Reminiscing the Big Screens Burnished in Brown

What is life without colours? Colours add depth and volume to our otherwise monotonous life. The colour brown tends to find its place everywhere, from the potter's wares to the earthworm's share. Generically, the colour exemplifies an emotion of wholeness and connects you with the earth and soil, encouraging stability and orderliness. Over the years, Bollywood has been a victim of the impeccable magic of this omnipresent colour.

 

Bollywood has used multiple locales with an abundance of this hue and its shades. In "Tadap Tadap Ke", an iconic number from the phenomenal movie Hum Dil De Chuke Sanam (1999), the protagonist wanders aimlessly in a desert, barren within and barren without, wincing in the agony of a separation. In a similar parallel, the musical chords of "Soch Na Sake" from Airlift (2016) stirs our hearts with the imagery of a broken man driving across the lonely road, with the wilderness on either side, drowning deep through the joyous memories shared with his beloved. On the other hand, the impressive chemistry, portrayed in the song "Zaalima", from the recently released Raees (2017), is as perfect as a key bound to its lock. The subtle romance and the granules of sand are flawlessly aligned in a wavy fashion. The beige and tan variations embody romance, and bring forth a sharp distinction, highlighting the anguish and detachment.

 

The classic song, "Suraj Hua Maddham", from Kabhi Khushi Kabhie Gham (2001), portrays the surreal realization of love accompanied by the magnificent pyramids. The brown, which stands out distinctively, symbolizes trust, loyalty, and reliability. The romantic number "Teri Ore" from Singh Is Kinng (2008) was probably inspired from the previously mentioned Shah Rukh Khan-Kajol hit. The protagonists, dressed in monochrome black and white outfits respectively, celebrate love among the pyramids of Giza and the glorious Sphinx. Not only do the contrasting colours of the brown, black and white outline the togetherness of the couple, but also serve as a breath-taking feast for the eyes. Another song exemplifying the finesse of the colour is "Saree Ke Fall Sa", from the music album of R...Rajkumar (2013). While the crazy antics and the amusing and hilarious dance tickles, one cannot help but notice the vibrant costumes and props that are blended in the backdrop of an empty, boring desert, producing a scintillating cinematography.

 

After waddling through the sands, we head over to another refreshing and enthralling location with the prominent presence of our colour, the seashore. Over the years, beaches have not only catered fun and refreshment, but also passion and love. With the serene, melodious breeze and love competing with it, the down to earth, sensitive and calm traits of the colour brown become remarkably evident. For instance, while recreation is the objective of the title track of Salaam Namaste (2005), there is also flirtatious smiles and mischief floating through. In "Tum Hi Ho Bandhu" from Cocktail (2012) and "Sunny Sunny" from Yaariyan (2014), the enjoyment experienced at the seaside increases with the casual, and carefree attitude which inspires one to live life without boundaries. However, the hazel tint takes a new turn in "Kaho Naa Pyaar Hai", from the romantic movie Kaho Naa... Pyaar Hai (2000), where love lost its limits after a heartfelt confession set in the lap of nature. In "Oh Girl You're Mine" from the commercially successful film, Housefull (2010), the couples' dance showcase their possessiveness for their beloveds amidst the scenic beauty of the sedimentary rocks carved by the erosion of nature. These rocks, alongside with the sand, have an irreplaceable role to play; a role so important that they seem to be a potential candidate for a third angle in the song!