Posts Tagged ‘Ek Thi Daayan’

If you missed our earlier post in this 2013 flashback series, here’s the list – 20 Things We Learnt At The Movies and 13 Unanswered Questions is here, Top 10 Musical Gems We Discovered This Year is here, and 15 Film Fanatics on 17 Terrific Films That Have Stayed With Them is here.

In this post, Rohwit looks back at some of the best bollywood tracks that we looped this year.

Amidst the 100 crore musical disasters, few albums and some songs tried to stand tall, and that wasn’t tough even for a slightly above average song because thanks to the automatic tunes that come pre-fed in some expensive keyboards owned by some music composers, the ‘average’ bar is pretty low in Hindi films these days.

Here is our pick of 14 songs (ok 16! ok 17!) that made us sit up and sway! The order below is not in a ranking form. Some of the points contain 2 songs. So what? We cannot make up our mind. Yes, we get confused. Music does that to us.


1. Yes, it is based on a Beethoven symphony. Yes, it has a very ‘अरे ये पहले सुना है’ feel. Still, I haven’t heard a spookier lullaby in 2013. So take a bow Kumaar for penning this superb song and take a bow Sangeet Haldipur for singing it beautifully! Yes, it is one of the best songs I have heard this year. We are indeed referring to Aaja nindiya raina beeti jaaye rey from Aatma.


2. Khamakha hee-Badal Uthiya (Prem Dehati version) – from Matru Ki Bijli Ka Mandola. It took a local Harvanyvi singer (who hasn’t appeared on the again after this album by the way) Prem Dehati to mesmerize us with raw talent and touching melody. Not many songs have the longevity to survive in playlists these days but this song will be there for a long time.

In fact it was Prem Dehati’s splendid participation in Khamakha that lifted the already superb song to a level very few could match this year.


3. Manjha (Kai Po Che!) – Every Time A.R. Rahman’s music is about to hit the scene, there is so much anticipation and Amit Trivedi enjoys the same effect on music lovers at large. So it wasn’t a surprise when this splashed all across and we were treated to this song.

Swanand Kirkire has penned one of the best songs this year in Manjha. Simple lyrics, exquisite arrangement and we cannot get tired of Amit Trivedi’s studio singing. The other two songs were no less but somehow Manjha shall always be played before the other two.


4. Tum hi ho (Arijit Singh) – So it turns out that Arijit singh is turning everything into gold just by singing it! Easily a much better film to look at than it’s first part, Aashiqui 2 had this mother of a song that was overplayed to the extent of irritation. But can you dismiss it as being one of the stickiest song of 2013? No! Why is it featured on the list? Ask yourself if you don’t like humming it. We know some of you are humming it right now.


5. Khoon choos ley (Go Goa Gone) – There is a lot of Monday hatred (or so it seems on all social media platforms), so a Monday song was long overdue. The song in my view was wasted in the film Go Goa Gone and even the half-hearted music video wasn’t promoted well. Still, this has to be one of the best ‘I hate to wake up and go to work’ song we have heard in Hindi films. The nasal start, the ‘rrrrrrrrrrr rrrrrrrrrrrrrr’ part and splendid lyrics by Amitabh Bhattacharya makes this one a treat!


6. Badtameez Dil (Yeh Jawaani Hai Deewani) – More than anything, we cannot get over the fact that Amitabh Bhattacharya used ‘dhimka falana’, ‘paan mein pudina’ and ‘moorhi bhaat’ so effortlessly! While the song belonged to RK on the screen (deservingly so), Benny Dayal is no less a rockstar to sing this with so much zest that even people with two left feet were seeing dancing at the mere mention of this song. Kudos to the brass band and Pritam for this one!

7. Raanjhnaa hua main Tum Tak (Raanjhanaa) – Yes. While many of us (including yours truly) started out disliking the million ‘tum taks’ in the song, the second half of the song, the shehnai (and the excellent use of manjeera) redeems this  song and how!

Be it the faint guitar riffs or excellent Jasvinder Singh (who made a guest appearance in the song), the title song of raanjhanaa had all going for it. More so, the emperor ARR was at his yearly best in this album as a whole.


8. Ghanchakkar babu (Ghanchakkar) – Amit Trivedi was heard having a ball in this one. While the album was not bad at all, this song stood out (and was on the loop for a long time) thanks to excellent arrangement and superb back up vocals. Trust Amitabh Bhattacharya to give an insightful touch to ‘Nala Sopara’! Top class song! Muuuuuuuuuuwaaaaaaah!


9. Monta Re (Lootera) –  The ‘chik chiki chik’ whispers by Swanand Kirkire, the quiet atmosphere, exquisite lyrics and a delicate presentation. This is easily the best song of the album that sounded more like Udaan part 2 than anything. We mean it in a good way. No. Really.


10. Mera Yaar – From the fantastic album Bhaag Milkha Bhaag. Javed Bashir was given a song that was right up to his comfort zone and he hit it out of the park. We loved the entire album (without the ‘andar kaala bahar kaala PAR sachcha hai sala’ part) and were relieved that Shankar-Ehsaan-Loy are back to making good music, just like the good old days.

11. D-Day – A fantastic album overall. Be it the definitive Qawwali ‘Murshid khele holi’ or the heart breaking ‘Alvida’,  the album even made Mika tolerable when he attempted Dama dam mast kalandar. (Rekha Ji, सुन रही हैं ना आप?)


12. Shudh Desi Romance – Be it those tiny musical bits with Rajasthani sound or those lovely songs, Jaideep Sahni and Sachin Jigar served us a musical treat with  an adorable marriage of contemporary words and folksy-dinchik arrangement. Our pick from the album will remain ‘Tere mere beech mein kya hai’


13. Ram Leela – Though the album was filled with grand arrangement and excessive noise throughout, we really liked the adaptation of ‘Mor bani thangat karey’ and Lal Ishq (without the excessive noise towards the end).


14. Dil ki toh lag gayee (Nautanki Sala) – As an album, it had a distinct ‘townie’ sound to it (much like Bluffmaster). However, what blew the socks off the senses is Saba Azad’s super hot singing in ‘Dil ki toh lag gayee’. Ignore the horrible presentation of the song on screen though. A fantastic effort, insanely melodious at all times and very very saxxxay! Sing more Saba, we are listening!

We also enjoyed :

– Early morning (Chashme Baddoor) A lot of us debate where is Sonu Nigam and why isn’t he singing more. While we do not have anything to add to that, but we loved the way Mr. Nigam was having fun singing this wonderful song from a not so wonderful remake of a classic.

– ‘SPB ho ho!’ part from the title song of Chennai Express. There are very few occasions that compare to SP Balasubrahmanyam having fun in a song.

Ajnabi (Madras Cafe) The songs were wasted in an otherwise brilliant film but the whispering voice of Zeb left it’s mark. It’s a pity that this song went unnoticed.


Very Very Special Mention :

Padmanabh Gaikwad for singing Sapne rey sapna (from Ek Thi Daayan) . A fantastic voice that resonates innocence. We are way too tired of Gulzar saab doing splendid job every time he sits down to pen a song, so we won’t even stress the fact that we are in love with the ‘Bhoore bhoore baadalon ke bhaalu, Loriyaan sunaaye la ra ra ru’ part of the song. Hope to hear more from Padmanabh.

So which songs you looped this year? Let us know in the comments.

Since the release of Ek Thi Daayan, many of us have been looking for the short story on which it was based. We asked Konkona about it on twitter as it’s written by her father Mukul Sharma. She guided us to his blog where he had posted the short story. Those of you who missed it earlier, posting the story here after taking his permission.

And click here for a short interview of his on converting the short into a novella and then a screenplay.

ek_thi_daayan final


Misha looked up from the card house she was building to see her nine-year-old brother Bobo peek around the playroom door.

“What?” she asked, immediately interested.

“Want to see a trick?”

“Yes, yes!”

“No you’ll tell Daddy.” The head disappeared.

Misha jumped up upsetting the cards and ran out to the corridor. It was afternoon. And even though father would be sleeping, she didn’t want to take any chances. He had become so funny after mother died last year. Her wise eyes swept both ends of the corridor as she tiptoed to the outside door of the apartment. Reaching up — she was beginning to make it to the handle these days — she upped the latch and, very carefully or it would squeak, opened the door and stepped out into the eighth floor landing.

It was deserted. Her eyes darted to the two old fashioned elevator wells and saw one registered at the door. Through the tiny window she could see the lights on inside it along with some vague movements. Someone inside was doing something. Again on her toes, she went forward and pulled the door out a couple of inches. It was Bobo! He was standing in front of the button panel doing the funniest things. Once he pushed three buttons in at a time with his right hand while simultaneously jabbing in another couple with his left. Then, pointing one finger of each hand at the two rows, he alternately pressed one button of each row. When he did that, the overhead light seemed to dim a little. Misha opened the door fully. Bobo spun around.

“Why did you come?” he whispered angrily.

“What are you doing? Is this the secret?”

“Yes it is,” he said, “but I’m not going to tell you.”

“Please, please.”

“You’ll tell.”

“No, no I promise. I really promise.”

“Okay come, I’ll show you.”

She went inside. He put his finger to his lips, cautioning her to keep quiet.

“I need a lot of concentration to set it,” he said solemnly. Whenever he spoke like that, Misha knew he was really serious about something. He was only two years older than her but far more intelligent and could do a lot of interesting things with his hands. Like the time he had taught her how to control her dreams by moving her fingers in a special way for instance, and she deliberately dreamt of mother ten nights in a row. Now, with his back to her, he was fiddling with the buttons again.

“There,” he said turning around, “I’ve set it now. Watch what happens when I press the ‘G’ button.”

As he did, the lights dimmed once again and, slowly, the elevator began to descend. There was nothing like a trick to it at all thought Misha. It was going down like it did every time she went down in it herself. The ‘7’ of the seventh floor, written between the floor walls, flashed by the window, followed by the ‘6’ of the sixth floor and the ‘5’ of the fifth.

“Where’s the trick Bobo?”

“Wait,” he said impatiently, his eyes on the window.

Misha looked into his face, trying to read his thoughts. She could do it sometimes. She could usually guess when father would wake up, for example. When she looked back at the window, the ‘2’ of the second floor was just going by. She hoped the janitor wouldn’t see her downstairs because then father would know she’d been out of the house in the afternoon. The ‘1’ went by as she was thinking of what excuse she would have to give. Then, without any fuss and at absolutely the same speed, the trick unfolded. The ‘G’ of the ground floor also flashed by and there was no basement below their building.

It took her a moment to comprehend what was happening but when she did there was a thrilling sense of re-orientation. She whirled on Bobo who was standing there looking very pleased with himself. “That was a good trick!” she said clapping her hands gleefully in excitement, “Where are we going now? How far down?”

“Oh, a little way,” he replied mysteriously.

“What’s down there?”

“A playground I think, I’m not sure. I’ve only been down once before. Look!” he said pointing at the window suddenly.

Misha saw a small weeping child’s face flash by the window. It was a round lonely face about the same age as herself or a little older. Then another face flashed by, then another — there were lots of them. They stopped as suddenly as they had begun.

“Who are those Bobo?”

“Orphans,” he said knowingly, playing with the buttons again. “Keep watching.”

Misha looked up back at the window but there was nothing there. Just blackness outside. Suddenly a face came into it and scared her. It was a middle-aged women with long stringy hair and a snarled, unwashed face and whose hands clawed at the window glass desperately as she passed. Then there was blackness once more. Then that same face went by again. The faces quickly multiplied and rolled which Misha didn’t like at all. She was very frightened.

“Stop it now Bobo, I’m scared.”

“I have stopped it silly. We’re going up now. You can’t make out because it’s so black outside.”

They stood in silence. Nothing passed in front of them anymore.

“Who was the other person who came so many times Bobo?”

“A stepmother I think.”

“If,” said Misha with a far away look in her eyes, “I had a cruel stepmother, I’d like to put her in there too. You’d have to help me though.”

“Of course I’d have to help you. I’d have to set it for you first, wouldn’t I? Then when she came and pressed the button for ground floor, she’d automatically be taken right down to where we went and when the elevator finally stopped, they’d open the door and take her out and keep her. She’d never have stepchildren again to be cruel to.”

“Don’t you wish we had a cruel stepmother Bobo?”


“You’re lying!”

“God promise Daddy, I was in my room all afternoon just like you told me to.”

Mr Kapoor got off the rocking chair and advanced towards Misha till he was almost towering over her. Misha’s hands were ready to ward off a slap. Instead, he just bent his great body down till his face was inches away from hers and said in a soft, menacing voice:

“The janitor saw you downstairs. That’s how I know you’re lying.”

“But he couldn’t have,” blurted Misha, “I only . . .”

“That’s better. You only what?”

“Bobo was showing me something inside the elevator and . . .”

Mr Kapoor almost exploded in anger. “I don’t want to hear about your imaginary brother one more time, you understand?”

Misha nodded.

“I don’t know what pleasure you get in making all this up.”

But with that, to Misha’s great relief, he stalked away to his study. Misha went back to her broken card house.


Mrs Kapoor stood in front of the mirror in her petticoat and blouse and liked what she saw. Her dresses still showed her body off with magnificent ease. Her low-cut blouse for instance, not only cupped her large breasts firmly, but all too often tended to reveal their top halves each time her georgette saris slid carelessly off her ample front. She neither looked nor felt forty. Not even when Mrs Nandy, her rummy playing partner whose house she was on her way to right now, said all those snide things behind her back about her wrinkles. The girls at the afternoon’s session were going to be envious again.

She put on the sari, applied eye shadow, mascara, lip gloss and a bindi, in that order and went out into the landing. The elevator arrived moments later. She opened the door and went in.

She pressed the ‘G’ absentmindedly, opened her handbag and took out the bottle of Dior. So absorbed was she in spraying her cleavage that she hardly noticed that as the lift started descending, the overhead lights had dimmed a little. But then Mrs Kapoor’s mind was on other things. On her husband for one. He had told her to wait downstairs at 2.30 sharp where he’d pick her up from without having to go upstairs. She was hoping he would be on time. She hated waiting downstairs with all the servants, drivers and maids who worked in the building pretending they weren’t ogling her. On the other hand she hoped she herself was not late because he could be really irritable then. That made her panic. She glanced at the window to see which floor she had come to and saw the ‘2’ slide past and impatiently began counting the seconds of the ‘1’. Six seconds later it came into view and went. Exactly six seconds after that the ‘G’ too impassively slid past — like it was the most natural thing in the world.

Disbelief slammed Mrs Kapoor’s face into a cold statue of terror as everything from her gut to her mind caved in at the absurdity. Only a dumb vestige of curiosity still made her look zombielike into the window’s fascinating rectangle in silent slow-motion as it turned into a mirror in front of her and all she saw was her contorted face everywhere in it. She lunged on the button panel and jammed her fingers into the emergency bell push. An incredibly loud jangle exploded somewhere over her head and began falling off in intensity almost immediately as if the sound source were receding.

And Mrs Kapoor dug her frenzied hands into her hair above both ears and ruined her lovely, pulled back bun at the nape. Then, as her eyes locked with those of a little boy and girl in the mirror, she spun away to the rear wall and clawed at its smooth self-designed surface till she collapsed on the floor, eyes open unstaring, kicking, kicking and kicking at the red georgette sari strangling her from all over until the elevator stopped.

The janitor looked in astonishment at the spectacle at his feet in front of him. Others who had come running hearing the emergency bell found him gaping at a fantastically writhing red form in the elevator, which was now human, now an animal grunting savagely, howling insanities, talking of stepchildren, tearing her clothes, with saliva all over her chin.

Until a small crowd had gathered and Mr Kapoor, her tall, powerful husband, arrived to extricate his spitting raging wife in a mess of clothes and tears, screaming for all to hear, that her stepchildren had done this while her husband, facing her in total incredulity, kept mechanically repeating, as if that would bring her back to him, that they had no children, or stepchildren, at all.

Last week i watched Kannan Iyer’s Ek Thi Daayan. It’s co-produced and co-written by Vishal Bhardwaj. And last night i watched Aparna Sen’s Goynar Baksho. And i could not stop myself from comparing the two. Apart from Konkona Sensharma’s spectacular acting, there are few more common factors between the two. Both the films are based on literary work. Ek Thi Daayan is based on a short story written by Konkona’s father Mukul Sharma. (You can read the story here) Goynar Baksho is based on Shirshendu Mukhopadhyay’s story titled “Rashmonir Sonadana”. So in a way one is Mommy’s film and the other one is Daddy’s. Though both are in supernatural space, in terms of what they deliver, the difference is huge.

Ek Thi Daayan is a strange film. Because it’s two films in one. Though it plays around with all the common elements of horror films in first half, it sets up a great mood, is deliciously ambiguous, and keeps you totally hooked. Konkona and the kids keep you engaged in their mouse and cat game. The 2nd half is drastically different – almost a Vikram Bhatt film. Everything is on the face, new rules are set, it’s silly, becomes unintentionally hilarious and has a strange closure. What is Kalki’s character doing in the film? She is just to misguide us? Is it all about who is the witch out of the two? It all boils down to one spoiler? There have been many rumours floating around about the film’s climax being changed by its producer, and once you watch the film you realise that all those rumours must have been true. There can’t be no other reason for the second half to be so disappointing.

Now, about the end. A wise man once said that you must ask yourself 3 Questions – 1. what’s the film about? 2. What’s the film *really* about? 3. What’s the film *really, really* about? If you know the answers, you are on right track. And the answers to these three questions tells you the difference between these two films – Ek Thi Daayan and Goynar Baksho – why one works and why the other doesn’t. Let’s see.


Magician Bobo can hear voices. Because he has a back story. Because his sister was mysteriously killed by his step-mom/witch. Interval. Bobo has a GF/wife. He also has a kid. A new stranger who might be a witch. BOOM! She is not the witch. The GF/wife is the witch. But why is Konkona suddenly back, and from where? What’s the sudden funda of pisach? And all that choti-wali ladayee? Why kill all ambiguity? Was there a way out in the same set-up? i think so. It was all there, just needed to be perfectly tied up like Konkona’s hair braid.

For me, the answer would have been Bobo’s adopted kid, Zubin. Going by the trend of orphan kids who get superpowers, he perfectly fits the demography too. We don’t know about his real parents. Aha, that’s where the magic and mystic happens. If you see the second trailer here (at 01:05), you will know that there was more to Zubin for sure. See the screenshot – Zubin talking to a doll (or Misha?) when Bobo spots him. This scene was not there in the film.

The film just used him for the choti-kaato act. Given a choice, i would have gone with Zubin getting some of the supernatural powers to hear/see daayans, something that connect Bobo and Zubin, and then a closure for Bobo’s story with him coming to terms with Misha’s (his sister) death in some way. I believe it was also there in the script – if the lift is going down, it’s going to hell. Can Bobo take the lift up to heaven for Misha? As for Lisa (Kalki’s character), isn’t she going to be step-mother for Zubin? When it plays around on the funda of sauteli maa acchi ho toh sakti hai par hoti nahi, isn’t Zubin in same scenario as Bobo? Aha, the loop.



And if there’s something more funnier than Vikram Bhatt style kaat-choti-kaat act, it was the disclaimer in the beginning of the film. Easy to understand that neither the makers nor the Censor Board is guilty of that. It’s because of the times we live in, where the fringe groups are always looking for such occasions to raise their voice and get attention. This is where Aparna Sen’s Goynar Baksho hits the ball straight out of the boundary.

On the surface it’s a story about three generations of women and their relationship with Goynar baksho (jewellery box). But Aparna manages to pack in so much, that it’s unbelievable. And treated it in a humourous tone, this one should work for all. In a memorable and heart breaking sequence in the film, Pishima (aunt in bengali, father’s sister), a child widow who has died and become ghost, asks Konkona Sen (new daughter-in-law) what sex feels like? Does she enjoy cuddling? In today’s times of offending sensibilities, this might be counted as quite sacrilegious. But this is where the bravery and the brilliance of the film lies – it packs everything with humour.

Pishima got married at 12 and was widow at 13. Forget love, relationship, or any such pleasure, widows were not even allowed to have good food. All she got was boiled veggies, all she wore was white sarees. It reminded me of someone i know closely. Married at young age, she had a son just after marriage, and then her husband died soon. She returned back to her parents and brothers. Since then it was been a life of white sarees, religious stuff and only vegetarian food. It’s actually quite a common sight in bengali families, mostly in rural areas – the eldest daughter who is married at young age and if she becomes widow, she comes back to her parents and stays with them for the rest of her life.

Moushumi Chatterjee plays the role of Pishima, an authoritative voice in the house. Because she owns those expensive jewels, nobody wants to be in her bad books. But the fun begins once she dies and becomes a ghost. Interestingly, only Konkona’s character of Somlata (new daughter-in-law) can see her. She is new in the house, she is scared and to make things worse, she even stammers. With a hookah in her hand and more abuses that you can count, initially Pishima starts bullying Konkona to protect her jewellery box, and then slowly they develop a bond. Pishima is bitter, sarcastic and is always cursing everyone around, but all done with dollops of humour in her Faridpur accent. Her dead character is the life of the film.

Goynar Baksho

In another sequence she gets emotional as she talks about how the men in the house always had all the pleasures, and all she got was this jewellary box. The (pishima) ghost played brilliantly by Moushmi Chatterjee, instigates Konkona’s character to go out, fight for her rights, to pursue her passion and enjoy everything that’s forbidden. Who talks about heaven and hell? As a ghost she knows it better than everyone. Enjoy till you can and then your body will perish one day.

Konkona’s character of Somlata represents the second generation. She is on the other extreme compared to her Ek Thi Daayan role. Set in a completely rural background, instead of scaring others, in this film she is always scared. And like in almost every other film of hers, she is so convincing that you would think she has a twin sister who acted in ETD. She is undoubtedly the best actress of our generation. The last 15mins of the film feels bit odd but you get what the filmmaker is trying to do – the third generation. You can also see the limitation of budget and resources, but this one is a must watch.

The film has released with subtitles in Mumbai and other cities. Though the subtitles might not be able to translate the fun of Faridpur accent but do watch it. Bollywood desperately needs some funny ghosts. And Vikram Bhatt needs to put his tacky ghosts in his closet for sometime.

So in two weeks we had two supernatural stories – one with mysterious witches and the other with loveable ghost. Both with three leading ladies. For whatever reason, one remains a half-baked affair, the other manages to pack a punch. One doesn’t say anything new, the other takes a strong stand on so many issues without making a big fuss about it. And it all comes from the same family. I guess in the end it’s all about the *choices* – we are the stories we tell.


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