Item numbers, all about sex

Kareena Kapoor Khan’s latest item song Mera Naam Mary, for Karan Malhotra’s Brothers, has opened to both shock and surprise. One almost wonders why an award-winning actress, who has given us stellar performances still accepts such songs which, in today’s cinema, can be done away with. And as far as Mary goes, even if Kareena looks her ravishing best, the choreography has been deemed unpalatable — a far cry from A-list work.

 

Even choreographers are complaining of a certain lack of style or substance. Choreographer Salman Yusuff Khan, who won Jhalak Dikhhla Jaa 6 with Drashti Dhami, says, “I just saw some rushes of Mera Naam Mary and I didn’t enjoy it. Somewhere, the treatment of the song wasn’t right. We’ve gone beyond Munni Badnaam Hui and Sheila Ki Jawani. Songs can be shot more stylishly.” Choreographers, however, are also the ones walking the fine line between outright titillation and taste. To understand the purpose of an item number and to judge what works for the audience, a look at the directors’ brief helps. “Basically, the brief is that the song should look sensual. It’s all about sex, though it can be done in a classy way. There’s a thin line between vulgarity and sensuality and very few, like Farah Khan, can pull it off,” adds Salman.

 

But choreographer Ganesh Acharya, the man behind Mera Naam Mary, is more direct. “These item songs are for boys but incidentally, it’s the girls who are following my songs even more. I don’t like vulgar songs. I focus a lot on dance and side movements,” Acharya says. But vulgarity does creep in, once the final product is out. Shruti Haasan was furious when images of her from a dance number in Race Gurram were leaked — an obvious tactic to titillate audience.  Later, during the interview rounds, Haasan was keen on avoiding the whole “item number” tag. “It’s a special song. not an item number,” she had declared.

 

But today, when competition is at an all-time high, are actors really willing to go that extra mile to remain popular? Choreographer Geeta Kapoor, who has judged Dance India Dance, says, “Today’s actors are keen on doing something different. There’s no set style or dance pattern that any of these actors have. It’s a hand in glove situation between the actors and choreographers.”

 

Also, with dance reality TV shows in vogue now, the audience often doesn’t like many performances, while the choreographers beg to differ. With such diametrically opposite points of view, how do we know what works? 

 

Choreographer Ganesh Hegde, who’s known for choreographing item songs like Kambakht Ishk, Khallas and Babuji, says, “What works for the audience is something that’s different and new, well thought out before shooting and not salvaged on the editing table. 

 

“When you give them a treat, it’s bound to make them happy. The audience needs a step to easily follow, but it shouldn’t be kindergarten stuff. For example, O O Jaane Jaana — Salman’s hook step looks simple, but even the best dancers look awkward doing it and can’t do it like how Salman did.”