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! )

I was charmed by this film, even if it wasn’t quite as good as some other 1960s comedies that start with the letter “P” like Padosan or Professor.

( Read more or just browse through my screencaps! )

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!

Kishore Kumar is my favorite playback singer of all time. I love his deep baritone, his distinctive yodeling, and the way he trills his r's. He was also a talented comedic actor, even if he loathed acting. Being one of the few singer/actors in Bollywood, it's always fun to watch Kishore picturized on himself.

Mere Bhole Bhalam from Padosan is my favorite of all his songs picturized on himself. I love his bizarre drama troop leader character anyway, but the way he moves so deliberately in this track is especially fun to watch.

Ek Ladki Bheegi Bhaagi Si from Chalti Ka Naam Gaadi is another classic. The song takes place right as Madhubala has brought her car to Kishore's garage. It's the middle of the night and pouring rain. She's kind of nervous and Kishore is taking full advantage of the situation by playing with her! (And playing various automotive tools as instruments.)

Aake Seedhi Lagi from Half Ticket features Kishore and Pran dancing to a duet sung by Kishore and Kishore! Hilarious! The story according to the peanut gallery in the youtube comments is that Asha Bhosle was out of town so Kishore just decided to record both parts himself.

Of course, I love Kishore picturized on other people, too. He works well with Amitabh Bachchan, of course. I always though M. Rafi was a better fit for Rishi Kapoor, though.

Here's Kishore picturized on Dev Anand in Jewel Thief in one of my favorite Kishore tracks - Yeh Dil Na Hota Bechara. I love the yodeling!

And here is Kishore picturized on that old cradle-robber Rajesh Khanna in another excellent yodeling/travel song Mere Sapnon Ki Rani from Aradhana

From Rishi Kapoor/Zeenat Aman film - Hum Kisi Se Kum Nahin. There are so many great moments in this picturization. My top 3:

1. Rishi, surrounded by ladies in skimpy outfits, only has eyes for the traditionally dressed lady in pink.

2. Rishi energentically leapfrogging over every single one of his background dancers - 4:45 minutes in.

3. There is this really cool sequence of cut shots between Rishi and a background dancer both reflected in the mirror wall about 2:50 minutes in.

I'll never get used to hearing booming Kishore Kumar vocals coming from Rishi Kapoor. Rafi matches better with him, I think.