Madhuri's forgotten dances

There are so many.... I have not even seen them all.... Usually from the films that did not do well. And together with them they passed into oblivion. Undeservingly. Because they were splendid. Not all of them. Some had trashy music. Some had trashy choreography. She was still as graceful and delightful as ever in all of them. The forgotten dances of Madhuri´s are sometimes actually even more astounding then the ones so much celebrated. Some of those are featured in this very article. And again, going by the timeline, I have to feature this beautiful dance, which has only recently made it´s way to me. Because it is technically not Bollywood. Yes – young, pre-Tezaab Madhuri obviously did what might be called and item number in a gujarati film Satyavadi Raja Harishchandra. What was it about? I have no idea. What was the point of the song? Do not ask me. All I can say is – enjoy, because it is not everyday you find a new Madhuri dance number!

Both Ladoo Yeh Ladoo (sung by Asha Bhosle) and Pehli Pehli Baar Aisa Thanedaar AAya (sung by Alka Yagnik and Amit Kumar) were featured in a film Thanedaar, and are, just like the revered Mera Piya Ghar Aaya, great examples of how much Madhuri actually enjoys dancing. Both stayed in the shadow of Tamma Tamma, that was completely different and very modern, while these two were classic Bollywood dances. Still they are a treat to watch! In the second song Madhuri is joined in by Kunika, which is brave, but at the same time it really shows the difference between a born dancer and a person, who is simply trying to dance.

Saajan (1992) was one of the most successful films of the 90s, and its music was very much appreciated. For some reason however it is hardly talked about today. Maybe some find it outdated, but that would be the case of practically every film from the period. Saajan songs were overally slow-ish duets, but that was not the case of oh-so-beautifully named Tu Shayar Hai, which presented Madhuri in one of the most beautiful ways. The dance was rather modern, not so much the setting, which actually reminds me more of the deep 80s then year 1992. the background dancers are actually quite funny to watch in their little skirts and horrendous outfits, and some of them are actually pretty chubby and I don´t think they would have a chance to do films today. But in the end even this dance is about Madhuri and Madhuri only. And Madhuri with the cutest expressions shines, whether in the orange, blue or her most essential white.

Sangeet was a flop. Pity, because the story was sweet, performances beautiful and music lovely. It is actually one of Madhuri´s personal favourites. When people remember Sangeet, they usually remember „Mein Tumhari Hoon“ dance, which was outrageously sexy, but sadly its original intention was to point out how wrong it actually is to sell the sight of a rather uncovered girl dancing (though Madhuri´s outfit looks like a complete dull burkha compared to the normal „clothes“ seen in Bollywood dances these days). The song I loved the most in Sangeet was Saat Suron Ke Taar Ban Gaye, and that is also the one I´m presenting to you today. Although I must admit I do not like Madhuri´s light contact lenses. Her eyes are most beautiful when left alone!

Just like Tamma Tamma ate all the attention in Thanedaar, hardly anyone could really think much beydon Choli Ke Peeche in Khalnayak. Pity. Because there were two more amazing, visually beautiful dances. Especially Aaja Sajan Aaja is just splendidly shot. It was also practically a goodbye from Madhuri in the film, because nearly immediately after this song she disappeared from the movie, letting the last 30 minutes to become a real bore, though it was packed with action. She was the soul of Khalnayak, and without her there was no life. For me the film pretty much ends with this song.

Incredibly catchy melody! Song Namaste Namaste is plain fun! And also an unashamed advertising of Emami cosmetics. That somehow turned me off at the very beginning, because I HATE advertisements, and this one did not even try to be hidden. Thankfully the moment Madhuri starts dancing rest of the world and everything around looses importance really. True, the last outfit she was made to wear is rather funny, but so is Salman Khan throughout the whole song. From a sweet, but unsuccessful film Dil Tera Aashiq, here comes a sweet song

There is something very much special about this song. Well, not so much about the song as the dance itself. It is something that doesn´t strike you immediately, but in the end you do realize..... that this whole song has been shot in ONE continuous, uninterrupted take! I don´t recall seeing anything like that in any other film as yet, and it only makes me go more wow. Because everything is just so perfect – the timing, every step, every movement of the saree in the wind.... Barson Ke Baad from Anjaam (1994) does reminds me a bit of Dhak Dhak, though the story could not have been more different. But here she is, beautiful, enticing, sensual.....

One has to love this song. Even if only for the fact Madhuri is drunk in it (not really of course). And she can still give anyone a run for their money. Yaraana overally had a fine music and good dancing, some of the dances were rather comical, then there was the running over the Swiss meadows we all are familiar with, and then of course there was Mera Piya Ghar Aaya (for reasons I´ll never get cut out from many DVDs). Jaane Woh Kaisa Chor Tha has also an awesome single take moment. Just watch out as the light goes out and Madhuri´s anger and desperation takes form of the dance.

One of my ABSOLUTE favourites EVER. One of the most beautiful Madhuri dances ever. The one I watch every week at least three times. Why? Because it is just SO BEAUTIFUL. I don´t really have words for this one...... I love it dearly. Then again I love that film too, but sadly Prem Granth (1996) flopped badly and undeservingly. My review of this one is going to be long, when it comes. Jungle Mein Sher was a true highlight, but I cannot help but also mention Dil Lene Ki Ruth Aayi, which for me has that fascinating something, that cannot be defined. Not even the presence of Rishi Kapoor could ruin it for me. After all, everything I was able to watch was Madhuri....

Another film that flopped, and this one time very much deservingly so, because it was just bad, was Rajkumar (1995) in which the usually over-hairy Anil Kapoor becomes a Robin Hood in some far away country full of sarees and Egyptian columns. The only saving grace, and only reason why you just might to watch this, is (of course) gorgeous La Dixit in an ungrateful and anything but meaty role of a Princess. She was used merely as a love interest and her presence was the best excuse for some dancing. But my – what dancing that was!

Sanson Ki Mala Pe from Koyla always makes me stop breathing. Such is the power of the dance, such is the feeling of it, that I literally stop breathing while I watch it. The intensity of pain, of desperation is screaming from every gesture and expression. And it gets more and more intense by a second. Until finally she has tears in her eyes.... and to be honest very often so do I. Koyla (1997) is my guilty pleasure. One of those so bad it´s actually good movies. And this song ads a lot the good part. Throw in a passionately drumming Shahrukh Khan.... and you have picture perfect.

After all that pain and emotions, lets move on to something easy on the heart. I would rate the following dance as „cute“, because it really isn´t anything groundbreaking. And quite frankly it suffers from some awful props and silly dressed background dancers. And I´m not fond of Madhuri´s first outfit either. But obviously, though it didn´t do well in India, Mohabbat (1997) did very well overseas, especially in Britain. Chori Chori is really not among Madhuri´s best dances. But it is still highly enjoyable.

And something different yet again. We´ve already talked about the famous Que Sera Sera in another article, and even QSS did overshadow another dance number from the same film. Because Pukar (2000) featured also a very sexy and very much modernly polished Hai Jaana. Time for our sweet Madhuri to turn a bit bitchy, and very, very much sensual. My absolute favourite part is the beginning. I´m sure you´ll see why.

As much as it pains me, I cannot possibly mention all the dances I´d like to. So let me finish this journey with one more dance. A rather short one. From a movie, that did not make sense to many. Gaja Gamini was a pure art, and a celebration of a woman. And Madhuri, in the following two minutes, will show you what it is means to live music, to feel it – and yes, make love to it.

Anyone feels like dancing?

When dil goes dhak dhak (part 2)

Mera Piya Ghar Aaya is a dance number that I always recommend when you are trying to introduce Madhuri Dixit to somebody new. Because it is practically perfect. Once again Madhuri´s love for dancing is more then apparent and nobody can tell how much her knees hurt after the shooting! Not for a second does she let go of that joyous, sweet and mischevous expression. The dance was a part of a film Yaraana (1995), and though the movie did only an average business, the song became almost an anthemn. When Madhuri got married in 1999 and the knowledge about it spread out, there were special television programs showing this very song.

There is no anecdote related to the „Maya´s dance“ featured in a hit film Dil To Pagal Hai (1997), at least none known to me. All that can be said is that this was the only classical dance number in the film and it was choreographed by Jaikishan Maharaj Kiran. I know of several people who purchased the DVD only for this dance. No wonder. Madhuri dressed very simply in white, giving herself up to the beat of drums, dancing in a moonlight, is a wonderful sight to behold. When I watched the dance for the first time, I had the exactly same expression on my face as Shahrukh Khan in the film!

Makhna presented Madhuri (very much intentionally and with her consent) in a whole new sexy way. The ultra-short skirts, ponytail, straight hair...... everything was very diferent from her usual image. And it worked magic! It was this item song and a guest appearance in a movie Bade Miyan Chhote Miyan (1998) that brought together three grat names – Madhuri was accompanied by Amitabh Bachchan and Govinda, and all three fondly remember those seven days Madhuri spent on the sets of the film. It was the first (and seems that also last) time Madhuri and Big B were together in a film frame. "While working with Madhuri in Chhote Miyan,“ tweeted Amitabh in December 2010, „the first thought that crossed my mind was that I should have born 20 years later."

90s saw the globalization of Indian cinema on a truly big scale. Up until that point the westernized dancing was seen in Bollywood films, but the classical dancing and choreography inspired by it held the upper hand. But as the western trends became more and more fashionable, also this was changing. One of the best choreographers inspired by the west is Prabhu Deva. And when Madhuri was told he was responsible for one of the dance numbers in Pukar (2000) for the first time in her life she was scared of dancing, absolutely terrified she won´t be able to do it. And though Mr. Choreographer kept reassuring her the steps were all „very easy“, none of them was easy and it took Madhuri some time to master them, also because she was down with a fever for several weeks at the time. In the end the song was shot several times over, because the two main dancers were not completely satisfied with the result. Today Que Sera Sera is one of the most popular Madhuri dance numbers.

Lajja (2001) was a film full of star guest apearances. Urmila Matondakar and Sonali Bedre both were roped in for item numbers, and both were excellent, but the true dance highlight of the movie was Badi Mushkil performed by Madhuri. As a theater actress Jhanki she wants to share her joy of life and dance with Manisha Koirala, who attempts to join her near the end, but cannot really match our lady. Manisha admited: "Initially, I was a bit wary. Thanks to some of my earlier brash statements. But once she thawed, she was lovely. Oof, she's gorgeous. And I'm convinced she's an uncomplicated person. What you see is what you get. It took me ten years to realise that though. Know what? She even helped me out with my dance steps during the rehearsals for Lajja. I'm her biggest fan today."

"I was always a Madhuri Dixit fan. But after doing Devdas, I became her devotee. We used to shoot late at nights as almost all of Madhuri's songs in Devdas are in night. I used to see how engrossed Madhuri used to be while rehearsing the steps. We used to have food together. Me, Madhuri, Madhuri's mom and some people from crew. Even Shah Rukh sometimes. But then at the stroke of the morning hours of about 4.30 am, I again used to see MD, very fresh, calm and engrossed in her rehearsals. She used to practice each and every step so perfectly as is Pandit Birju Maharaj ji has just now taught her. This shows her professionalism, her dedication to her work. Otherwise I have seen actors being extremely late on shoots or giving it a complete skip. Working with Madhuri was like a morale boast. If a superstar can work so hard, then why can't people like us?" That is how Milind Gunaji recalled working with Madhuri in SLB´s Devdas. And whatever you think about it as a film, Devdas did give Madhuri three of her most beautiful, iconic dances. Kahe Chhed Mohe is possibly the most glorious moment of cinematic dancing ever. Maar Daala is by many considered to be the ultimate mujra song. And Dola Re Dola is probably the most amazing dance number I´ve ever seen. The latter two were choreographed (yet again) by Saroj Khan, Kahe Chhed Mohe was entrusted to Pandit Birju Maharaj, a Kathak Master, whom Madhuri admits to be completely in awe of. And the demanding Master let himself be heard that „after Madhuri Dixit, I don't find any actress capable of performing classical dancing flawlessly.“

So far the last one....... and I pray not the last one ever. The film Aaja Nachle (2007) did not succeed in India, though it recovered all its costs and did reasonably well overseas, but the title song picturized on Madhuri has become hugely popular. Vaibhavi Merchant did not have an easy task, but did a good job and gave Madhuri moves we had not seen her doing before. The black and blue striking fantasy that is Aaja Nachle made a huge impact, even if the film did not.

That would be for the famous ones.... and tommorow we´ll indulge ourselves with some seriously awesome dances, which are undeservingly forgotten....

When dil goes dhak dhak (part 1)

To choose TOP 10 of Madhuri Dixit´s dance numbers turned out an impossible task. There is probably no other actress who had so many astounding dances. Plus what more, the magic she and her choreographers created, added a lot to the hit status of the songs used. Ek Do Teen or Mera Piya Ghar Aaya would have never become so popular had it not been for Madhuri´s sensational dancing. But I must say that the dance numbers that are most popular are not always necessarily the „best“ ones Madhuri has done. And so in the end I decided to make two articles..... Today we shall remember the famous and big ones (most of them were choreographed by the one and only Saroj Khan) in two parts (cause there are helluva lot of them), tommorow we´ll take a look at several, that seem rather forgotten or were literally lost in time (and most of those were too choreographed by Saroj Khan).....

Should we go with the timeline, then the first BIG and HUGE and SUPER-FAMOUS Madhuri´s dance has to be Ek Do Teen from Tezaab (1899). The voice of Alka Yagnik singing about numbers inspired Saroj Khan who came out with a catchy choreography influenced by western dancing, and the dancer herself did the rest. Madhuri, till then trained only in Kathak, had at first a difficulty mastering filmi dancing. Till then whatever dancing she did was more or less classical. And Saroj Khan was not optimistic. „You won´t be able to do this“ she said to the girl, and with these words she fueled Madhuri´s determination and stubborness. She stood up to the challenge and rehearsed for days, from morning to evening without a rest. Until Saroj Khan literally folded her hands in front of her with „Madhuri, that´s enough.“ „No, I´ll come again tommorow,“ the girl answered. But the choreographer pleaded some more: „I won´t have time for you. I have to train the group.“ And the adamant girl just plainly said: „Do not wory about me. You work with the group, I´ll dance in the corner over there.“ And she did come and she did dance. After rehearsals came the shooting, and as Neetu Chandra, the director of Tezaab, remembered: „She made an incredible thing. She was shooting for 25 hours! She wanted to give her best and I think that´s why the song became a legendary song.“ And Madhuri herself admited that most of the final footage was shot after a whole day at 5:30 AM, after a whole day of working relentlessly.

Ram Lakhan was shot before Tezaab, but was delayed in post-production and hence it released only after Tezaab had become a hit. This definitely worked in Madhuri´s favour. She might have gone largely unnoticed as subtle and demure Radha, but the Ek Do Teen craze and sudden demand made her one of the attractions of the film, that too went on to become a blockbuster. And she did not let anyone down. Very well known Bada Dukh Deena was the first Lata Mangeshkar song ever picturized on Madhuri, and she as huge Lata-ji´s fan was very excited about it. Saroj Khan has been instructed here by Subhash Ghai, who had just taken young Madhuri under his wing, that she should not let the girl dance „too much“ during the song, and then in several short moments showcase her talent and potential. And Saroj Khan did just that. It was also here, while young Madhuri is „singing“ and expressing her sorrow through her eyes and face, that people for the first time noticed the resemblance with the legendary Madhubala.

Sailaab did not bring a flood of viewers into the theaters and it did a below average bussiness, but it is remembered to this day for one reason only – Humko Aajkal Hai Intezaar. The song was unusual because only the chorus was sung by the heroine, and the rest was entrusted to back vocal singers. And Madhuri did honestly wonder what is she supposed to do during the parts when she´s not „singing“. But Saroj Khan had a clear image in her mind and once she managed to calm the dancer down, they created history. The Sailaab song is possibly the most popular Madhuri dance number in India till this day. It mesmerized the audience completely. Karan Johar still recalls how he bought tickets, went into the theater, watched the song and came out, because he couldn´t get over „how briliantly she could dance, how briliantly it was choreographed and how absolutely fantastic she looked“.

When he was first told he is expected to dance, and to top it to dance with Madhuri Dixit, Sanjay Dutt, a guy with a kind heart and no dancing ability whatsoever, was petrified. He practiced for more then a month before he was confident enough, and all the practice did bring its fruit. Wild, energetic and very much westernized Tamma Tamma was one of the most physically challenging dances Madhuri was ever compelled to do. And it was not just because she was dancing in high heels. A little „Michael Jackson“ sequence with a chair is, as you can see for yourself, shot in one single continuous take. Four dancers. Everytime one of them made a mistake the whole thing had to start again. And again. In the end there were exactly 36 unsuccessful takes! And when Madhuri and other finally sat down and took off their shoes, their feet were full of blisters and bleeding. This shows pure profesionalism and determination.

Dhak Dhak. A song that earned Madhuri her most famous nickname and cemented her position as a superstar. Provocating? Yes. Daring? Most definitely. Sensual? HELL YEAH! Vulgar? Never. And that´s it. Dhak Dhak knocked the breath out of everyone as they watched Madhuri dressed in a bright orange saree taking a deep breath of her own, while Anil Kapoor (oye lucky man!) held her arms back. Originally intended for Sridevi, who refused, film Beta was at the day of its premiere itself unoficially remaned to Beti, thanks to Madhuri´s powerful performance (she received her second Filmfare award for this film). And Dhak Dhak was an icing on the cake. The song was shot in an unusual hurry – in exactly three nights (normally a song takes at least seven days to finish), and the set was originally full of vibrant colours. But cameraman proclaimed the set as horrible and on his demand all was toned into dark tones that made the orange saree really shine. And of course, Madhuri.

Would you really believe it is just a heart yearning for love that is hiding under a certain choli? Well, feministic organizations, that were loudly protesting against the song, did not. Choli Ke Peeche raised a storm even before the film Khalnayak made its entrance into the theaters across the country. The provocative title was enough to shock the critics and pretty much everyone.... Today it is a legendary song with a story of its own! Choreography (yet again by Saroj Khan) included a lot of traditional folk movements and till this day one cannot help but being mesmerized by seemingly little things that together create the astounding dance number. Be it the fact that when Madhuri first appears her face is covered, be it a seductive movement of her perfect hips as she walks, be it the leg movement that makes her skirt dance along....

Year 1994 came and with it Hum Aapke Hain Koun. A film built on family values and music had lot of dancing and practically every of the 14 songs featured Madhuri in one way or another. Four of these songs were big dance numbers, but I´m going to feature only two, that are mostly mentioned and also most remembered. First is Joote Do Paise Lo, during which Salman Khan and Madhuri enjoy teasing each other over a custom of stealing groom´s shoes. The song is extremely catchy and the picturization makes it a wonderful fun too. The innocent and sweet chemistry between the two main leads is beautifully captured. Just as mischevous but even more famous is Didi Tera Deewar Deewana. The purple saree Madhuri wore throughout the song immeditely spawned over millions of copies and was in great demand. And even in such a joking song, there was something enthralling about Madhuri. Just as her admirer M.F. Hussain said: „Remember how she bends down and takes those five steps backwards and bursts into song. I have never seen anything quite like this. It is outrageously sexy and yet almost spiritual in its impact.“ And just for a change, the choreographer here was Jay Borade.

There is one dance movement Shahrukh Khan has still not learned, although it is one of his life goals ever since year 1994 and film Anjaam. And that is the trademark signature arm movement of vivacious Chane Ke Khet Mein, that had Madhuri singing teasingly to the audience about her lost innocence in a rice field. Seeing the song, the dance and the super gorgeous dancer, one can hardly be angry with Shahrukh Khan for going utterly mad for Madhuri in the film, that soon after turns darker and darker...... but Chane Ke Khet Mein is still free of the glooming tragedies lurking in the future and the joy Madhuri obviously feels while dancing is just springing out of her! Just like Choli Ke Peeche this song too had a lot of folk influenced moves and Madhuri proved once and for all she is the Queen of facial expressions. There is one more interesting fact revealed by the choreographer herself: „The song...involved Madhuri dancing around Deepak Tijori, with Dholak in his hands, in a single sequence.. there were 15 retakes and shot was not getting completed. In the end Madhuri got a bit frustrated , tired rather, and went into her van. We all were waiting outside expecting response from her like "lets pack up"  or "let me rehearse today and will do it tommorow" or "let´s split the sequence in two halfs" or "give me some easy steps" etc. But this girl, Madhuri, comes out looking all fresh and says lets do it and the shot got OK in first take. That´s her. Trying her best to not let others down."

Saroj Khan/Madhuri Dixit combo was still to produce some more serious hits together. And one of them was Ankiyaan milaoon from the 1995 film Raja. Just like in case of Beta, the film was promptly, though unoficially, renamed to Rani as soon as it released, such was Madhuri power. The music was overally hugely appreciated, but this particular song was the one most revered. Why? Film director Ramesh Sippy let himself be heard he found Madhuri „a peculiar combination of Madhubala and Suchitra Sen with dancing ability that neither of them had. She can carry off the song like Ankhiyan Milaye from Raja, which is a song without situation. So carrying that song just with her dancing ability and looks made it such a crazy that people would just go the the theatre to see the song. I´ve seen people glued to the television just to watch the song. The expression she has when she come down from a car are rarely seen.“ Madhuri herself loved the beat of the song and enjoyed herself to the utmost. But once again she gave her co-star nightmares. Sanjay Kapoor still remembers: "When I had to shoot with Madhuri for the song, I was nervous because I knew Madhuri learns steps in two minutes and I would take two hours to deliver the perfect dance move. I would wake up at 6 in the morning, call the choreographer, rehearse for the shoot for three hours and only then get the shots right. Even Madhuri doesn't know this - I guess I'll have to visit the US to tell her how I was able to dance with her!"

Part 2 coming later today :)