's intricate layering of cultural and modern elements earned Rahman widespread acclaim, culminating in an Academy Award for Best Original Song.

In this live performance, Rahman takes center stage as the lead vocalist, bringing his creative vision to life.

Rahman, A.R. "Jai Ho." Performed at the 2010 Nobel Peace Prize Concert. Upload to YouTube 18 October 2012 by Nobel Peace Prize. https://www.youtube.com/watch?v=0PRzlpvHLPE.

Bollywood Dance

Like songs, dance is an essential part of Bollywood movies, often going hand-in-hand. Some dance numbers seamlessly integrate into the plot, like a celebratory wedding scene, while others pause the narrative for an entertaining—if highly unrealistic—performance.

For instance, this wedding scene from the film Band Baaja Baaraat (Wedding Planners internationally) features a lively dance at a wedding celebration. The choreography feels natural and spontaneous, capturing the spirit of a real-life gathering.

"Baari Barsi" from Band Baaja Baaraat. 2010. Dir. by Maneesh Sharma. Starring Ranveer Singh, Anushka Sharma. Uploaded to YouTube June 11, 2011 by YRF. Accessed June 20, 2021. https://www.youtube.com/watch?v=-h3enp1vbnI

By contrast, consider this scene from Goliyon Ki Raasleela Ram-Leela (A Dance of Bullets: Ram-Leela), a reimagining of Shakespeare's Romeo and Juliet. In this number, the "Romeo" figure, Ram, makes a dramatic entrance into town. Suddenly, the townspeople stop everything to join several dozen extras in a dazzling, meticulously choreographed dance performance, complete with matching outfits.

"Tattad Tattad" from Goliyon Ki Rasleela Ram-leela. Dir. by Sanjay Bhansali. Staring Deepika Padukone and Ranveer Singh. Uploaded to YouTube February 28 2014 by Eros Now Music. Accessed 20 June 2021. https://www.youtube.com/watch?v=sIooFGRBZJY

In an article for TIME magazine titled "Bollywood: Frequently Questioned Answered," Richard Corliss discusses the ubiquity of elaborate song-and-dance sequences in Indian cinema. He explains, "Movies give audiences what they don't have. In the U.S., an economically comfortable nation, films often deal with life on the edge: danger and deprivation are glamorous to those who have everything. The same, upside down, in India: it's a poor country, so the movie image is of the middle, upper-middle, and fabulously-rich classes."

Abhishek Pandey, an interviewee in Corliss's piece, echoes this sentiment: "More than 999 million of India's one billion people live a life that is completely opposite of what we all see on the screen. Hardly any will marry for true love or have a chance to frolic on the beaches of their own country, let alone a Caribbean or European country. So, Bollywood gives them what they can't rationally have—dancing, singing, and beautiful women included."

Indian cinema isn't known for subtlety, and its use of music and dance amplifies emotions, making moments more vibrant and larger-than-life.

Padlet Forum

Think about the role of music in the films and TV shows you’ve watched. Whether or not you’re a fan of musicals, most of the films and series you enjoy likely include music in some form.

When music is created specifically for a film, it’s called a score. For instance, much of the music in the Harry Potter films was composed for the movie, as you can hear in the example below.

If a film uses pre-existing music not written specifically for it—like popular songs or classical music—it’s called a soundtrack. However, "soundtrack" can also refer to a recording of all the music from a film, released separately. In the iconic (and oft-parodied) scene below from the 1989 film Say Anything, John Cusack's character holds up a boombox playing Peter Gabriel's 1986 hit "In Your Eyes."

Sometimes, characters in a film can hear the music, such as the wedding music in Band Baaja Baaraat or the Peter Gabriel song in Say Anything. This is called diegetic music. Other times, the music is just for the audience—like the magical score in the Harry Potter scene—and the characters are unaware of it. This is called non-diegetic music.

Padlet Forum

For this Padlet forum, choose a scene from a film, musical, or TV show you enjoy that features music. Find the clip on YouTube and share it here.

Is the music a score or a soundtrack?
Is it diegetic or non-diegetic?
Describe the impact of the music. What does it contribute to the scene?

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References and Further Reading

Corliss, Richard. "Bollywood: Frequently Questioned Answers." TIME. August 12, 2003. http://content.time.com/time/arts/article/0,8599,475407,00.html

Lutgendorf, Philip. "Is There an Indian Way of Filmmaking?" Hindu Studies 10, 227–256 (2006). https://doi.org/10.1007/s11407-007-9031-y

Pillai, Shanti. "Rethinking Global Indian Dance through Local Eyes: The Contemporary Bharatanatyam
Scene in Chennai." Dance Research Journal 34:2 (2002) https://www.jstor.org/stable/1478457.

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