This was a difficult list for me to compile because I am not as familiar with the cinema of the 1950s as I am with later decades. I will gladly accept other suggestions for good picturizations.

Picturizations of the 1950s are overwhelmingly of two types - the stand and sing at the camera type or the item number/natuch girl type. I have to admit that I prefer the latter, for all of Dilip Kumar and Raj Kapoor's charms, I don't need to watch them mime for the camera.

With this list, I've tried to temper my preference for over-the-top spectacle, with a few low key but graceful picturizations. I'm planning a list of awesomely provactive item numbers, which will be a better place for my favorite picturizations like the saucy hip shaking of Helen and Cuckoo in Yahudi.

And now, let's time travel back to the black and white era of the 1950s...

#10 "Kaisa Jadoo Dala Re Balama" (Footpath - 1953)

Coming in at number 10, to prove that standing and singing at the camera does not have to be dull, is Meena Kumari in Foot Path. The provactive cuts between flowers, a pigeon, and the bathing lady are really quite lovely. My favorite part is when we see the water rushing down the drain and then the camera pans back up to a pair of feet.

( Kaisa Jadoo Dala Re Balma )

#9 "Tu Ganga ki Mauj" (Baiju Bawra - 1952)

Although the qawwali from Baiju Bawra is the best remembered track, "Tu Ganga Ki Maju" stands out as the better picturization. I love the use of the river and the shaky frame as the camera puts us in the boat with the heroine. The shot at the beginning of the boat sailing through the moon is such a beautiful image.

( Tu Ganga Ki Mauj )

#8 "Babuji Dheere Chalna" (Aar Paar - 1954)

There are item songs and then there are item songs. Without showing any skin or even really dancing, Shakila (?) manages to seduce the audience through sheer charisma and some well-placed emphasis on her eyes. This is a wonderful number...

( Babuji Dheere Chalna )

#7 "Ghar Aaya Mera Pardesi" (Awaara - 1951)

Ah... who wouldn't want to find Nargis waiting for them in the heavenly abode?

( Ghar Aaya Mera Pardesi )

#6 "Waqt Ne Kiya Kya Haseen Sitam" (Kagaz Ke Phool - 1959)

Just try to tear your eyes away as the camera pushes into close-up on the two starcrossed lovers. And then pull out the tissues to dab away the tears as their souls meet in a giant beam of light. Guru Dutt makes really good use of all of the things film could do. He gives this otherwise static scene quite a lot of forward momentum.

( Waqt Ne Kiya Kya Haseen Sitam )

( The TOP 5 are under here! )

The problem I had making up this list is that I love over-the-top cabaret numbers, especially when they feature Helen and this is not supposed to be a list of 8,000 song picturizations featuring Helen. I also have a soft spot for comedy qawwalis and that delightful 1960s wrists-down shimmy-shake. Don't worry, all are included on the list, but I made room for some quieter, slower song picturizations, too. The Top 10 Laxmi Chhaiya Shimmy-Shakes will have to wait for another day.

And here we go!

#10 "Kasme Vaade Pyaar Wafa" (Upkar - 1967)

Why? Because Pran is singing a song. Manoj Kumar has his faults, but brilliant casting is not one of the them. If I'm not mistaken, this was one of the turning points in Pran's career from straight-up villain to character actor and future star of Victoria No. 203. Plus, the camera work is very lovely. The part where Pran lurches into the screen and then we see a close-up of his tear-filled eyes is so excellent.

( Kasme Vaade Pyaar Wafa )

#9 "Bol Radha Bol" (Sangam - 1964)

Why? I have a feeling that this picturization is filed under Vyjayanthimala -- Swimsuit. for many men of a certain age. For me, though, what makes it so charming is Vjayanthimala's playful indigation and the teasing way the camera hugs her curves. Plus, who doesn't want her to succeed in poking Raj Kapoor with a stick at the end of the song to puncture his, um, "bagpipes."

( Bol Radha Bol )

#8 "O Haseena Zulfon Wali" (Teesri Manzil - 1966)

Why? This song is everything about my favorite 1960s cabaret numbers smooshed into one giant picturization. We have Helen in full-on Western babe mode with some wrist-down shimmy-shakes and some flamenco moves and Shammi Kapoor's full-body dancing. Also, the giant letters spelling out R.O.C.K.Y. are excellent, as is Shammi's tour of musical instruments.

( O Hassena Zulfon Wali )


#7 "Bhanwara Bada Nadan Hai" (Sahib Biwi Aur Ghulam - 1962)

Why? As fun and exciting as a Helen and Shammi cabaret number is, it's a lot harder to make a compelling picturization for a quiet song. "Bhanwara Bada Nadan Hai" is quite possibly the cutest and sweetest thing I've ever seen. The weight of the song is carried along by the brow raises and pouty lips until a huge gust of wind comes along to scatter all of her pages! A gentle song requires a gentle directorial touch...

( Bhanwara Bada Nadan Hai )


#6 "Khoya Khoya Chand" (Kala Bazar - 1960)

Why? Even though I've never seen Kala Bazar (I fully intend to, though, as described Dev's character reminds me of Aamir Khan in Rangeela - "Dos cartees, dos cartees...") this picturization makes me so happy. Look how drunkenly Dev wanders through the frame. He's high on life! Plus, the song is beautiful - the way Rafi hits those "chands" just makes me shiver.

( Khoya Khoya Chand )

( Top 5 under here! Will your favorite make it? (Probably, if your favorite involves Helen in some way... )

I'm scared to move onto the 1950s as I'm not really an expert in 1950s films, but I'll do my best! I'll take any suggestions for my list - so Raj Kapoor fans send them on!

Oh my god! It was so difficult to narrow down this list to just 10. The 1970s are packed with great picturizations. I tried to balance out the list so it wouldn't be 10 Helen caberets or 10 Rajesh Khanna moon-eyed balads or 10 Rishi Kapoor break-downs (although all are represented.)

Still, I needed to do this:

Runner up #2: Aapke Saajan Saawaan Mein from Chupke Chupke (1975) because I love Sharmila and Dharmendra's chemistry here.

Runner up #1: Do Bechare Bina Sahare from Victoria No. 203 (1972) because I love Ashok Kumar and Pran's giddy bromance and Helen eating an ice cream cone.

And onto the list!

#10 "Dus Numberi" (Dus Numberi - 1976)

Why? The direction is really lyrical AND the song is hilarious. I love the bit where Manoj Kumar opens the lock just by pointing at it. Comedy songs don't often have this much attention lavished on them - usually the director leaves the hard work up to the main actor, but he works with Manoj here to make an excellent picturization.

( Dus Numberi )

#9 "Mera Padhne Mein Nahin" (Kora Kagaz - 1974)

Why? Middle-class cinema rose to prominence in the 1970s and Kora Kagaz is among the best of its type. This picturization is a nice slice-of-life song that fit seamlessly into the film. Also, I have a soft spot for sister-bonding songs, which we don't see very often as most bonding songs are of the "Yeh Dosti" type. Jaya really glows here. I love this track.

( Mera Padhne Mein Nahin )

#8 "Khaike Paan Banaras Wallah" (Don - 1978)

Why? Angry Young Men don't really do song picturizations. You know who does, though? AMITABH! Sure, everyone loves "My Name is Anthony Gonsalves" but, for my money, the best 1970s Amitabh-boogie is here in Don: "Khaike Paan Banaras Wallah." Watch him break it down and mix it up and every other dancing metaphor you can throw!

( Khaike Paan Banaras Wallah )


#7 "Yaha Wahan Saare Jahan" (Aan Milo Sajna - 1970)

Why? Craftsmanship. The way everything is set up here is perfect: the framing of Rajesh and Asha, the use of the dancers, and the song itself. This is really a beautiful song and a perfect example of how to do things right.

( Yaha Wahan Saare Jahan )

#6 "Parda Hai Parda" (Amar Akbar Anthony - 1977)

Why? Rishi Kapoor at maximum glitter! Yes, I know we all love "Bachena Ae Haseeno" from Hum Kisi Se Kum Nahin, but this has so much more - like the way the veils fall from the ceiling and the "Akbar" written in the heart behind Rishi's head. Plus, the row of Neetu and her sisters tempted to lift their veils puts this over into genius territory.

( Parda Hai Parda )

( Top 5 under here! I bet you think you already know, but you might be surprised... )

Next up: Twisting and shimmying away with Laxmi Chhaiya and Shammi in the 1960s!

I've become mildly obsessed with this song picturization from Shikari - a film I cannot find any information on except that it's from 1963 and stars Helen, Ragini, Ajit, and Tun Tun. I want this movie!

Helen topped billed + set full of giant lotuses + Tun Tun = Happy filmi_girl!

This is such a lovely duet - Ragini is a good match for Helen.

Caravan has more than "Piya Tu Ap Tu Aja" to recommend it - like about 10 other awesome song picturizations, a plethora of spunky ladies, and a nice moral ending where Happiness is more important than Money.



The basic premise of the film is that Rajan is a jerk. He murder's Asha Parekh's father, convinces everyone around her that her grief is really maddness, and then smooth talks Asha into marrying him to fulfil her father's wishes all in the first 10 minutes of the film - he's a fast operator. When he takes Asha on their honeymoon, however, things start to go further south for our heroine. (Just wait and see how things get worse than the hair-don't she has in the first part of the movie. Grief = no visits to the salon with Sadhana to chit chat and get a permanent.) ( More Caravan excellence under here... )

There are two reasons to watch Caravan: wonderful song picturizations and a very charming Aruna Irani in a huge supporting role as a gypsy girl.



On her first meeting with Jeetendra, she threatens to stab him. *approves* Aruna's character has a nice development from selfish, immature brat to mature lady and plenty of wonderful dance numbers, including an excellent "drunk" number. ( Screeeeeencaps and more discussion under here! )

So, yes - if you love song picturizations and Aruna Irani like I love song picturizations and Aruna Irani please watch Caravan!