The aggressively mounted spectacle feels like an attempt to grab attention. A leading Telugu producer, requesting anonymity, says, “I don’t think these so-called special songs create any special traction anymore, even in the mass markets. In the B and C centres, there’s still a belief that they add value. But honestly, this is old-school filmmaking and an outdated mindset.”

A few weeks ago, Sanjay Dutt and Nora Fatehi’s provocative number in the Kannada film K D The Devil came and went without helping the film’s dismal box-office performance. The song drew criticism for its overt vulgarity, shocking even relatively liberal viewers.

Says filmmaker Rohit Jugraj, “The song did nothing for the film. Indian audiences are essentially conservative at heart. Excessive pelvic thrusts and heaving bosoms can alienate family audiences — unless done with style and context, like Sheila Ki Jawani, Chikni Chameli, Kajra Re or Beedi Jalaile.”

The legendary Gulzar believes a ‘special song’ can work — but only when handled aesthetically. “Many were shocked by Beedi in Omkara. They couldn’t believe I could write something so aggressive. But the situation demanded it. Importantly, I kept it free of suggestive words.”

Not everyone agrees that the item number has lost relevance. Producer Allu Aravind is enthusiastic about Hellallallo in Peddi. “It’s a terrific song,” he says. “If I am enjoying it at this age, imagine its impact on the masses. Good songs definitely contribute to a film’s collections, contrary to elite ‘Bandra’ opinion.” Producer-director Suneel Darshan echoes the sentiment. “Item songs are nothing new. These dance numbers have always been part of Telugu cinema. Remember Oo Antava from Pushpa? It added hugely to the film’s frenzy. Such songs are carefully choreographed and designed to heighten mass appeal.”

Shabana Azmi cautions against sweeping generalisations. “There are item numbers like Beedi Jalaile, rooted in folk tradition, was liberating because the woman remained in control.”

Sharmila Tagore offers a more nuanced perspective. “We have always had playful, suggestive songs in our culture, especially at weddings,” she says. “Every item song is not vulgar. Women who perform them do not become less deserving of respect. If a woman chooses to do such a song, that is her prerogative.”

Rakeysh Omprakash Mehra has never filmed an ‘item song’ and never will. “It’s all about easy bucks, easy fame. Being a movie-maker I am appalled at how the lines of morality could get blurred for me. Every filmmaker needs to be careful about what is shown. I think the song has been blown out of all proportions, it’s unnecessarily hyped.”

Quotes

I don’t think these so-called special songs create any special traction anymore, even in the mass markets. In the B and C centres, there’s still a belief that they add value. But honestly, this is old-school filmmaking and an outdated mindset.”

— A producer who didn’t want to be named

“Today’s so-called item numbers are often downright crass. I’m not moral policing. But fragmented images of a woman’s body — the heaving bosom, the swivelling navel, the swinging hips — reduce her to an object of male desire. Voyeuristic camera angles and vulgar lyrics do not celebrate sensuality; they demean it.”

— Shabana Azmi

“We have always had playful, suggestive songs in our culture, especially at weddings. Every item song is not vulgar. Women who perform them do not become less deserving of respect. If a woman chooses to do such a song, that is her prerogative.”

— Sharmila Tagore

Hellallallo in Peddi… It’s a terrific song. If I am enjoying it at this age, imagine its impact on the masses. Good songs definitely contribute to a film’s collections, contrary to elite ‘Bandra’ opinion. And I genuinely believe Ram Charan has excelled in Peddi.” — Allu Arvind, Producer