As Lagaan completes 20 years, an ode to its indelible music by AR Rahman, Javed Akhtar, and a host of formidable creators

Watching any of Lagaan’s songs is going down a rabbit hole. You cannot watch just one. You will click on the next, hum along, be surprised that you still know all the lyrics (word for word), and marvel at the genius of all the maestros who contributed to the making of this memorable album. Even after 20 years, the charm of this film’s music is irresistible. Even after 20 years, it feels as fresh and is as relatable. Released in 2001, this Ashutosh Gowariker film is remembered for several reasons. It was the third highest-grossing film of the year (after _Kabhi Khushi Kabhie Gham_ and Gadar). The most expensive Hindi movie to be made till then, it was the Oscar nominee for the Best Foreign Film category (now renamed as the Best International Film category). It won eight National Film Awards and Filmfare Awards each. But for me, this historical sports drama stands out because of the enduring legacy of AR Rahman’s music. Music maketh a film as much as the story, acting performances, and direction. Though Hindi filmmakers are relying less and less on songs now, with some films doing completely without them, a good album still has the power to change the fate of a film. The recent success of Shahid Kapoor’s Kabir Singh is a case in point.

If not for its inimitable music, at 225 minutes, Lagaan would not have been half as entertaining or memorable.

Its songs are not just dancing interludes meant to elevate a sagging story. Nor are they put together just for publicity. Each piece is as carefully performed as it is created. Each has a purpose, is entirely in sync with the story, and furthers the narrative. It is not every day that Bollywood’s most formidable creators get together. When they do, the result is for all to see and cherish. As Lagaan turns 20 today, we revisit its songs crafted with much love, care, and ingenuity. Ghanan Ghanan It has not rained in the village of Champaner for years. The earth is parched, there is hardly any vegetation. ‘Ghanan Ghanan’ is a fervent plea of a people largely dependent on monsoon for their sustenance. It is a heartfelt request to the clouds to pour long and hard, enough to quench the thirst of a village, and allow them to pay the undue lagaan (tax) thrust upon them by the Britishers. Choreographer Raju Khan uses several tools to successfully depict the excitement of an agrarian community on seeing clouds darken the sky, in the hope that it will rain. Under his direction, cinematographer Anil Mehta generously uses long shots and aerial shots to give a 360-degree panoramic view of the entire village. Since it is the introductory song, it features all the major characters — everyone hopeful, in celebration, dressed in minimalist earthy costumes (by late Oscar-winning designer Bhanu Athaiya) befitting the time the film is set in. The choreography and the use of musical instruments help build the milieu of the film. Since it is a community song, it has vocals by several seasoned artistes, including Udit Narayan, Alka Yagnik, Sukhwinder Singh, Shankar Mahadevan, Shaan, and Kishori Gowariker.

Radha Kaise Na Jale A playful chhed-chhaad dancing track choreographed masterfully by Saroj Khan, this song has Gracy Singh in all her glory. Her face speaks as much as the rest of her body. Through her eyes and myriad facial expressions, she chides the man she loves for his impish conduct with other women. But the rest of her is poised, gracefully dancing to music Rahman’s version of the Indian classical. Though all her movements are elegant, Singh never loses her rustic charm. Asha Bhosle was 67 when she sang ‘Radha Kaise Na Jale,’ proving yet again that she was the reigning queen of songs that fit no boxes. The costume design by Athaiya for this song deserves special mention. The brilliance of her subtle touches helps establish Aamir Khan’s Bhuvan as Kanha. The peacock feather tucked in the red cloth tied around his head, the yellow tilak on his forehead, and his and Singh’s yellow clothes set the stage for Javed Akhtar’s lyrics to flourish.

O Rey Chhori A love ballad, it is a confessional song like no other. Sung with great tenderness by Narayan, Yagnik, and Vasundhara Das (the English vocals for Elizabeth), it features just the three leads, unlike the film’s other songs, all of which are generously peopled. Vaibhavi Merchant, who had just one hit (’Dhol Baaje’; Hum Dil De Chuke Sanam) to her credit until then, does a marvelous job of contrasting Bhuvan and Gauri’s plain rusticity with Elizabeth’s palatial opulence. Athaiya helps Merchant reflect the disparity by clothing the lead pair in earthy hues (a physical manifestation of their rootedness in reality) and choosing satin gowns the shade of roses (brilliant red, soft pink, and white) for Elizabeth. She also gives her a flowy stole to highlight her state of being. Just like the piece of cloth, Elizabeth is flowing too — taking flights of fantasy, transcending all bounds — in her love for Bhuvan. The choreography is not big on actions; it is all heart. Merchant uses facial expressions and freestyle lifelike movements to show both the happiness of requited love and the pining for it. Elizabeth gets white flowing curtains, heritage balconies, and white pigeons. Meanwhile, Bhuvan and Gauri get a bullock cart and the dry, arid Champaner countryside. ‘O Rey Chhori’ has a sequence (the only one in the film) that shows Gauri with total abandon. She is so in love that she lets her wild hair down without care, and submits to the affections of the only man she has ever loved.

Mitwa It is the song you turn to every time you are low or feel dispirited. The uplifting vocals by Narayan, Yagnik, Sukhwinder Singh, and Srinivas, and Ganesh Hegde’s lively choreography skillfully mark a pivotal point in the story. Rahman liberally uses folk musical instruments to give the song a crude feel as if it originated straight from the earth’s womb. It is both soulful and buoyant, a rare feat to achieve.

Chale Chalo Every Hindi sports drama has a prep song that shows its protagonist or key players readying for the big fight. The best of them, from Chak De! India to Mary Kom and Bhaag Milkha Bhaag have religiously followed the template. But none of their offerings is as remarkable as ‘Chale Chalo.’ Sung by Srinivas and Rahman, the song is a seamless amalgamation of wide shots and close-ups. Though it starts with Bhuvan’s team working out, their dark silhouettes against the rising sun, it pans out to include the rest of the village folk. Raju Khan’s choreography is thoughtful, simple, and apt. He cleverly uses Champaner’s arid landscape as a prop, a suitable backdrop for the determined, bare-bodied, sweaty men. Their workout is more of a vyayam. They run through the rough terrain, catch hens, climb hilltops, lift earthen pots filled with water, and cut tree trunks. Though ‘Chale Chalo’ is specific to the film’s narrative, it works equally well in any situation that demands motivation. This is precisely why it is such a hit among fitness enthusiasts.

O Paalanhaare No one sings devotional songs like Lata Mangeshkar. It is another musical gem that stands out on its own, and has stood the test of time. Shot during the night, it has the power to instill hope even in the bleakest hour. Raju Khan uses warm tones and linear camera movement to highlight the plight of Champner’s people. He skillfully juxtaposes the inside of a temple where all the women are praying and the outside where men sit dejected. Rahman’s music is minimal, giving Akhtar’s lyrics the well-deserved centerstage. The veteran screenwriter-poet’s pen is at his poignant best here. Of course, he took home both the National Award and the Filmfare Award for the film. The prayer song has become an anthem during the ongoing second wave of COVID-19. The video of the song on YouTube is flooded with countless comments of people sharing how it has helped them sustain hope and fight the current pandemic with resilience. Twenty years on, the music of Lagaan continues to offer the simmering strength that it did to Bhuvan’s Team 11 when they needed it the most.