And once it hides in the clouds, Salman Khan calls on his ladylove to come and embrace him in Chaand chhupa baadal mein (Hum Dil De Chuke Sanam, 1999).įrom Sridevi’s Chandni (Chandni, 1989) to Madhuri Dixit’s Chandramukhi (Devdas, 2002), the moon’s attributes are to be aspired to, even if only in name. Prabhudeva beseeches it to descend on earth, so that they can sit and share sweet nothings, in Chanda re chanda re (Sapnay, 1997). Dev Anand urges it to Dheere dheere chal (Love Marriage, 1959) lest the night would end and his dreams would shatter. It signals to yearn and helps lovers meet or stands in for the beloved in her absence. In Chalo dildar chalo, chand ke paar chalo (Pakeezah, 1972), the moon is that last point of familiarity beyond which is the unknown, which is where the lovers dream of escaping to. Or, picture Bipasha Basu’s seductive dance after swallowing the moon, figuratively, in Gulzar’s risqué Namak ishq ka (Omkara, 2006). Nutan beams with happiness in Woh chand khila, woh taare hanse (Anaadi, 1959), while Shah Rukh Khan sings Chand ne kuch kaha, raat ne kuch suna (Dil Toh Pagal Hai, 1997) on stage and the moon carries his message to Madhuri Dixit. The moon sets the mood, whether it’s in the playful ‘ Khoya khoya chand‘ ( Kala Bazar, 1960), with Dev Anand gallivanting about, or the staid Yeh raat, yeh chandni phir kahan (Jaal, 1952). There’s Aaja sanam madhur chandni mein hum ( Chori Chori, 1956), where Nargis calls on her onscreen love in this Indian remake of It Happened One Night (1934). The moon is the lover’s companion through a wakeful night of yearning.
0 kommentar(er)
