The cultural industry of Hindi cinema has banked upon its geographical richness since its inception. While the inclusion of every season and the festivals therein is quite balanced, it is unequivocally the representation of monsoon that sets up aesthetic metaphorical constructions on the silver screen. Whether it is Kuleshov Effect or the use of montage, the idea of representing monsoon as an alienated concept from the central narrative or ‘life’ of the characters is a notable Brechtian characteristic in Hindi films. Such conception of monsoon is presented as an idea in itself that provides a perspective on the lives of the characters involved rather than becoming a naturalised happening of their milieu.

It is because of aforementioned reasons that I went on to call monsoon a ‘signifier’ in itself. When songs such as Pyaar Hua Ikraar Hua (Love Happened) from the movie Shri 420 and Bheegi Bheegi Raaton Main (In the Rainy Nights..) showcase romance between the two protagonists, it is not the romance that is realistically evolved and subsequently expressed in common parlance. It is a romance that is showcased as romance itself. Romance which has its ideological presence separate from the presence of the lovers involved. Therefore, in both the songs mentioned above, the idea of romance does not become synonymous with Raj Kapoor and Nargis or Rajesh Khanna and Zeenat Aman. Rather, it is the creation of the idea of romance itself through which the cinematic positioning of these characters are understood. So, this distinction between romance as an idea and the characters as mere forms of it, makes monsoon a cinematic as well as cultural signifier to represent the signified (romance).

After understanding the alienation effect that Hindi cinema creates and has created over generations between the monsoon as a language and the characters as content, we shall now look into the various meanings that monsoon generates within the representational system of Hindi cinema.

1. Romantic Anticipation – The two songs mentioned above are a perfect examples of monsoon being used to describe the romantic anticipation and blossoming curiosity between the two lovers. Another addition to this can be a song that came almost three decades later – Sawan Barse Tarse Dil (Monsoon hovers as my heart craves). In Sawan Barse  there’s a shift away from the context of isolation as shown in the previous two songs. Unlike Pyaar Hua and Bheegi Bheegi Raaton Main, where lovers are shown in an isolated atmosphere under a moonlight sky, Sawan Barse uses Kuleshov Effect by using the busy streets of Bombay to show the carefree mindset of the two lovers involved. However, there is hard to trace the Screen A – Screen B direct metaphorical juxtaposition in the third song, it becomes evident in the closer analysis of the music video. Thus, I believe that completely crediting Kuleshov for this would not be a perfect idea but the commonalities are also hard to ignore. A notable example of a piece where both the isolation effect of the previous two songs and the carefree effect of the third song intersect can be Aaj Rapat Jaaye (If today I tumble down) starring Amitabh Bachchan and Smita Patil.

2. The Longing – In the era of 90s and early 2000s, monsoon acquired a much more sexual connotation in terms of using representations of cravings and fantasies. In Tip Tip Barsa Paani (As the rain drops) and Lagi Aaj Sawan Ki (Today, the rain is falling like old days) there is intense use of emotions and clever use of editing by utilizing more space while building upon developing sexual desires. Such was the heat of these songs, that Raveena Tandon’s orange saree from Tip Tip became a major symbol of sensuality and sexual liberation in pop culture. Another notable example of this category can be Saanson Ko Saanson Se from the movie Hum Tum (You and I) where the red saree of Rani Mukherjee and the beautiful set up of two lovers rolling on the beach sand under a moonlight is a visual delight in itself.

3. The Liberation – Out of all, this is the most celebrated representation of monsoon in the Hindi cinema. And, I would say, the most relatable. Although, the relatability of this representation comes as a rite of passage to carefree state of mind, and probably goes against the Brethian principles, it still saves the grace by not creating the empathetic relationship between the audience and the character. In Barso Re (Let it rain) and Bhaage Re Man Kahi ( My heart take the strides) it is the breaking of the monotony, the creation of the antithetical to gender roles, that comes across as the most fascinating use of monsoon as a signifier. While in Barso Re, we see Aishwarya Rai celebrating her freedom of choice to choose her own lover and the further course of life, in Bhage Re Man we see Kareena Kapoor, who plays a bar dancer, taking a time off her constructed reality to subsume herself in the bliss of falling droplets. In both of these songs, it is the momentary split between the character and the context, between the constructed reality and the unguided display of liberation that creates a beautiful trajectory for the audience to analyse monsoon as a concept alienated from the narrative of the film.

Although Hindi cinema is decorated with blissful songs on monsoon, I had to quite painfully restrict myself to a handful. However, I feel that the songs that have been discussed above are quite deserving symbols of the spectrum. Hindi cinema has been celebrating the idea in their isolated forms in order to create a separate space to the entities that exist around us. This separation and the  further use of these ideas as an existent matter of thought in themselves have empowered the audience to think of these ideas objectively and without the distractions of the cinematic construction of the plot or the personal lives of the characters. Such thought provoking use of signifiers such as monsoon gives Hindi cinema a democratic nature that allows every viewer to think of these signifiers independently and imbue their own understanding or relation with them. For me and I hope for the supporters of Bretch and Kant, this is surely fascinating.