Amitabh Bachchan’s Musical Milestones – A Study Of Histrionics In Indian Film Songs

We repeatedly hear professional singers and music directors advising contestants on reality shows on what really a film song is. In the latest season of Indian Idol, Shreya Ghoshal advises a contestant, “Do not bother about how to crack a reality show.” Learn how to crack a film song. By becoming the song!

Those who aspire to be playback singers need to understand the concept of a film song in its entirety – the purpose of a scene, the desired impact on the viewer, how it fits into the narrative, how the song has been written, composed, and rendered, and finally, how the song has been picturized. A good director visualizes all these aspects in mind while conceiving a song.

Amitabh Bachchan is indeed one of the most unique, versatile, and successful actors in world cinema. On the one hand, he set a new standard of heroism for the protagonist, which was emulated across Indian cinema and continues to hold sway in contemporary Indian cinema.

However, his unprecedented success as the ‘hero’ somewhat eclipsed his histrionic range and abilities. This range has been, of course, captured in many brilliant portrayals, even when he was a top hero, and definitely later when he got the opportunity to do a variety of roles.

Very early in his career, filmmakers recognized that he had a range of abilities that worked for song picturizations – dancing skills, physical ability, histrionics, comic timing, and a sense of absolute abandon, a desire to push the envelope. 

He is also one of the rare actors who can sing effectively. 

The following is a collection of songs that cover a range of Amitabh Bachchan’s contributions to cinema. Most of the songs are examples of extraordinary song picturization. 

Top 10 Amitabh Bachchan Songs Of Bollywood

Dekha na hai re socha na – Bombay to Goa (1972)

This was one of the early examples where Amitabh Bachchan was able to prove his range of skills in song picturization. The song, composed by Rahul Dev Burman, is picturized inside the restricted space of a crowded bus. Yet, Bachchan manages to use the space to full advantage. 

Kishore Kumar, who rose to the top along with Rajesh Khanna’s meteoric rise, also became Amitabh Bachchan’s preferred voice. He altered his tone and style to suit Bachchan’s baritone and commanding persona. And the histrionic range of both artists laid the groundwork for a long collaboration.

My name is Anthony Gonzalvez – Amar Akbar Anthony (1977)

This was one of the earlier instances of an outstanding concept of song picturization, which depended on Amitabh Bachchan’s skills. The opening lines in impeccable English by Bachchan himself have become iconic. This superhit song from the superhit movie of Manmohan Desai was part of a scene in a hotel, and perhaps marked the way for many more brilliant song picturizations inside banquet halls of hotels. 

Kishore Kumar’s voice naturally created the magic that made this picturization a milestone. The music is by Laxmikant Pyarelal, and the lyrics are by Anand Bakshi. 

Khaike paan banaraswala – Don (1978)

In Don, Bachchan plays a rustic character groomed to play the role of a deceased don. In this scene, the influence of bhaang causes him to revert to his rustic ways. The remarkable composition was rendered with outstanding impact by Kishore Kumar, who, being an actor, comedian, writer, and director of great merit, understood the finer aspects of vocal histrionics and was gifted with incredible vocal dexterity to be able to reflect the histrionics. This number is a Masterclass in expression.

Needless to say, Amitabh Bachchan brings out every vocal and lyrical nuance of the song through his histrionics and dancing skills. The music is composed by Kalyanji Anandji, and the lyrics are by Anjaan.

John Jaani Janardhan – Naseeb (1980)

This song, composed by Laxmikant Pyarelal for another of Manmohan Desai’s blockbusters, was also picturized in a hotel where Bachchan’s lovable character serves. This was sung by Mohd Rafi. Amitabh Bachchan again has a vast scope to display his skills in song picturization.

The lyrics are by Anand Bakshi. Bakshi was the most sought-after lyricist in Hindi film music. His strength lay in the fact that he understood that lyric writing should not be confused with poetry. His lyrics reached the common man. And being a singer himself, he had a sense of how the words would sound when sung with the tune.

Rang barse bheege chunar – Silsila (1981)

Recorded in Amitabh Bachchan’s own voice, this song has become one of the most celebrated Holi numbers of Hindi film music. Bachchan is one of the rare actors who sings effectively. Even with the rawness in his voice, his histrionic abilities raise the bar of the song. This was the first film for which the classical musician duo Shiv Kumar Sharma and Hariprasad Chaurasia came together as Shiv Hari, to score music for a series of Yash Chopra’s home productions. 

The lyrics are by Harivanshrai Bachchan himself, the celebrated poet and father of Amitabh Bachchan.

Pag ghunghroo – Namak Halal

This song from the film Namak Halal, is one of the most unique and brilliant compositions of Hindi film music, not for any melodic or rhythmic complexity, but for the way in which the entire song has been conceived as a scene, the way it has been composed and sung to fit into the concept of the scene, and the way it has finally be picturized. The hero’s character is lovable, amiable, and humorous. He is totally self-expressed, says what he feels. Amitabh Bachchan is simply outstanding in this song picturization. The style of the composition is a traditional musical theatre style, where much of the conversation in prose happens in simple tunes. Bappi Lahiri has composed this with mastery, and Kishore Kumar has rendered it with utter brilliance. Anjaan’s lyrics are the base of the drama in the song.

Andheri Raaton me – Shahenshah (1987)

Amitabh Bachchan brought to Indian Cinema a new interpretation of what a ‘hero’ can be. The hero faces adversity in an unprecedented manner, becomes a leader, strikes new paths, and becomes an aspirational figure for every male. This concept of the hero was definitely there in Indian films, but Amitabh Bachchan’s personality, aura, voice and body language created a possibility for the Hindi film hero to be taken to a new level of heroism.

The film Shahenshah captured the unique screen image of Bachchan as the Messiah of the oppressed. This song, composed, by Amar Haldipur, with lyrics by Anand Bakshi, was among the last songs sung by Kishore Kumar for Bachchan. A significant part of the impact of Bachchan’s persona came from the commanding voice of Kishore Kumar.

Jumma Chumma de de – Hum, Sudesh Bhosle, Kavitha Krishamurthy (1990)

This is another iconic song. Sudesh Bhosle gave voice for Amitabh Bachchan and one wonders why he did not get many, many more songs with the superstar after Kishor Kumar’s untimely and sudden demise. 

Picturized again with brilliance, the song is a riot of energy. Music is by Laxmikant Pyarelal and Pyarelal’s famed orchestral arrangement creates the adequate energy that matches the composition and Bachchan’s commanding presence and energy. Lyrics are by Anand Bakshi. 

Say Shaava Shaava – Kabhi Khushi Kabhi Gham – (2001)

An outstanding dance number by Amitabh Bachchan. His dancing style evolved and 11 years after Jumma Chumma, his dancing has become more stylish. 

Dance choreography had also hugely changed by the 2000s. Professional choreographers changed the way songs were picturized, with huge sets and large numbers of group dancers. The song is composed by Aadesh Srivastava with lyrics by Sameer. The film portrays a kind of class and status conflict, and the song is a fusion of the styles preferred by the globally savvy upper class and the desi class who break into bhangra movements. Both the song and the choreography capture the cultural contrast beautifully. Amitabh Bachchan’s ease of fitting into the dance movements with authenticity makes him tower over all the others in terms of sheer style and perfection.

Mai yahaan tu Wahaan – Baghban – (2003)

The compilation of songs of the great actor would be incomplete without this soulful and pathos-filled song rendered by Amitabh Bachchan himself. Suffering from humiliation at the hands of his own son and daughter-in-law, Bachchan’s character is on the phone with his beloved wife, from whom he has been separated for a while. They need to talk to each other, but Bachchan is unable to use his son’s landline, so he goes to a PCO to call Hema Malini on his son’s landline at his son’s place in another city. It is a poignant scene in which two parents living with their own children struggle to make a simple phone call to each other. 

The song captures the heart-rending pain the couple is experiencing, not just because of their separation, but from the surprisingly bad treatment they are receiving from their own children. This movie was a blockbuster that painted the painful situation that many senior citizens find themselves in. 

Amitabh Bachchan brings out the pain of the situation with mastery. He proves that singing can be impactful only when one acts with the voice. The music is by Aadhesh Srivastava, and the lyrics are by Sameer.