Chhaayaageet #135 - “You have so many good songs in your film. Why are you using this?”

Two songs of the film have already been recorded and filmed. Both songs are very powerful. When the choreographer hears the audio of the next song to be filmed, she is perplexed. She does not feel good at all.

"I feel the lack of dance in this song", she tells the filmmaker. Without waiting for the filmmaker's response, she continues.

"You have so many good songs in your film. Why are you using this?" She cannot see rhyme nor reason, and no dance steps either.

"Master ji, we will do one thing. You start composing the steps for the song. If you still don't think it's up to the mark, we will change the song", the filmmaker assures her. He has no doubt this song is going to be the cherry on top.

"Ok, I will try", the choreographer agrees with a shrug. No choice. It is going to be tough. It's a dance duet with two star heroines, both excellent dancers, both at their peak. Both are very dignified, very classical actresses. She realizes that she cannot let any one of them feel that they did not have good steps as compared to the other.

The perfect dance number needs an amazing set, incredible choreography, wonderful dancers, shining stars, beautiful costumes, and a larger than life feel. It also needs to be a stand out moment in the film. This song has all that, except for the incredible choreography, which is the dance master's unenviable task.

One can think of two songs in the history of Hindi cinema to fit this bill - "Pyar kiya to darna kya" from Mughal-e-Azam, and "Ek do teen" from Tezaab. This number needs to surpass everything.

She listens to the song again and again. It's not an easy song. The movements are going to be difficult.

Meanwhile the filmmaker and composer are at odds over the song. The filmmaker wants some changes. The composer is in no mood to listen. Their skirmishes don't seem to resolve. The filmmaker has booked time at Film City to shoot the song. However, that booked time has now lapsed. Now the filmmaker has to erect the expensive set all over again at Filmistan Studios.

So, the schedule shifts from Film City to Filmistan Studios. This is the last leg of the filmmaker's dream project. This has been an excruciating labor of love. The filmmaker has lost a ton of weight.

Today, we are shooting the climactic dance number. Both heroines are looking gorgeous in their heavily embroidered silk saris and fine jewellery. Even the chorus dancers are dressed to kill.

The heroines, cinematographer and chorus dancers all take position. The shot is ready. Much to the filmmaker's chagrin, there is continuous chatter between the chorus dancers. It takes a while for them to settle down.

The set is lavish. It is richly hued with red, silver and gold. The art director has recreated the romance of a past era. Normally only two or three generators are used to power the lighting of a set. Not for this film. A record 42 generators, 2500 flood lights and over 700 lightmen are part of the crew. The scale is unheard of.

The studio is crowded today. A contingent from London has come to watch the filmmaker at work. They watch as one of the heroines comes forward to take a shot. It's a perfect take. She nails the tears in the eyes look.

There is some chatter in the audience about which of the two heroines is hotter. It's a rhetorical question. This question is going to come up once the film releases. Which one looked hotter, which one acted better, which one danced better. The gossip mill will be kept busy.

The filmmaker has designed this song to bring the two actresses together on set, face to face. He expects their respective energies to create an explosive moment on the screen. He has emphasized to everyone that this song is not a dance competition. There is no room for oneupmanship. He has designed same costumes for both of them. He does not want any controversy to arise out of this, no comparisons of any kind. He knows this is the only time ever that he is going to have these two top class actresses dancing together on screen. He wants to enjoy filming this song and not have to worry about these dynamics.

Both heroines are comfortable with each other and in their own space. One of the heroines, somewhat more senior, retires to her chair after every shot. The other heroine is more social. She hugs the filmmaker, laughs around on the set.

A trade journalist is on set. He decides to make small talk and sits next to the more senior heroine. "The filmmaker doesn't like his heroine disturbed in between shots", she reminds him, with a polite smile. The journalist looks at the filmmaker. He nods with a smile, not worried about their conversation.

As the cameras roll, both heroines turn in an enchanting dance and emotive performance, both pining for their lover. He is not on set today.

The heroines each match their steps to the other in perfect synchrony. Several retakes are required. The choreographer has pulled off a miracle.

In between shots, the younger heroine seeks out a private moment. She has felt pain in her ear during the shot. Instinctively her hands goes up to it. Her fingers are red. Blood? She removes the heavy earrings. Even they have some blood on them. She washes her hands and ear. The ears have bled from the weight of the earrings. She wipes them clean.

She comes back to the set in time for the next shot, determined to not let anyone know and not let it come in the way of a perfect shot. The shoot is completed in time. The song goes on to be declared as the greatest dance number of all time as published by a newspaper in the UK.

Sanjay Leela Bhansali made his magnum opus, Devdas (2002), with Shah Rukh Khan, Aishwarya Rai and Madhuri Dixit in lead roles, music by Ismail Darbar. The lyrics are written by Nusrat Badr, Birju Maharaj (Kahe chhed mohe) and Sameer Anjaan (Morey piya). Devdas was Badr's first film as lyricist and remains his best known work. His lyrics are an integral part of the film's emotional arc. Badr received a Filmfare nomination for Best Lyrics for Dola re Dola. This was the second collaboration between Ismail Darbar and Bhansali, and they maintained creative differences during the making of Devdas.

Saroj Khan choreographed Dola re dola and she considers this to be the toughest song of her career to choregoraph one song on two leading ladies. It is regarded as her best work and won her the first National Film Award for Choreography of her career.

Devdas won a plethora of Filmfare awards: Best Film, Best Director (Sanjay Leela Bhansali), Best Actor (Shah Rukh Khan), Best Actress (Aishwarya Rai), Best Supporting Actress (Madhuri Dixit), Best Playback Singer - Female (Kavita Krishnamoorthy and Shreya Ghoshal for Dola re dola), Best Cinematography (Binod Pradhan), Best Choreography (Saroj Khan), Best Art Direction (Nitin Desai), RD Burman Award (Shreya Ghoshal).

Devdas was the most expensive film of the time, made at an expense of 50 crore rupees, out of which 20 crores were spent on the opulent sets. It was a huge blockbuster hit at the box office. Devdas was also nominated as India's entry to the Academy Awards of 2002.

Aishwarya Rai completed the shoot of Dola re dola silently suffering in pain, not complaining about her ear injury.

Watch Saroj Khan performing the steps of the iconic song:

Watch Madhuri Dixit and Aishwarya Rai performing Dola re dola live on stage:

Watch Shreya Ghoshal and Kavita Krishnamoorthy unplugged:

Director: Sanjay Leela Bhansali
Choreographer: Saroj Khan
Music: Ismail Darbar
Lyrics: Nusrat Badr
*ing: Madhuri Dixit, Aishwarya Rai
Singers: Kavita Krishnamoorthy, Shreya Ghoshal
Film: Devdas (2002)