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English lyrics in Hindi films were used way back in 1933, in Devika Rani-starrer ‘Karma’
Prior to 1947, quite a few Hindi lyrics served as a proxy war against the British. These included Chal Chal re Naujawan from Bandhan (1940) and the cheeky Door hato ae duniyawalon Hindustan Hamara hai from Kismet (1943) which incurred arrest warrants against lyricist Kavi Pradeep and composer Anil Biswas. Post August 1947, the British got ‘lost’ but the anti-Englishness stayed back. With no foreign enemy to bash up, filmmakers now ‘found’ English language as the differentiator between good and bad within Indians. In the song Bhor aayi gayi andhiyara from Bawarchi (1972), the old man chides his son for singing in English. While this was understandable because the old man (Harindranath Chattopadhyay) belonged to an earlier era, even newer filmmakers like Manoj Kumar and Nagi Reddy were anti-English (and indeed anti-West), labelling urbanism and listeners of western music as the antagonists, as observed in Upkaar (1968) and Shriman Shrimati (1980).

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But one way for other, English lingua in Bollywood was here to stay to serve various purposes. Phrases like “Merry Christmas to You”, “Happy Birthday to You” and “I Love You” are language agnostic i.e. they don’t sound like any foreign language at all, so often do these get used in Hindi songs. Eighty years ago, Shanta Apte had sung an English song composed by Keshav Bhole in Duniya na Mane (1937) with the lyrics around poet Henry Wadsworth Longfellow’s poem A Psalm of Life. In fact, the first English song was even earlier in Karma (1933) starring Devika Rani. English served as the instrument to bash up hypocritical remnants of the British Raj e.g. Manna De singing in an anglicised accent his lines… Hum to angrezi, tum ladki Hindustan ki with a western percussion and then the simple gharelu Indian girl responding with ...Baat mano Saiyan ban jao Hindustani to a dholak beat. English was also the fulcrum of the rural-urban divide. Villagers were assumed to know no English at all. The village simpleton would sing Sakool me kya padhoge? The “sakool” was actually “school” — exactly the way the north Indian rural uneducated would pronounce the word. In Darling Darling (1977), the urban gent trying to modernise the girl sings to her Bolo Darling. The poor village belle can’t tell the difference between “Darling” and “Darjeeling” and responds, “...dekha maine Darjeeling”.

On a different note, English lyrics did not suit all actors. Kishore Kumar as an actor brought a spontaneity into his comedy — and thus lyrics like “Sach sach sach, o dear sach sach, I love you very much” and “C-A-T cat, cat mane billi” sounded just right with him on screen. English lyrics suited Amitabh Bachchan more that the Queen herself. It is impossible to imagine anyone else reciting “You see the whole of the country is juxta positioned… “in the song “My Name is Anthony Gonsalves” at that speed and natural fluency. Similarly, English lyrics suited Dev Anand, Rishi Kapoor and Shashi Kapoor very well because of their innate personas. Johnny Walker often played that unique pseudo-city gent to perfection. Can we imagine anyone singing something as unusual as All Line Clear from Chori Chori (1956)?

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Coming to the playback singers, for all their Godly talent, none of the legends — Kishore, Lata, Rafi Manna, Mukesh sounded comfortable intoning English lyrics. Asha Bhsole and Kishore Kumar should not have wandered anywhere near a ridiculous song like I want to hit somebody in Waqt ki Aawaz (1984). Or, for that matter Lata Mangeshkar in the duet Oh My God, tum mujhse karte ho.. picturised on a nubile Poonam Dhillon, the (mercifully) brief English line in the duet Hum bane tum bane ek duje ke liye and the phrase … I am sorry (the ‘sorry’ sounding like ‘saari’) in the song in Warrant (1975). Surprisingly, even more recent singers like Preeti Uttam made a hash of Where is the time to Hate? in Satwaan Aasmaan (1992). On the other hand, Shailendra Singh and Hemalata’s English lyrics How I can? Tell me, how I can in Akhiyon ke Jharokhon se (1978) sounded very, very natural – just like any college students of today. And of course, there was no one to beat Usha Uthup in the medley Listen to falling rain/Temptation/I married a female wrestler… and then I Love You in Hare Rame Hare Krishna. She was just too perfect.

‘Bhaste’ of time

Come the late 1990s and beyond and the metrosexual leading ladies and gents, English would no longer stand out as an oddity. Where’s the party tonight? Crazy Kiya re, Party on My Mind, It’s Rocking, My Heart is Racing On, Break Up song and the bilingual title song in Bachna Ae Haseeno with Baby when you see me coming. These lyrics, though shallow and destined to be short-lived in public recall, somehow sounded contemporary and consistent with the generation. There were tributes to originals too like Shanker-Ehsan-Loy’s delectable fusion Pretty Woman in Kal Ho Na Ho (2003) and Daddy Cool in Chahat (1996). Nowadays, even a mujra singer from old Delhi can pronounce the English word in the line… Personal se sawaal karte hain (in the song Kajra re) to a perfection. But then, the playback singer in this case was Alisha Chinai. Bollywood had ‘found’ English finally. Even aliens come a-visiting, they don’t find English a “bhaste of time”.

Full on English: And what better way to celebrate this union of two languages than by remembering the most popular full-length English language My Heart is Beating by Preeti Sagar in Julie (1975) featured our own English Vinglish star – Sridevi, who was in her pre-teens then.