How the anthems of Holi melted the barriers to attraction

New Delhi: It is the Festival of Colours and I wish to dwell on the Holi number, a Bollywood staple no less interesting than an item number. It is also International Women’s Day and thus appropriate to appreciate it as a relationship probiotic, in cinema most certainly.

Nowadays a rarity, the Holi number was no less coveted than Bindu’s cabaret in terms of cinematic chutzpah. As the floodgates of restraint were liberated by the flight of bhang, well-honed men turned into poetic fairies. For the most part, it was a happy transition, not longer than 5 minutes on celluloid but often with a persuasive impact on storylines. Usually, the actions were romantic and benevolent but at times, the devil could be unleashed.

My favourite is the version from Silsila, Range Barse, where the deep passions between Amitabh and Rekha were laid bare to all, cemented by the husky baritone singing. When Sanjeev Kumar and Jaya looked at each other for a fleeting moment, as their respective universes were being musically ripped apart, many a societal lacuna was exposed. How Amitabh had to marry against his wishes to respect his dead friend’s legacy but at a later date, did succumb to the deepest truth. The jury must be in session on what was the higher form of respect -  honouring a lady he had never met versus doing manly justice to a committed relationship.

In Sholay, Amitabh and Jaya were once again testing the boundaries of society, albeit in a different context. The affections of the widowed daughter-in-law of the Thakur to a hired killer would be theoretically distressing to the obsolete citizenry for reasons beyond just caste and creed. It was in the Holi number that the chemistry was patently revealed, including a latent desire of the lady to seek a second chance in full-fledged living. While the celebrations were ravishing, Gabbar’s men were waiting and the carnage that followed confirmed that the truce was temporary, whether in emotions or enmity.

An even more compelling version of the above was depicted in Kati Patang, Aaj Na Chodenge, where Rajesh Khanna and Asha Parekh exchange come-hither notes in a typically raucous Holi shenanigan. Perhaps, the fact that Asha Parekh was a faux widow emboldened the director to permit the hero to douse her white drapery with abundant colours, as the sequence closed. The liberal licence of Holi was yet again proven to be a relationship adhesive, as both man and woman demolished a necessary boom barrier.

Younger audiences may not recall the double agent Rajesh Khanna from Namak Haram, placed by his pal Amitabh Bachchan to gauge Trade Union emotions. As the plot famously unfolded, he spontaneously befriended the very folks he was meant to betray and was increasingly attracted to the spunky Rekha. A sentiment unleashed charmingly in the post-bhang secret and once again, the Holi Number proved that it was not good at keeping secrets.

Another instance of this snitching propensity was demonstrated magically in Don when ‘Khaike Paan Banaraswala’ further convinced the heroine that the impersonator was indeed not the Real Johnny and thus not the murderer of her sister. The fact that Holi is indeed a calling, way beyond just a festival, ensured that Amitabh Bachchan disregarded the instructions of his Crime Branch bosses, as the bhang was no less mesmeric than Gregori Rasputin. In relatively recent days, Balaam Pichkari has been quite a stunner, with Deepika holding not just the water cannon but the reins of the supercharged dance routine with Ranbir. The mood is electric and the clothes are no longer traditional but the essence of the Holi number persists, this time Deepika being the one to confirm her romantic intent, beyond the purview of Plato.

There have also been times when the Holi number has been an agent of evil, like the infamous episode in Damini, when Sunny Deol’s debauched friends acted like commissioned agents of Satan. In Darr, Shahrukh Khan’s magnetic yet flawed attraction towards Juhi Chawla was manifested in a daring attempt to camouflage both visage and desire during a Holi procession. Many such minor deviations exist including Barsaat Ki Ek Raat and sundry others, wherein deep and dark desires overwhelmed the spontaneous romanticism of the festival, otherwise entrenched fundamentally to happiness.

The Holi Number has been a well-crafted Strategic Time Out during lengthy cinematic expressways and has often acted as the Las Vegas of the piece. Where inhibitions are lovingly muted, spontaneity laced with viagra and relationships gifted with a freshly-serviced propeller. It was naturally short and thus short-lived but when well done, a dramatic summary of the essential plot, exposing nuances that the band baja could scarcely conceal.

I so wish that it once again becomes a staple part of the cinematic repertoire. Till then, the retro reruns must suffice, for bhang does taste better when set to music.