Hi Guest Login Register. Amar Prem Hindi 6 Songs. Music Director - R. Amar Prem Songs. Raina Beeti Jaye Lata Mangeshkar.
Chingari Koi Bhadke Kishore Kumar. Yeh Kya Hua Kishore Kumar. Doli Mein Beethaye Ke S. Okay, Got it! Add to queue drop here. Are you sure you want to continue? Clear currently playing song. I have recently become more disillusioned that ever with Bollywood and its invariable churning of sugar-coated, feel good products, which lack a heart and soul. A poignant yet everlasting drama of love and the power of compassion and humanity. Yet within the brothel she resides, she builds a temple of love and care for those two people that come to see her.
Nandu and Anand are members of society, yet only ostensibly, yearning for the compassion that their families fail to provide them, and in search, they come to Pushpa, whose abundance of love and human sympathy far overshadows her disreputable social standing.
They alone see her inner beauty, while society maligns her, yet as the director points, cannot provide the qualities of love, happiness and tranquility for members like Nandu and Anand. Pushpa's relationship with Anand is certainly one of the most beautiful you will see. Theirs is a purely platonic relationship, which succeeds where the social union of marriage - for both - fails. As they continue to meet, their bond grows, and beyond their own socially certified families, they create a little family of true love, depth and care.
They receive from each other the love they so desire - motherly love for Nandu, a true companion for Anand, and a child and husband for Pushpa - though their relationship with each other has no social legitimacy. Samanta succeeds in creating a cynical presentation of society as one that compels people to stay within the confines of its social institution of family yet cannot provide for the very emotional, and spiritual ingredients that constitute it.
Add the fact that it is society after all that created the brothel, where unquenched desires can be fulfilled, and what you have is a representation that makes Pushpa's relationship with Nandu and Anand all the more 'holy'. This film tackled a theme that was very much taboo in Indian Cinema, and succeeds in presenting a mature, yet never over-the-top, nor didactic story that ultimately every Indian household can identify with.
The music is an absolute delight and adds to the melancholic yet redemptive nature of the relationship between the three protagonists. Setting presentation is class, with nothing done to hide the vividly grotesque nature of the red light district and the people that patronise it. It has its fair share of stereotypical characters, who function very much as symbols of the unscrupulous, cunning nature of society. Yes, you get doses of the typical Hindi film melodrama, but its very much reserved to a modicum.
Where it succeeds is in teaching you about human relationships and that it is love, togetherness and understanding that makes family, and not a social ceremony or some legal document. The fallen woman, solely longs to marry the man, but in vain, Pushpa too is reunited with Anand Babu in the end, however this is only a momentary meeting, and Anand Babu suggests she goes home with her foster son, Nandu as a mother.
The film also deals with the theme of urban melancholy, of the bhadralok , the gentlefolk, through Anand Babu, a businessman trapped in a bad marriage, whose wife is constantly busy in beauty-parlours and parties, and seeks company in Pushpa and alcohol.
Pushpa, herself lonely, fulfills her maternal instincts through Nandu, a young boy in the neighbourhood, often ill-treated by his step mother. Thus three lonely people become surrogates for each other and create their own family unit, even though briefly, as Anand Babu defines it, "Koi agar apna na hoke bhi bahut apna ho, toh ise kya kehte hain? Bahut pyara rishta, na? The score and soundtrack for film was composed by R.
Burman , with lyrics by Anand Bakshi. The soundtrack was melody based, which gave Lata Mangeshkar her finest classical solo of the decade, Raina Beti Jaaye , set in an unusual blend of two Ragas , Todi in mukhara or the opening verse and Khamaj in the antara.
Burman had heard his father, music composer S. Burman sing, Bela Boye Jaye , which he said was on his mind, while composing the song. Bakshi's lyrics, created a Meera bhajan-like idiom for the song, employing the Krishna - Radha motif.
However, when it came to "Bada Natkhat hai Re Krishna Kanhaiyya", things took a different turn when his father, veteran music director, S. Burman intervened and asked Burman to redo the tune. Burman was given the brief of "usual bhajan situation" by Samanta, later as he was giving final touches to the tune, his father heard the tune, and asked for the precise description of situation. On listening to the situation, he expressed his dismay as not doing justice to the situation,  as R.