This runs deep in the psyche of us Indians, as the subject is embedded in our culture. Ĭiting this as a continuous trend in Bollywood, film critic Omar Qureshi explains, “The theme of reincarnation goes deep into karma, how you can keep coming back until you get your karma right and achieve moksha. Shiv Saira are drawn to each other, and are set for a happy forever after, when their troubled past life comes knocking in the form of actor Jim Sarbh. The story for Sushant Singh Rajput and Kriti Sanon starrer Raabta, releasing on June 9, is set in 2017. Be it Monty from Karz, Omi from Om Shanti Om or the brother duo Karan and Arjun-filmmakers have always been fascinated by the idea of the hero being killed, and coming back to life, either to take revenge or reunite with his love. Ghai even credited Rahman for the title of the film as it was his presence that led Ghai to name the film Taal.Reincarnation is Bollywood’s go-to storyline. To his credit, Rahman worked on the music of Taal for 70 nights and the result was for all to see. Taal (1999) was the story of musicians and for this film Ghai roped in the maestro, AR Rahman. Even the love songs, “Meri Mehbooba”, “Do Dil Mil Rahe Hain” and Sonu Nigam’s breakthrough performance “Yeh Dil Deewana” turned Pardes into a musical hit. Pardes released on the occasion of 50 years of Indian independence and to capture the mood of the audience, they created tracks like “I Love My India”. Pardes, which released in 1997, featured music by duo Nadeem-Shravan and here Ghai proved that even without Laxmikant-Pyarelal, his ear for melody was just as sharp. Khalnayak was also the last collaboration of this dream team of Subhash Ghai and Laxmikant-Pyarelal. Ghai and Laxmikant-Pyarelal could have easily ended up in deep waters if any of these elements did not work right but what we got was Madhuri Dixit’s mesmerising performance and an unforgettable song. The catchy music, Saroj Khan’s choreography and Madhuri Dixit’s innocent expressions in the music video took it miles away from being called vulgar. “Choli Ke Peeche Kya Hai” with Madhuri Dixit became an instant hit. With Sanjay Dutt delivering one of his best performances amidst a personal crisis of his own, Khalnayak succeeded and not just because of the publicity it garnered. Ghai’s Khalnayak (1993) was a landmark film in many ways. Karma’s “Ae Watan Tere Liye” is still played every year and is one of the most popular patriotic songs to come out of Hindi cinema. Ram Lakhan’s “My Name is Lakhan” is still the anthem of every desi party and Saudagar’s “Imli Ka Boota” maintained its popularity thanks to all the years of playing Antakshari. With subsequent films like Karma (1986), Ram Lakhan (1989), Saudagar (1991), the team continued with their success streak. With songs like “Lambi Judai”, where the director managed to get Pakistani legend Reshma to sing for an Indian film and popular love anthem “Pyar Karne Vale Kabhi Darte Nahi”, the album was a huge success. The melody was even re-hashed for Tiger Shroff’s debut film Heropanti which just goes to show the timeless impact of Laxmikant-Pyarelal and Subhash Ghai. There is no way that a cinephile who has grown up watching Hindi cinema cannot recollect the signature flute music. The team hit the nail on the head once again with 1983’s Hero, which was also the debut film of Jackie Shroff. The tune was incorporated in the story as a trigger for the antagonist and even independently, “Ek Haseena Thi” was the track that strengthened the film. The album was a smash hit, the signature tune was an even bigger success. The lead character Monty ( Rishi Kapoor) is a musician and it was of utmost importance that the music of the film should be such that the audience could believe in Monty’s success, and so they did. Karz was a re-incarnation story and while Hindi cinema had seen many of those in the 60s-70s, what made Karz notable was its revolutionary music.
This director-music composer team first collaborated in 1979’s Gautam Govinda but it was Ghai’s 1980 film Karz that created history in many ways.
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