As they chug across the screen...

THE RAILWAY train offers a very natural backdrop for films. It is the ongoing Railway week that triggered this train of thoughts. Storywriters and directors have used it conveniently to show the mood of the character while travelling on a train through the countryside with appropriate scenery. When the story needs a turn, the train comes in handy; the family can easily be separated or an accident could add to the melodrama. A neutral character like a Fakir, or a blind beggar sings a philosophical song on a train to remind that life is but transitional, for example ``Karma Yogi'' (``Tere jiwan ka hi karmon se nata'').

A ghazal sung in an adjacent compartment ``Sajan mere us par hai, milne ko dil bekarar hai'', (``Ganga Yamuna Saraswati'') gives a subtle hint of ``so near and yet so far''.

An encouraging note to face life is shown on a hill train (``Badal jaye agar mali'' - (``Baharen Phir Bhi Aayengi'').

In a dangerous situation, man turns to God for help, praying ``Teri hi zamin, tera aasaman'', - ``The Burning Train'' (Hindi).

A pan-Indian tour for school children is organised in ``Jagrit''. Seeds of patriotism are sown in young hearts (``Aao bachon tumhe dikhayen jhanki Hindustan ki, is mitti se tilak karo yeh dharti hai balidan ki'').

An example of a train is used by a priest in film ``Dost'' to teach the virtue of service to humanity, (``Gadi bula rahi hai, siti baja rahi hai'').

The locomotive drivers sing ``Hathon ki chand lakiron ka'' in the film ``Vidhata'' to argue about the power of fate against the power of will.

The call of the motherland is heard when ``Ghar aja pardesi, tera desh bulaye re'' is sung, in ``Dilwale Dulhaniya Le Jayenge''.

The difficult years of adolescence are shown in ``Solwan Saal''. The unbridled stallion's heart sings ``Hai apna dil to awara, na jane kis pe aayega''.

The Darjeeling Hill Railway, now a World Heritage site was pictured in the song ``Mere sapno ki rani kab aayegi tu'' in ``Aradhana''. The subtle beginning of an admiration shown in the expressions of the heroine travelling in the train.

A similar situation is depicted in an earlier film: ``Jab pyar kis se hota hai'' where the hero is seen singing ``Jiyo-ho-jiye kuch bol do'' from the roof of a car driven along side the train.

A request to behold the face that controls his heart is sung by the hero in ghazal style ``Rukh se parda hatao'' (``Mere Hazoor'').

All association in life (which is transitory like a train journey) are temporary, is the burden of a Qawali sung in ``The Burning Train'' the double meaning in the lyrics ``Pal do pal ka sath hamara, pal do pal ka yarana hai'' is successfully depicted in Qawali flavour.A marriage party travelling in the film ``Dharam Kanta'' is lured by an Eve, singing ``Yeh gote dar lehnga...'' while a group of thieves make a run with their prized possessions. The effect of female pheromones on the sensitive cells of man can be seen in the film ``Sirf Tum'' when a single eve attracts the attention of men who sing ``Patli kamar lachka ke chali hai''.

Similar effect on a group of eves in a ladies coach is shown in ``Chamatkar'' when an Adam intrudes accidentally and is harassed. ``Bichhu ye bichhu mujhe kat khayega'' are the words sung when the women pounce on the lonely male.

Singing on the roof of a running train was shown in the film ``Jamane Ko Dikhana Hai''. The hero was trying to convince the Nepali heroine of his love with words, ``Hoga tumse pyara kaun, aay Kanchhi...''

Towards the end of the century, the style of singing in Hindi films had shifted from solo or duet with little movement, to group dancing with the song. Since the obstructions in the passenger coaches prevented free movement, the director of ``Dil Se'' shifted the scene to the roof with the dancing troupe, and shot the song-dance sequence ``Chal chhaiyya chhaiyya...''.

GOPAL DALMIA

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