#qala songs

[the-always-enjoying-wali-ladki]

"किसी रागिनी में ग़ज़ल की शकल में आऊंगा मैं तुमसे मिलने हज़ूर"

[sadmausambi]

there's joy and satisfaction in being obsessed with the soundtrack of a movie after watching it, and i think not a lot of people realise it.

[trashhmuffinn]

‘Bikharne ka mujhko shauq hai bada’

Never have I ever related more to a song line ever

[inflictingchaos]

Nowadays, every day feels like - "bikharne ka mujhko shauk hai badha".

[mera-chain-wain-sab-ujda]

अम्मा पुछदी सुण धीये मेरिये,

दुबली इतणी क्यों कर होई हो,

दुबली इतणी क्यों कर होई हो,

पारली बणियाँ, मोर जो बोले हो,

पारली बणियाँ, मोर जो बोले हो,

आमा जी इन मोर, निन्दर गवाईं हो,

आमा जी इन मोर, निन्दर गवाईं हो,

हो, आमा जी इन मोर, निन्दर गवाईं हो,

हो, आमा जी इन मोर, निन्दर गवाईं हो

- Himachali folk song, Amma Puchdi.

[chyaptagolap]

idk how to explain this but phero na najariya(from qala)'s raw emotions hit so deep, the way “taaron ko tore na chhedugi ab se badal na tore udhedugi ab se kholungi na tori kiwadiya pheron nahi re nazariya re” convey the sheer desperation and yearning to be enough, all that she's willing to give up all her free spirit for some love. i cant help but relate it to mirrorball's (by taylor swift) “im still trying everything to keep you looking at me im still a believer but I don't know why ive never been a natural all i do is try, try, try im still on that trapeze im still trying everything to keep you looking at me”

[secretandpurplememories]

Hai aankhon mein tere raat ki Nadi yeh baji toh haari hai sau fisadi.......

[tunezwithchandni1]

Phero Na Najariya | फेरो ना नजरिया | Qala | Chandni Verma |

Phero Na Najariya | फेरो ना नजरिया | Qala | Chandni Verma | *************** ❖ Original Song Credits : ❖Film : Qala ❖Singer : Sireesha Bhagavatula ❖Lyricist : Kausar Munir ❖Music : Amit Trivedi *************** ❖Cover credit: ❖Singer : Chandni verma ❖Music: Deepak Sharma ❖Video and social media management: Team Mudrak S H A R E | S U B S C R I B E | C O M M E N T **************** YouTube - @TunezWChandni Instagram - @tunezwchandni Facebook - @Tunezwchandni **************** 🙏और हां अभी तक आपने हमारे चैनल को सब्सक्राइब नहीं किया है तो प्लीज हमारे चैनल को सब्सक्राइब करें @TunezWChandni तथा वीडिय��� को लाइक करें अगर वीडियो पसंद आये तो दोस्तों के साथ शेयर करें। **************** 👉 Thanks for watching our channel, have a nice day... 

[jayhoshow]

From Negativity to Positivity: The Inspiring Story of Sireesha Bhagavatula

Sireesha Bhagavatula is an Indian musician who has overcome numerous obstacles to shine again in the music industry. Her career had been clouded with negativity and controversy, with critics doubting her talent and questioning her authenticity. However, Sireesha refused to let the naysayers bring her down and instead used their negativity as motivation to work even harder. Her unwavering dedication and hard work finally paid off, as Sireesha returned triumphantly to the music scene. She has been widely praised for her soulful voice, impressive range, and heartfelt performances. Jay-ho.com is proud to showcase Sireesha Bhagavatula's inspiring story and remarkable talent. Through her music, Sireesha has shown that anything is possible with hard work, dedication, and a belief in oneself. Discover the beauty and power of Sireesha's Life by visiting Jay-ho.com

[ramayantika]

I REALLY NEED YOUR OPINION.

Should I dance on Ghodey Pe Sawar for the fest because I am damn sure, someone will definitely do ghar more pardesiya, tere rang, mohe rang do laal and all the classical semi classical songs for the fest

And I am 90% sure that nobody would think for qala much because ghodey pe sawar is more of abhinaya (expression heavy dance) than a song which will involve use of a lot of classical movements.

So should i?

[the-always-enjoying-wali-ladki]

I want more songs like this one :-

Kithhey Turda Labda Phirda

Saaya Naal Sahib Da

Jeen Ton Pehley Mukda Kyun Ve

Judan Ton Zyada Tutda

Har Dhun Gaao Nirgun Nirbhau

Har Dhun Sunno Nirgun Nirvair

[mohabbaat]

[BECAUSE it's sth i've been thinking about a LOT lately.] bollywood started out very misogynistic. every time i watch an old movie, while i acknowledge the exceptions, most of them either show a woman who'd sleep with anyone for money or show a woman who's literally just a slave, that's IT. it took YEARS for it to make movies that don't show women in a bad light, that actually appreciate us. and apparently that lasted like, 10 years? (on and off, yk, in total) because now, everyone seems more interested in movies that have women as an accessory, looking pretty, not playing any active role, while her man does his job. *hearts and fire* while good, unproblematic movies get criticised for having "unrealistic expectations" or "too much feminism". they're so obsessed with all that "alpha" "sigma" "masculine" bullshit. it's so. pathetic. so fucking infuriating. yeah-

hard agree. like the english vinglish, queen, kahaani era was truly the peak of women centric bollywood movies. after that even though such movies were still being made, they shifted from being empowering to being condescending. like if you are a strong independent woman, then you must drink and hook up with random men and wear revealing clothes and whatnot. the feminism became too focused on the urban young woman and lost its essence in my opinion. like i can name so many popular recent film/series (4 more shots, thank you for coming, veere di wedding) which are just trying so hard to be relatable that they end up feeling tone deaf and people start hating them and going back to the same old bullshit heroine is an accessory movies (this also means that the actual good movies (qala, bulbull, etc) just go under the radar which is equally irritating 🙄).

as far as the sigma male thing goes, i am so so tired of these directors and actors showing toxic behaviour on screen without showing its fucking consequences. like the man can do anything and the director will make sure that he has a happy ending cause true love is obviously all about forgiveness and accepting everything even if it hurts you. salman khan, akshay kumar, srk, ranbir kapoor, literally every hero rn is guilty of accepting and promoting such scripts. like even in jawaan, there were 5-6 actresses yet srk had all the fkn screentime. i get he's a big actor but god?? give the actresses something other than a song???? maybe a few emotions??? don't even get me started on kabir singh and animal and even pushpa. 🙄

[pearlgisa]

qala and the style over substance argument

so, i watched qala (dir. by anvita dutt) immediately when it came out - a story that exposed the music industry and the position of women in it, especially focusing on the toxic nature of indian classical music? it was like they made the film for me (someone who's spent a good chunk of their life trained in hindustani classical music). however, i was sorely disappointed.

in essence, qala, along with other films that did commercially well that came out in bollywood last year, solidified my understanding that the audience of today's generation of movie-watchers genuinely puts style over substance and in fact, uses it as a way to defend their favourite movies from criticism. the recent resurgence of praise for om shanti om of all films, only strengthened this opinion.

my criticisms for qala are in plenty, yet i will choose to expand on the ones that strike out the most to me, all of which range from the lightest to the harshest criticism:

the choice of music

the acting

the direction + writing

the handling of the serious issues that are the main theme of the film

before you read ahead, please know that there are spoilers.

in indian classical music, there are two distinct forms: hindustani (or, north indian) and carnatic (or south indian) music. each have their differences and similarities and even someone who hasn't trained can tell them apart upon listening. within hindustani music - which is the genre of music that qala learns from her mother - you have many different styles of singing, ranging from shastriya sangeet (classical form of singing) to laghu sangeet (semi-classical and sometimes, light music). of course, this categorization also has its roots in religion and caste. shastriya sangeet has forms of singing like dhrupad (the oldest form and a strictly devotional medium), khyal (the most common one, telling tales or speaking of human emotions), bhajan (also a devotional medium), etc.

laghu sangeet has forms of classical music like the thumri, a form of singing popularized and invented by courtesans. the lyrics were sensual, romantic and more explicit. of course, owing to these, they were looked down upon. even the british had a huge role in diminishing the status of indian women performers. the "other woman" concept was specifically one that they propagated and the rise of the "perfect housewife" phenomena began since the seventeenth century. the extreme effect of that? the courtesans lost out on their patrons and were forced into prostitution.

hence, that was the primary history behind qala's mother, urmila, shaming her into never being a performer, i.e, in a more derogatory term, a "singing girl". a courtesan, essentially. which is accurate, considering the film is set in the 1940s. if a girl was too "out there in the world", i.e, her achievements being publicised in newspapers or her getting recognition for her academics, her future marital prospects were ruined. and the "shame" that befell the family if she was learning music or dance was worse. a significant number of the prominent female musicians that emerged from this era of pre-independence to post-independence were unmarried. or they had many patrons and salacious rumours regarding their love life were in plenty. the film pakeezah (1972) explores such themes quite well. and the many renditions and retellings of devdas also serve as a good example of the stature of performing women.

however, it's the music itself where it goes wrong for me. the choice of songs as well as qala's singing (of course, all of qala's songs are sung by the amazing sireesha bhagavatula), is in a style all too similar to laghu singing. the years of egregious training, no matter how much her mother dismissed her, would've developed a voice which would've sounded a lot more like what a lot of classical singers would sound like, unless they were singing a lighter form of singing. and it isn't a matter of pitch or using falsetto. qala's mom is referred to as a master of qawallis, which is a sufi form of devotional singing (and comes well under hindustani music too). even the lyrics of qala's songs, while full of very obvious foreshadowing, do not match the overall orthodox classical upbringing that the film portrays.

while bhagavatula has an amazing voice well versed in classical music (especially since she sings bhajans so often), considering the time that qala was set in, you would've expected a sound similar to something along the lines of noor jehan or even roshan ara begum. instead, it sounds a lot like a mix of semi-classical instrumental with a more pop-based voice. which is easier for our generation to digest and consume, however, it comes at the cost of a sound which is very typical of the 50s-70s era of bollywood.

one that qala does right are the costumes. they do their job well. not the sets as much, which i will get into later. at some points, they are well in line with the rest of the era of the film, other times it just sticks out like a sore thumb. here's where the "symbolism" comes in.

one of the most jarring examples is the song qala sings at the first performance, a very light classical song just by the sound of the vocals. even the song jagan sings is very contemporary at its core. despite the characters having an allegedly strict, traditional schooling of music (jagan's voice is devoid of the typical heavy accent or dialects that those who are from underprivileged backgrounds tends to have), the songs at hand present a very modern take on qawallis, despite bollywood being a flourishing ground for many iconic qawallis. therefore, the compositions sometimes falter at some points specifically because of the vocal choices. choosing to do away with alaaps, especially in qala's part, less aakar and more bariki, are all signficant details that feel jarring to someone who's lived in the world of classical music as long as qala. otherwise, there are some signature sounds retained from the era that the film is set in.

and while still on the topic of singing, a very important issue that i find least addressed is the acting of it. despite there being little vocal variations in the compositions, the actors don't show that they are singing. and in the film specifically revolving around music, that's an extremely important detail that i find amiss. hardly opening the mouth, the movement of the lips, the posture as well as the hand gestures (yes, a very important detail!), are all obvious flaws. a recent film that does that does those details well is the disciple (2020). the first scene of urmila teaching qala singing displays urmila wearing an elaborate piece of nose jewellery that covers half of her mouth, and that's when they're doing rehyaas (practice), not a performance. it's huge details like these that don't sell the film to me.

the acting is quite underwhelming and here is where disagreements with my opinions might enter. i find trupti dimri's rendition of qala extremely, for lack of politer words, exasperating. she tends to show the same expressions for all of her problems, i.e., there is no great difference between her feeling anger or feeling despair or feeling depressed or feeling cheated or just plain exhaustion. qala's character is a complex one and difficult to act, which is a concession i will give, however, the hype around her is a little unnerving when the audience is given such an unremarkable delivery of dialogues and emotion. it comes off as school-play acting at times. swastika mukherjee, who plays urmila, is quite two-note with her acting, which sometimes suits her character and sometimes just feels very low-effort. babil khan has his moments, yet there is such less versatility. you'd think the babil of qala's hallucinations and the one who existed in real life would have some distinct characteristics (which they do), but they never come off as that. it feels so half-hearted at times.

the whole point of symbolism is that it's subtle at heart and not on the face. qala has on-the-face symbolism, which is an irony in itself. the black swan scene, the frosty room in the beginning, the ghostly jagan, etc. almost made me bump my nose into a wall. it comes off as pretentious at best, as if the viewer is stupid. it is also very off-putting in some scenes. for example, the black swan scene - there is very little buildup and it feels very predictable in the sense that "it all goes downhill from here". however, there is one scene which i like, which is the gargoyle one (a very traumatic scene, for those who recall, it is the one right before ghodey pe sawaar gets recorded for the final time). i think that is the most effective filmmaking in the entire film. the best thing about symbolism is always the subtlety. it makes the viewer keep coming back to pick up on something they might have missed in the first watch, it helps them pick up the pieces along the way instead of being able to tell the twists thirty minutes before they are revealed.

and one of the most egregious crimes of the entire film is the direction. here is where we get a little more technical (but just briefly, do not worry). the way it cuts from one scene to the next is like watching a poorly edited reel put out by the team of an out-of-touch marketing firm. the editing could have been better at many places. the writing falls flat specifically when it comes to the characters. i'm pretty sure on paper, the script must've been a delight to read. the story has so much potential - considering that it's based on two books, where there might've been even more depth given to the characters - it isn't new in any way but it offers a different, feminist perspective of the indian music industry. yet, the characters are paper thin on screen - in their ambitions, psychology and sociology. hence, urmila suddenly turning a new leaf in the last ten minutes of the film is something that feels wrong, because all along, she has been portrayed as a heartless mother. qala's actions make sense because her character has nearly always been rooted in self pity and rage. jagan is nothing without music. there is very little dimension to them apart from me summarizing their characters in one sentence with less than thirty words each.

that is why, the film feels even more half-hearted when it speaks of the issues that it centers around. all of these elements add up and make for a tiring watch. i gave qala a second chance, to be fair and omitted some of my pettier criticisms, yet the more serious ones remain. to a certain extent, it does aestheticize depression, which i have a huge issue with. however, baby steps as always with bollywood. it's no dear zindagi considering it is set in a different period with a different ending. however, the writing of the characters could've been so much better. a little more exploration of urmila's intentions would've given her so much depth. a few more interactions between qala and jagan might've given qala the chance to befriend him and not just see him a rival, thus intensifying the decision she took. the characters do not feel human, they are strictly white or black and qala being the anti-hero feels very off since it requires better writing and a stronger plot. and of course, much better acting.

however, qala re-opened up discussion of a nearly-always forgotten discourse - that of the position of women in music. and for achieving that bare minimum, i give it full credit. however, when there have been films with much better writing, characterization and cinematography in bollywood itself, with a similar theme, qala needs to be seen for what it contains than what it displays. just because it glitters, doesn't mean it's gold.

[radheshyam-tiwari-videocon]

I really really love the movie qala but most importantly it's album which a complete masterpiece. So I would like to make moodboards on old celebrities on songs in the album of qala (sort of like the vibe they give off). I hope you will like it

[mera-chain-wain-sab-ujda]

ek aese desi main character wala dance moment to main bhi deserve karti hu

pc: pinterest

[antiquaries]

Aight so @broke-bruce-wayne tagged me, btw that thanks for that chief

3 ships: hm. halollie, joel and sheila from scd and nadja and laszlo. I like blood, basically

First ship ever: while I can't be 100% sure, it was probably dekisugi x shizuka from doraemon

Last song: bring on the night by the police

Last movie: Qala. Just saw it in fact

Currently watching: just started watching two and a half men, so that. Also just ended my Community hiatus and am trying to wind up the final episodes.

Currently reading: Eva Luna by Isabelle Allende. Also just started The Brothers Karamazov

Currently consuming: milk😐

Currently craving: nothing. I am content and at peace.

Uhhh I'll tag @zibah-ho @ollieschili @emeraldemissary @desperatecheesecubes and @catboybatman. Sorry if you lot have done this already. Also obviously there's no obligation to do it either if you don't want to.