Rain songs bring together images and lyrics about rain, and may be based on ragas associated with rain, notably Megh Malhar raag, such as Garjat Barse Sawan Aayo Re from Barsaat Ki Raat (1960). However, they can be defined also through their emotions.

The second type includes a category I particularly enjoy, namely rain songs set in Bombay, a surprisingly popular location. This is a city where the monsoon brings floods, making it difficult to travel. The sea is rough and the smell and dirt can be unpleasant. Yet it also brings joy, even to urbanites who enjoy the festivals of the holy month of Shravan, not least for its delicious fasting food.

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There is almost a sub-genre of erotic rain songs shot on Bombay terraces, a private outdoor space. These are about the rain rather than the city itself: Bheegi Bheegi Raaton Mein (Ajnabee, 1974) or Tip Tip Barsa Paani (Mohra 1994) and Lagi Aaj Saawan (Chandni, 1989).

The song evokes memories of their first meeting. They are brought as messages by the rain, using familiar imagery of clouds as messengers travelling from other places, while the mind dances like a peacock. Again, the purity of the rain reminds one of freshness, the first, the original.

The thoughts of both characters, now in the rain in the city, are replete with nostalgia as they remember sunnier, happier days in the hills. Today, as viewers, we introduce our own nostalgia on seeing these beautiful stars and the city, looking modern and attractive in real location shots, even though the happy memories are mostly of Ooty. (Who remembers a taxi queue?) The sea crashing on rocks is emblematic of Bombay city and its glorious waterfront, but also of passions dashed on the shore.

This song about rain, love and desire appears three times in the film with the words changed slightly between the two main versions, the first being when Ajay (Kishore sings for Amitabh Bachchan) sings a version at a wedding the first time they meet although Aruna (the aptly named Moushumi Chatterjee) has seen him on the street. Her initial fear of a stranger turns to attraction as he sings. When he finishes, they set up future meetings, which lead ultimately to their own wedding.

There is a short version when Ajay calls her on the phone and sings, uniting the lovers across the city. Telephone songs are usually romantic, those endlessly annoying landlines of the time transforming into a way of uniting lovers across distance and enabling things to be said that would be hard to convey face to face.

The other full version is sung by Lata Mangeshkar. Although the Kishore version is the preferred audio, the visuals in this song are the best remembered. The repetition of the song at another stage in the relationship also signifies their growing closeness as they make the public city into a quasi private venue for romance.

The rain feels very real: they get a good soaking as they run around the city, splashing through puddles and walking along the seawall in the spray. There is no eroticism, though, as we focus on clothes (I love 70s fashion), but not sexily so. As an over-involved viewer, I worried about Amitabh ruining the suit he borrowed as part of his pretence to be well off.

My last song is another favourite: Tum Jo Mil Gaye Ho (Hanste Zakhm, 1973, directed by Chetan Anand). The film is based on a Gulshan Nanda melodrama where two girls are swapped in childhood and both fall for the same man. Somesh (Naveen Nischol), the rich kid, becomes a taxi driver to impress, so also doubling up to match the two women Chanda and Meena (Priya Rajvansh).

This is an unusual song composed by Madan Mohan, which is filmi only in parts. It is languid and bluesy to begin with, played on guitar until half way through, when the tempo rises and the filmi orchestra comes in. The sound effects boom with rain and thunder, and crashing waves as the tempo speeds up, creating a sense of urgency and passion.

The songs are primarily about love between the male and female characters shown on screen and the revitalisation that the first impact of love has, showing life anew, afresh. The songs talk of remembering the first meeting, feeling an inner fire, gaining everything in the world. This exciting feeling of love is of the moment in the second and third song, which are set in the film at the point the characters fall in love, but it is also the remembrance of these happy times that is underlined in the first.

The characters may be in love but in different ways. The first song is infused with regret and yearning; the second is full of yearning but the images are joyful; the third abounds with happiness and yearning, shifting between the two.

We the audience can enjoy three particular kinds of nostalgia. We can be nostalgic for the past, as we are watching these films at a remove from the time in which they were made. We may also feel that now is not the best time, and the past was richer and better, while the future means that even the present will be lost. 152ee80cbc

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