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The character names if analysed tell a complete story. As an important sign in Islām (subtly supported by the leading cast, etc).A web of signification emerges out of this basic material. This is harmless without any context, but when seen in the context of the moonlit night with ‘Sameer,’ the implicit meaning becomes crystal clear. What is Nandini? A woman who brings joy and delight. So we see a clear demarcation of characters.
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Sameer in Arabic has different meanings, but in our context it means, ‘companion at night.’ However, in Sanskrit, it means ‘breeze’. The sign that this film subtly propagates Love Jehad is hidden in the character names to a large extent, among others. In the present article, I cite a more recent film Hum Dil De Chuke Sanam, by Sanjay Leela Bhansali – a romantic film released in 1999, starring Salmān Khān (Sameer), Ajay Devgan (Vanraj), and Aishwarya Rai (Nandini) among many others. In any case, the number of songs with similar intent would be in hundreds if not more. Indeed, one example is not enough to really prove my thesis, but here I give an informal method by which one can undertake the analysis of such song-lyrics. Eulogies of Islām are strategically embedded like the Imām Chacha (A.K. So, we must see that a strong ecosystem existed back then (more so now) to ridicule or anything the Sanatana society represents. Lājwanti was produced by Mohan Sehgal who had been an active Indian People’s Theatre Association (IPTA) member – a Communist art wing. This song however, starts with a fading shot of girls sitting and clapping like they do in Quawwāli. The song written by Majrooh Sultanpuri (a leading figure in the Progressive Writers’ Movement dominated by Muslims and who had taken Madarsā education) in the film Lājwanti (1958) starring Balraj Sahni and Nargis, very clearly says ‘ …āo ćandā tārā khelein.’ This has cleverly camouflaged Islām by using a predominantly Hindu typeset. The dance was led by Baby Nāz wearing a bindi-like thing between the eyebrows. Plenty of camouflaging has also happened. As a thumb rule in this discussion, we examine Chand (moon) in the Urdu milieu in our song-analysis. Shantaram’s Navrang (1959), the sign is predominantly Islāmic in Hindi cinema.
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Notwithstanding the fewer exceptions like ādhā hi ćandramā rāt ādhi byBharat Vyas in V. The obsession of the Hindi film song lyrics with the moon, more often than not, is part of a hidden agenda which a little understanding of its semeiotic will reveal.