Spirit of Rangeela

The bad news is that Rangeela songs are not available on Spotify (my music streaming app of choice). The good news is that instead I turn to Youtube to watch them, and get the “full experience” instead.

It’s 25 years since Rangeela released, and Mint has done a feature on “25 reasons to love Rangeela“. Here are my own thoughts on why I loved the movie and why it had such a big influence on my life.

I remember the date when I watched Rangeela. 25th October 1995. It was the last day of an epic long weekend caused due to Diwali and a total solar eclipse. Two of my cousins were visiting us, and the previous day, after the eclipse had passed, we had gone to watch The Mask (along with my dad). On the 25th, we went to watch Rangeela.

I watched Rangeela in the theatre only once (sadly, in hindsight), and watched it sitting next to my dad (and cousins). I was nearly 13 years old. We had gone to Urvashi, which was then (and maybe even now) one of Bangalore’s biggest cinema halls. Urvashi had recently undergone a makeover, getting a Dolby stereo system in the process. And I had never listened to Rahman’s music before.

I remember it being a insane experience. It was so insane (in a positive way) that even today, 25 years later, listening to the songs rekindled the memory of sitting in Urvashi, and imagining Rahman’s sounds hitting my ears from all directions. And to combine that with the awesome visuals – remember that I had just hit puberty and this was one of my first movies after that event (The Mask, obviously, being another).

Watching the videos on Youtube now, I still think Urmila Matondkar looks stunning in the movie. Even otherwise, the cinematography is first grade, and the visuals are stunning. I can only imagine how the 12-year-old me might have felt looking at all that on a big screen back then (with my father sitting right next to me).

I have written here earlier about how the teens are possibly the optimal years of movie appreciation.  And it was influential for sure. For the next couple of years, Spirit of Rangeela was a fixture for choreography shows at inter-school cul-fests. Some of us little teenagers who assumed we were jilted in love sang (or whistled) Kya Kahe Kya Na KaheTanha Tanha, of course, was yet another level.

Sometimes I wonder, if the movie would have had the same effect on me had I not watched it on a really large screen, in a theatre with awesome audio. Maybe Rahman’s Hindi debut deserved that.

My apologies if this post appears scattered. I’ve been listening to (and watching) the songs of Rangeela on loop for the last two hours, and it has triggered all sorts of thoughts in me. And there have been too many things to write here.

Maybe I should’ve done a tweetstorm instead.

 

 

Jio, Amazon and Information Content

A long long time ago I had installed the Jio Cinema app on my Fire TV Stick. I had perhaps watched two movies on that, and then completely forgotten about it. This evening, I had to look for a movie to watch my the wife, and having exhausted most of the “compatible content” (stuff we can watch together on Netflix) and been exhausted by the user experience on Prime Video, I decided to give this app a try.

I ended up selecting a movie, which I later found out has a 4.5 IMDB rating and doesn’t even have a Wikepedia page. Needless to say, we abandoned the movie midway. That’s when the wife went in to put the daughter to bed and my fun began.

So Jio Cinema follows what I call the “Amazon paradigm for product management”. Since Amazon tries to sell every product (or service) as if it is a physical book, it has one single mantra for product management. “Improve selection and they will come”.

The user experience doesn’t matter. How easy the product is to use, and how pleasing it looks on the eye, and whether it has occasional bugs, is all secondary. All that matters is selection. Given that the company built its business on the back of selling “long tail” books, this is not so surprising, except that it doesn’t necessarily work in other categories.

I’ve written about Amazon’s ineptitude in product management before, in the context of that atrocity of an app called Sony Liv. The funny thing is that the Jio Cinema app (on Fire TV Stick) looks and feels pretty much exactly like Sony Liv. Maybe there is an open source shitty fire TV app that these guys have based themselves on?

In any case, I started browsing the Jio Cinema app, and I found something called “movies in 15 minutes“. Initially I thought it was a parody. The first few movies I noticed there were things I had never heard of. “This is perhaps for bad movies”, I reasoned. I kept scrolling, and more recognisable names popped up.

I decided to watch Deewana, which was released just before the start of my optimal age of movie appreciation, and which, for some reason, we didn’t get home a video cassette of.

It’s basically a collage of scenes from the movie. It’s like someone has put together a “highlights package”, taking all the important scenes and then putting them together.

And for a movie like Deewana it works. The 15 minute version had all the necessary plot elements to fully follow the movie. It is a great movie, for 15 minutes. Maybe at 30 minutes as well it might be a great movie. However, I can’t imagine having watched it in the full version.

That was two hours back. I’ve since gone crazy watching 15 minute versions of many other movies (mostly from the 70s and 80s, though they have movies as recent as Jab We Met). It’s been fantastic.

However, I have one crib. This has to do with information content. Essentially, the premise behind “movies in 15 minutes” is that the information content in these movies is so little that the whole thing can be compressed into 15 minutes.  The problem is that not every movie has the same amount of information.

15 minutes was perfect for Deewana. It was also appropriate for Kasam Paida Karne Waali Ki, which I watched only because it gets referenced in Gangs of Wasseypur. Between these two, I “watched” Namak Halaal, and I didn’t understand the head or tail of it. I had to go to Wikepedia to understand the plot.

Essentially the plot of Namak Halaal is complex enough, I imagine, that compressing it into 15 minutes is impossible without significant information loss. And the loss of information was so much that I couldn’t understand the summary at all. Maybe I’ll watch the movie in full some day.

I’m writing this blogpost after watching the 15 minute version of Don. I guess whoever made the summary realised that the movie is so complex that it can’t really be compressed into 15 minutes – and so they have added a voiceover to narrate the key elements.

In any case, I’m feeling super thrilled. I normally don’t watch movies because the bit rate in most movies is too low. Compression means that I can happily watch the movies without ever getting bored.

I wish they made these 15 minute versions of all movies. Jio, all (your Amazon-style product maangement) is forgiven.

Now on to Amar Akbar Anthony.

Conductors and CAPM

Recently I watched this video that YouTube recommended to me about why orchestras have conductors.

The basic idea is that an orchestra  needs a whole lot of coordination, in terms of when to begin and end, when to slow down or speed up, when to move to the next line and so on. And in case there is no conductor, the members of the orchestra need to coordinate among themselves.

This is easy enough when there is a small number of members, so you don’t see bands (for example) needing conductors. However, notice that if the orchestra has to coordinate among themselves, coordination is an O(n^2) problem. By appointing an external conductor whose only job is to conduct and not play, this O(n^2) problem is reduced to an O(n) problem.

When I saw this, this took me back to my Investments course in IIMB, where the professor one day introduced what he called the “Sharpe single index model“, which is sort of similar to the CAPM.

Just before learning the Sharpe Single Index Model, we had been learning about Markowitz’s portfolio theory. And then, as he introduced the Sharpe Single Index Model, Vaidya said something to the effect that “instead of knowing so many correlation terms” (which is an O(n^2) problem), “we only need to know the correlation of each stock to the market index” (makes it an O(n) problem).

As someone who has studied computer science formally, converting O(n^2) problems to O(n) problems is a massive fascination. It is interesting how I connected two such reductions from completely different fields.

In other words, conductors are the “market of the orchestra”.

Half-watching movies, and why I hate tweetstorms

It has to do with “bit rate”

I don’t like tweetstorm. Up to six tweets is fine, but beyond that I find it incredibly difficult to hold my attention for. I actually find it stressful. So of late, I’ve been making a conscious effort to stop reading tweetstorms when they start stressing me out. The stress isn’t worth any value that the tweetstorms may have.

I remember making the claim on twitter that I refuse to read any more tweetstorms of more than six tweets henceforth. I’m not able to find that tweet now.

Anyways…

Why do I hate tweetstorms? It is for the same reason that I like to “half-watch” movies, something that endlessly irritates my wife. I has to do with “bit rates“.

I use the phrase “bit rate” to refer to the rate of flow of information (remember that bit is a measure of information).

The thing with movies is that some of them have very low bit rate. More importantly, movies have vastly varying bit rates through their lengths. There are some parts in a movie where pretty much nothing happens, and a lot of it is rather predictable. There are other parts where lots happens.

This means that in the course of a movie you find yourself engrossed in some periods and bored in others, and that can be rather irritating. And boredom in the parts where nothing is happening sometimes leads me to want to turn off the movie.

So I deal with this by “half watching”, essentially multi tasking while watching. Usually this means reading, or being on twitter, while watching a movie. This usually works beautifully. When the bit rate from the movie is high, I focus. When it is low, I take my mind off and indulge in the other thing that I’m doing.

It is not just movies that I “half-watch” – a lot of sport also gets the same treatment. Like right now I’m “watching” Watford-Southampton as I’m writing this.

A few years back, my wife expressed disapproval of my half-watching. By also keeping a book or computer, I wasn’t “involved enough” in the movie, she started saying, and that half-watching meant we “weren’t really watching the movie together”. And she started demanding full attention from me when we watched movies together.

The main consequence of this is that I started watching fewer movies. Given that I can rather easily second-guess movie plots, I started finding watching highly predictable stuff rather boring. In any case, I’ve recently received permission to half-watch again, and have watched two movies in the last 24 hours (neither of which I would have been able to sit through had I paid full attention – they had low bit rates).


So what’s the problem with tweetstorms? The problem is that their bit rate is rather high. With “normal paragraph writing” we have come to expect a certain degree of redundancy. This allows us to skim through stuff while getting information from them at the same time. The redundancy means that as long as we get some key words or phrases, we can fill in the rest of the stuff, and reading is rather pleasant.

The thing with a tweetstorm is that each sentence (tweet, basically) has a lot of information packed into it. So skimming is not an option. And the information hitting your head at the rate that tweetstorms generally convey can result in a lot of stress.

The other thing with tweetstorms, of course, is that each tweet is disjoint from the one before and after it. So there is no flow to the reading, and the mind has to expend extra energy to process what’s happening. Combine this with a rather high bit rate, and you know why I can’t stand them.

Finite and infinite cricket games

I’ve written about James Carse’s Finite and Infinite Games here before. It is among the more influential books I’ve read, though it’s a bit of a weirdly written book, almost in a constant staccato tone.

From one of my previous posts:

One of the most influential books I’ve read is James Carse’s Finite and Infinite Games. Finite Games are artificial games where we play to “win”. There is a defined finish, and there is a set of tasks that we need to achieve that constitutes “victory”. Most real-life games are on the other hand are “infinite games” where the objective is to simply ensure that the game simply goes on.

I’ve spent most of this evening watching The Test, the Amazon Prime documentary about the Australian cricket team after Sandpapergate. It’s a good half-watch. Parts of it demand a lot of attention, but overall it’s a nice “background watch” while I’m doing something else.

In any case, the reason for writing the post is this little interview of Harsha Bhogle somewhere in the middle of this documentary (he has appeared several times more after this one). In this bit, he talks about how in Test cricket, the opponent might be having a good time for a while, but it is okay to permit him that. To paraphrase Gully Boy, “apna time aayega” – the bowler or batsman in question will tire or diminish after some time, after which you can do your business.

He went on to say that this is not the case in limited overs cricket (ODIs and T20s) where both batsmen and bowlers need to constantly look to dominate, and cannot simply look to “survive” when an opponent is on the roll.

While Test cricket is strictly not an “infinite game” (it needs to end in five days), I thought this was a beautiful illustration of the concept of finite and infinite games. The objective of an infinite game, as James Carse describes in his book, is to just continue to play the game.

As a batsman in Test cricket, you look to just be there, weather out the good spells and spend time at the crease. You do this and the runs will come (it is analogous for bowlers – you need to bowl well enough to continue to be in the game, and then when the time comes you will get your rewards).

In ODIs and T20s, you cannot bide your time. Irrespective of how the opponent is playing, you need to “win every moment”, which is the premise for a finite game.

Now, I don’t know what I’m getting at here, and what he point of this post is, but I think I just liked Harsha Bhogle’s characterisation of Tests as infinite games, and wanted to share that with you.

Social comedy

I’m reminded of this old interview with late actor and director Kashinath. I’ve forgotten which program it was on, so I’m unable to find the link. In that he kept talking about how as a budding filmmaker, he had been taught to “make films about social issues”.

And so in each of his movies, he made sure he incorporated one or the other social issue. Like I remember as a kid going to this movie called avaLe nanna henDathi  (which he remade in Hindi as “Jawani Zindabad”) – this was about dowry.

The thing with Kashinath was that while he made his movies about social issues, he made sure they were at least partly funny. Before we go ahead, I’d urge you to see this legendary song from anantana avaantara , made by and starring Kashinath (trust me, you’ll find it funny even if you don’t understand Kannada).

It’s not just Kashinath who had this mission that any movie should have an underlying “social message”. Go back to any 1990s comedy, and you will find that they follow the same formula. You might laugh for a total of 15 minutes through the duration of the movie, but the need for social messaging means that there are inevitable sad elements in the plot.

Also, a usual template of these movies (across languages) was to pack the first half with jokes and other funny things, and then let the serious stuff take over in the second half (you wouldn’t lose much entertainment by leaving at the interval).

This largely changed after 1999 (or so), when the film industry got “industry” status, bringing in corporate money and formal production houses. The need for sending out social messages went out with socialism, and so the quality of movies in the 2000s became (on average) better. Funny movies could afford to be entirely funny rather than spending one half sending out a social message.

I was thinking about this yesterday when I watched shubh mangal zyaada savdhaan (starring Ayushmannnnn Khurrraannnnnaa), a movie about a gay couple trying to gain acceptance from one of their families. The movie seemed to be a straight throwback to the nineteen eighties.

The first half was funny, with a laugh a minute. All the classic elements of Indian film comedy were present in this half. And then came the intermission (yes, that was indicated even though I saw the movie on Prime Video). And the movie, in 80s style, went off into social messaging mode.

The last 40 minutes was an absolute drag. The story refused to move as the characters went about extolling diversity and inclusion. Whatever was remaining of the story was rather predictable. There was no “information content”. And that left me a tad disappointed.

There is a reason that Ganeshana Maduve remains my all-time favourite Indian movie. Despite being made in 1990, it is an out-and-out comedy, with no social messaging thrown in (the director Phani Ramachandra, who later made the sitcom daNDa piNDagaLu, was a bit of an outlier).

The best part of the movie, in hindsight (ok I’ve watched it at least 50 times) is that it ends rather abruptly. The comedy goes on till the very last moment, and when you think that you’re facing a boring scene, all characters get into one frame (the standard ending of 1980s movies) and “shubham” or some such appears on the screen.

If you haven’t watched the movie, I might remind you that it is available in full on Youtube (unfortunately there are no subtitles, so you’ll need to know Kannada for this one).

 

I really don’t know why this genre of comedy didn’t catch on, and instead we have filmmakers continuing to proselytise us with social virtues.

Diamonds and Rust

So this post is going to piss off the wife on at least two counts. Firstly, she thinks I’m “spending too much time on the computer” nowadays, and not enough with her. Secondly, this post refers to an old crush who my wife thinks I had “blogged too much about” (the implication is that I don’t blog enough about my wife).

Then again, I think I’ve been taking myself too seriously on this blog of late, and so need something to break out of this rut, and this post is something I’ve been intending to write for a long time. So I’m taking a chance here.

The song in question is Diamonds and Rust, originally performed by Joan Baez, and then covered by Judas Priest in their album Sin After Sin.

I was first introduced to this song by the Judas Priest version. It was that time back in college where I had computer, and access to a LAN full of pirated music, and was sampling all the bands that I thought might be cool (it’s another matter that I ended up liking a lot of these “cool” bands, including Judas Priest).

As was my wont then whenever I “discovered” some artist, I would listen to all their works in order, album by album. I do this nowadays as well, when I “rediscover” artists. And so I got introduced to Diamonds and Rust. I remember the song immediately making an impression on me, but not too much (the other song that that made an immediate impact was called “between the hammer and the anvil“, and I’d wondered if it was about the mechanics of the inner ear).

Anyway, in the middle of discovering Judas Priest for the first time, I met this girl. I mean I’d known her for a really long time but this was the first time we were “having a conversation”. We had met at this tiny cafe full of college kids (we were also college kids then) where she had made a big fuss about being a “low calorie person”. Music was playing. Soon a vaguely familiar sounding song played, in a voice that wasn’t familiar at all. Between bits of the conversation, all I caught from the song was that it was “_____ and _____ “. Surprisingly for me, I didn’t try to immediately figure out which song it was upon returning to my room that night.

The years went by. I probably ended up blogging this girl a bit too much for my own good later on. The person who is now my wife read some of those posts and thought she had found a guy who would write loads about her as well. I started off brightly, but in the long term I don’t think I’ve lived up to the expectation.

I don’t recall the circumstances in which I rediscovered Diamonds And Rust. It happened in London, either towards the end of 2017 or the beginning of 2018. I think the rediscovery again happened through Judas Priest – I was working through their albums one by one after a 12 year gap, and chanced upon Diamonds And Rust again. Some chord (not literally) hit. I went down a rabbit hole.

I realised this was possibly the song that had initially registered all those years ago, and that I had heard in the cafe. Googling revealed it was a cover, and the original did sound very familiar (I think this is the story. I’ve sat on this post for so long now I’ve really forgotten). I was convinced. The Joan Baez version did seem very familiar. It all started coming back to me. The next couple of days I was careful around the wife so she wouldn’t realise that I had gotten excited about something vaguely related to an old crush.

In any case, I liked the cover so much that soon I started creating a playlist of “metal covers of non-metal songs”.

I called it “Rust Covers Diamonds” (get the clever pun?). I’m listening to that playlist right now as I write this. It’s a public playlist, so feel free to listen to it. You’ll love a lot of the songs in it! Especially the first “title track”.

Update

There is one thing I don’t like about Diamonds and Rust, and I blame Joan Baez for it (Judas Priest simply copied it without checking it seems). The song is not dimensionally consistent. Check the lyrics:

And here I sit, hand on the telephone
Hearing the voice I’d known
A couple of light years ago
Heading straight for a fall

Light year is a unit of distance, not time. So “a couple of light years ago” makes absolutely no sense. I really don’t know how the editors let that pass. Then again, you don’t expect most editors to know physics!

How Mani Ratnam Ruined A Generation Of Indian Men

If you fall in love, you might be falling in love with a terrorist. In the arranged marriage market, you’ll find a hot girl who asks if you’re a virgin

I had recently written about how the ages are 13 to 16 are “peak movie appreciation age”, and about how I got influenced by several movies in that period in life. One of them was Mani Ratnam’s Dil Se (1998).

Of course, the most influential thing about this movie was the idea of dancing on top of a moving vehicle. I clearly remember our school picnic (on October 31st 1998), when responding to a challenge, a friend and I (later joined by another friend) clambered on top of the picnic bus and started dancing. I got a 2 litre bottle of Pepsi (presented by the friend who joined us later) for my efforts, which was duly shared between the rest of my class.

Dancing on top of a bus was fun, though it could get dangerous if the bus moved well-at-a -faster rate (I don’t think too many people copied that). The more dangerous thing about Dil Se was about the sort of ideas about arranged marriage that it presented.

Dil Se happened to be Preity Zinta’s debut movie (she was earlier mainly known for this Cadbury’s Perk ad) (it wasn’t technically her debut but I think it got released before the other movie she had shot).

Ten years back, when I was in the arranged marriage market, I wrote this series of blog posts called “Arranged Scissors“. One of them was a hypothetical letter I’d written to a prospective father-in-law (I don’t think I’ve got my actual father-in-law to read it). That included:

During the interview, I’m going to ask your daughter if she is a virgin. If you think she is the type that will be scandalized at such questions, you need not shortlist me.

I must admit that wasn’t an original. It was inspired by this movie released more than ten years before I wrote that.

Preity Zinta plays the role of this Mallu girl whom the protagonist (played by Shah Rukh Khan) meets in the arranged marriage market. They break out to a side room in the house for a chat. The first thing she asks him is if he is a virgin (that also happened to be Zinta’s first line on-screen, helping her set herself an image of a no-nonsense actress).

It fit into the story, so it was all fine. But for a generation of teenage boys watching Dil Se in 1998, it gave the perfectly wrong idea of what arranged marriage was like. It was almost like how Mani Ratnam was telling us that “if you fall in love, you might be falling in love with a terrorist. In the arranged marriage market, you’ll find a hot girl who asks if you’re a virgin”.

And some of us influential boys bought it. It didn’t help matters that just three years later, in Dil Chahta Hai, the Saif Ali Khan character finds that he can find himself a good match in the arranged marriage market (that occurred after my optimal age of movie appreciation, but Preity Zinta in Dil Se had influenced me enough that I bought the tripe anyway).

Many years later, many of us came into the arranged marriage market looking for Preity Zintas and Sonali Kulkarnis, only to find that it was an admission of failure, where you could at best look for a “common minimum program”, and which was overall a dehumanising experience (I’m glad I met my wife when I did, and she bailed me out of the market).

Now, we look back and curse the filmmakers. All because we happened to watch these movies at our most optimal movie appreciation age.

The Optimal Age of Movie Appreciation

My wife tells me that it’s a “family tradition” in her family to watch Kabhi Khushi Kabhie Gham (K3G) whenever it is playing on TV. I’ve always found it (both the movie and that it’s her family tradition to watch it so many times) absurd. However, a conversation from earlier this morning makes me appreciate why her family appreciates the movie so much. It has to do with the “optimal age of movie appreciation”.

This morning, I was talking to “Raghu Sanjaylal Jaitley” (RSJ). “Raghu Sanjaylal Jaitley” is a pseudonym. The author told me that he had named himself in honour of two influential movie characters from his youth (both played by Aamir Khan) – Raghu Jaitley from Dil Hai Ki Manta Nahin, and Sanjay Lal from Jo Jeeta Wohi Sikandar.

While I have watched both movies (at home, on VHS tapes, soon after they were  released), I don’t remember much of either movie, at least not enough to know the full names of the lead characters. My defence is that I was way too young when I first watched these movies, and too old when I rewatched them, to find them influential.

This brings us to the “optimal age of movie appreciation”, which I define as between 13 and 16 (give or take a year or two either side). At this age range, you are old enough to fully appreciate the movie and get involved in the story, and also young enough that you can get interested or obsessed about just about anything.

You don’t remember much of movies that you’ve watched before you were 12-13. And once you are past 16, and headed to college, you start making fun of the absurd bits in movies. Actually the optimal age of movie appreciation ends when you start watching movies with groups of people your own age -in such an environment, there is positive feedback to any fun you make of the movie, and you are encouraged on the margin to not buy into the movies.

So, in that sense, my golden age of movie appreciation lasted from Rangeela (1995) to Kuch Kuch Hota Hai (late 1998). That was the period in life when I both understood and got totally involved in the movies I was watching. And I could watch just about anything.

KKHH was the end of this, as I clearly remember us talking in school (I was in class 11) making fun of the concept of the movie. And then movie watching was never the same again (it didn’t help that a lot of my movie watching during undergrad years was at the Open Air Theatre in IIT Madras, where movies were accompanied by constant chatter of people making fun of them. We only made an exception for Life Is Beautiful). Now I’ve gone to the other extreme where I hardly watch movies.

Not everyone swings the other way as much as I do (for example, both my wife and RSJ remain movie fanatics), but once you are past 16, you can never get influenced by movies in the way that you did before.

RSJ is a few years older than me, so he was in this “golden age” when Dil Hai Ki Maanta Nahin and Jo Jeeta Wohi Sikandar came out. My wife is a few years younger than me, so she was in this golden age when K3G came out (her sister was 11 at the time, but I guess that is borderline for this purpose). She doesn’t, for example, get what the big fuss about Rangeela is (as an aside, I think it helped immensely that I watched Rangeela at the massive Urvashi Theatre which had then newly gotten a Dolby Sound System).

What do you think your most influential movies were, and at what age did you watch them? Do you think this 13-16 age band makes sense?

The difficulty of song translation

One of my wife’s favourite nursery rhymes is this song that is sung to the tune of “for he’s a jolly good fellow”, and about a bear going up a mountain.

For a long time I only knew of the Kannada version of this song (which is what the wife used to sing), but a year or two back, I found the “original” English version as well.

And that was a revelation, for the lyrics in the English version make a lot more sense. They go:

The bear went over the mountain;
The bear went over the mountain
The bear went over the mountain, to see what he could see.
And all that he could see, and all that he could see
Was the other side of the mountain,
The other side of the mountain
The other side of the mountain, was all that he could see.

Now, the Kannada version, sung to the same tune, obviously goes “???? ??????? ??????” (karaDi beTTakke hoithu). That part has been well translated. However, the entire stanza hasn’t been translated properly, because of which the song goes a bit meaningless.

The lyrics, when compared to the original English version, are rather tame. Since a large part of my readership don’t understand Kannada, here is my translation of the lyrics (btw, the lyrics used in these YouTube versions are different from the lyrics that my wife sings, but both are similar):

The bear went to the mountain.
The bear went to the mountain.
The bear went to the mountain.
To see the scenery

And what did it see?
What did it see?
The other side of the mountain.
The other side of the mountain.
It saw the scenery of the other side of the mountain.

Now, notice the important difference in the two versions, which massively changes the nature of the song. The Kannada version simply skips the “all that he could see” part, which I think is critical to the story.

The English version, in a way, makes fun of the bear, talking about how it went over the mountain thinking it’s a massive task, but “all that he could see” from there was merely the other side of the mountain. This particular element is missing in Kannada – there is nothing in the lyrics that suggests that the bear’s effort to climb the mountain was a bit of a damp squib.

And that,  I think, is due to the difficulty of translating songs. When you translate a song, you need to get the same letter and spirit of the lyrics, while making sure they can follow the already-set music as well (and even get the rhyming right). And unless highly skilled bilingual poets are involved, this kind of a translation is really difficult.

So you get half-baked translations, like the bear story, which possibly captures the content of the story but completely ignores its spirit.

After I had listened to the original English version, I’ve stopped listening to the Kannada version of the bear-mountain song. Except when the wife sings it, of course.