Bela Bose’s 5 iconic dance numbers revisited – Times of India

Bela Bose, who passed away yesterday, was the uncelebrated but ubiquitous screen presence in the 1960s and 70s. She was either the shrew (Jai Santoshi Maa, Wahan Ke Log) or the nimble-footed dancer in innumerable films since 1956. As a dancer she often went uncredited for her skills, simply joining in with the heroine or with a more established dancer like Helen for the heck of it. Understandably a majority of her songs were sung by Asha Bhosle, since that was the voice used for dance numbers in the 1960s and 70s. But there were some rare occasions when the great Lata Mangeshkar sang for Bela Bose and these are iconic dance numbers.

Sajna Kidar Saari Ratiyan Gawayee (Aasra, 1966):

In a soundtrack suffused with Lataji’s lilting songs for heroine Mala Sinha, topped by the peerless Neend Kabhi Rehti Thi Aankhon Mein, Bela Bose got the chance to dance to one of Laxmikant-Pyarelal’s unsung gems. A mujra performed at a wedding, Bela Bose along with another dancing queen Laxmi Chhaya rocks the floor like never before. Interestingly Lataji and her sibling Usha sing for the two dancers. But Bela and Laxmi keep exchanging voices throughout the rousing dance performance, as both of them wanted to lip-sync in Lataji’s voice.
Hai Nazar Ka Ishaara (Anita, 1967):

Again, Bela Bose in a double-dancer item number with the formidable danseuse-choreographer Madhumati. This song is chic, stylish and seductive, as only a master director like Raj Khosla could make it. It is a terrific cabaret number (choreography details not known, as choreographers began to be acknowledged only with Saroj Khan) with Madhumati and Bela Bose sizzling seductively, first in silhouette and then full-on visually augmented. Interestingly Lataji sings for Bela while Madhumati gets Usha’s voice. Note the drizzle of sizzle without vulgar gestures and cleavage.

Dhadkan Har Dil Ki (Abhinetri, 1970):

Bela Bose featured solo on the floor for a change! And voila! She transforms into a dancing diva desperately seeking saajan. On a barah ghodon wali gadi, if you will! This is a floorshow like none other. It got eclipsed by the stream of melodies that Lataji sang for the film’s leading lady Hema Malini. But the notable aspect of Bela’s tryst with destiny was that she made the best of what she got.

Bichua Ne Dunk Mara Hai Ram (Thakur Jarnail Singh, 1966):

A huge huge hit, the song finds Lataji doing a nautanki number with that unparalleled nimbleness that was only hers. Bela had a ball moving in front of rustic rowdies with a grace that repudiated raunchiness and embraced a raw elegance. Interestingly this chartbuster was composed by Ganesh, the sibling of Pyarelal of Laxmikant-Pyarelal fame.

Roothe Saiyyan Hamare Saiyyan Kyon Roothe (Devar, 1966):

An inebriated Dharmendra at a kotha where a tawaif does her best to seduce the he-man. Bela Bose’s spunky steps suggest a certain grace in defiance. Her movements suggest a kind of come-hither abandon. A take-it-or-leave-it provocativeness. Lataji’s interpretation of Roshan’s composition is of course the mainstay of this item song (or “special number” if you will). Bela Bose did full justice to the flawless vocals. That’s saying a lot. Did ABBA create their classic Dancing Queen after watching Bela move to Roothe Saiyaan?