In the adult world of Hindi cinema, there hardly seems to be a place for a child-centric film. Many of these were also situational birthday songs. These songs have been rendered on screen by children in some of those Hindi films where the story is in some way or the other centred around a child. Some of the other songs that instantly come to mind are Nanna munna rahi hoon, desh ka sipahi hoon bolo mere sang jai Hind jai Hind, Chun chun karti aayee chidya, Tera mujhse hai pahle, Nani teri morni ko mor le gaye baki jo bacha tha kale chor le gaye, Chanda mama door ke, Rote rote hasna seekho, Chal mere ghode tik tik tik, Hum bhi agar bachche hote, Hai na bolo bolo, Lakdi ki kathi kathi pe ghoda, Machli hai jal ki rani, Lalla lalla lori doodh ki katori, and Bachche manke sachche. This category of cinema has dealt with many important issues by seamlessly discussing them in the narrative and sometimes even using song and dance to make a finer point. These films have dealt with poverty, untouchability, orphans, disability, education, destitution, sports, etc.
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Even those made under the head of more popular genres such as Brahmachari, Mr India, etc (movies which involved children in the plot), have raked in the moolah. Other similar fare followed with films like Ab Dilli Door Nahin, Naunihal, Do Kaliyan, Aakhri Khat, Parichay and Masoom, among many others. Most Hindi films of 50s and 60s had children playing pivotal roles, each with their own clear cut message.
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Raj Kapoor experimented with Boot Polish, the movie which had the song, Nanne munne bachche teri muthi mein kya hai, easily transporting one back to their childhood. That same year, K A Abbas made India’s second songless film, Munna. One of the earliest films of the genre was Satyen Bose’s Jagriti, which won the Filmfare Best Film Award in 1954. Whatever the compulsions of the august body, like many of its sister organisations, it has failed to deliver. All of them can give the clarion call of rise and shine to the CFS. Life Ho to Aisee, Raju Chacha, Rani Aur Lal Pari, My Friend Ganesha, Thoda Pyar Thoda Magic, Chota Chetan, Tahan. Or, still earlier, Bum Bum Bole, Tarra Rum Pum, Tarzan - the Wonder Car, Iqbal, Chain khuli ki main khuli, Bhootnath, We Are Family, Jajantaram Mamantaram, Hum Hai Rahi Pyar Ke, King Uncle, Wah! Or, the other recent Tare Zameen Par, Chillar Party, Stanley ka Dabba, Koi…Mila Gaya, Krishh. There have been several instances when cinema halls have been invaded for what was ostensibly not for an adult audience. This is also erroneous, as entertainment has an universal appeal. There is also a notion that parents are averse to lining up at theatres for something that wouldn’t serve their own interests. The situation might continue to be like this, at least as long as award winning remains the solitary aim of filmmakers. An occasional Makdee, Blue Umbrella or Stanley ka Dabba does make for a movement. These numbers have proved insufficient in making children’s cinema a bankable genre. Averaging at two a year, the society has come out with 112 features so far. The Children’s Films Society (CFS) that had been set up in 1955 for the sake of the younger audience, has failed to make any breakthrough. Yet, a perception exists that films for and about children do not make box-office hits, as a result of which financiers, distributors, and corporate houses shy away from investing in this supposedly ‘risky’ genre. But, where children are involved, there has been a fantastic response. Indian cinema can be said to be at a nascent stage, having mostly dealt with those themes that revolve around a family situation. There are those that have been made with a specific audience in mind, those that are centred around a child’s needs or issues, and those that use the child to take the narrative forward or structure the narrative around them.
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When it comes to defining a children’s movie in India, there are three basic types that come to mind. Unlike the west, where filmmakers have thrived on creating strong characters, idols and icons, their counterparts in India - and that too largely through the small screen medium - have only tried to capture the imagination of the young through history and mythology, the latter being more impactful and dramatic. One wonders how important or alive this category is in the eyes of the movie maker.
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Indian cinema has a number of films that can fall into one or more of these categories, except for one - the children’s movie. Cinema is composed of films that can fall under a variety of genres - romance, comedy, drama, action, horror and fantasy, to name a few.