When love is worshipped…

The 1986 Malayalam hit Poovinu Puthiya Poonthennal was one of those releases which went on to enjoy a whopping run at the box-office in whichever language it was remade. From the time of its release in late 1986 to around two years later, it had travelled across the southern states, and moved upward to the Hindi film industry.

For local fans, this was the 1987 release Pasivadi Pranam which had the smashing combo of Chiranjeevi and Vijayashanti, a mega success at that time. Trivia lovers would remember that it was Chiru’s first silver jubilee hit and also introduced break dance moves into the ‘step-crazy’ Telugu cine world.

Govinda- Neelam duo featured in the Hindi version crisply titled ‘Hatya’, released in 1988. Produced by the actor’s elder brother who had suddenly began to nurture bigger ambitions than he could afford, this release of his turned out to be a money-earner.

The hero and heroine by then, getting steadily popular, were being watched with interest by the post-Amitabh crowd, who were by then awash with choices- ranging from Sanjay Dutt at one end and the poor man’s Mithun Chakraborty as ‘chichi’ Govinda was hailed then, at the other.

Just like these clones of the earlier era stars, this song ‘Main Pyar Ki Poojaran’ too had one- Mohammed Aziz, a bad photocopy of the legendary singer Mohammad Rafi. He along with Shabbir Kumar were the two who were called by the composers then to croon songs in a desperate attempt to sustain the magic which the icon had left behind.

Incidentally, this film has one of the last few duet songs of Kishore Kumar, another yesteryear titan, who had passed away much before it released. Back into the song, it was a classy Govinda kind, with fluid, matching moves and an amazing felicity to execute even the most complicated ones which the choreographer maps out.

Neelam, the heroine with a permanent smile and one who strains the least as the overwhelming appeal of Govinda threatens to dominate anyone onscreen is another standout. The intentions of the frolicking twosome are clear- both are worshippers of love and want a consort, as striking as a God or Goddess would be.

The standard Bappi Lahiri pattern- the working combination of the string and the thump, set to a foot-tapping, easy-to-latch on kind of a music works well here too. Indivar does what he does best- fitting the lyrics to the metre that the music director has set out for him- duniya se kya lena, kya mujh ko jannat se… samne mera, mujhe dildar chahiye… go the lines.

The cinematographer Lawrence De Souza, who by then had risen up the ladder in the industry, packs in all that he can- indoor, outdoor, camera tricks, effects and goes bonkers with his light and shade combinations. Three years later, as a director, he would be known forever for his ‘Saajan’ which had Sanjay Dutt, Salman Khan and Madhuri Dixit, a gamechanger for his career.