This entire image of Falguni thrilled me, because I too wanted to dress like that, drawing on a masculine side of myself. In that time and for that matter even now, I cannot imagine any Indian woman carrying off clothes like that and with such swag! In another of her songs “Oh Piya”, we find Falguni stepping out of a Mercedes, which appears to be her own, wearing a white suit. There is also a Yak for some unknown reason. He is quickly ejected to be replaced by all the ladies of Ayesha Takia’s imagination. There is a hunk in the video, but it is unclear what role he is fulfilling in the story besides polite conversation. Later we find Ayesha fantasizing about another woman in a saree who appears only when she is alone, a rather curvy imaginary friend. Curiously, she keeps remembering Falguni from her home town, teaching her dance steps and they really look half in love. Take her super popular song “Meri Chunnar Udd Udd Jaaye.” Here, the basic plot revolves around a young girl (Ayesha Takia) sent away from home and being made to stay with a not so friendly warden in a huge house. And shots of the couple together are always followed by shots of Falguni, so you always remember who the real hero is. Sneakily the male lead never really gets enough screen time, he is just kind of kept there for name’s sake.
Be it helping select an outfit to impress a lover, or getting over loneliness, or just arranging some help. She always rescues the damsel in distress. Falguni plays the hero not in the sense of being the romantic lead opposite the heroine, but definitely the saviour in disguise, replacing the hairpin-wielding hero of the first video, as sound mixer, dance teacher or a (queer) fairy godmother to a (queer) Cinderella. There is a heroine, with pals, who is super femme. But Falguni was a constant in every video and her presence became stronger. But I knew the feeling that seemed to be present in some unsaid way in the videos and related with it.Īfter the first video the tomboyish girl did not return. I did not even know the word and could not concretely comprehend the idea. Now when I look back I am surprised how I did not see the queer happening, like practically all over! Perhaps it was because I did not acknowledge and accept that I was queer that time. The music was fun of course, but it made me feel something inexplicable. I related to Falguni’s song-videos but wasn’t sure how. I also clearly remember registering that one amongst the four girls was very comfortable with her tom boyishness and so was the older Falguni, who appeared in the video as a singer-narrator. He even used the magic hairpin to open a jammed car door! I think that is the precise point in my puberty when I realized that long, loose hair has magical powers.
How does he do this? With just her hairpin and letting her hair lose. It had Riya Sen looking super-hot and her knight-in-shining-armor rescuing her from a nightmarish wardrobe malfunction. The year I was eleven, there was this new, super-hummable song which became a huge hit, playing over and over on every Indian music channel climbing the charts superfast! The song “Yaad Piya Ki Aane Lagi” by Falguni Pathak, had a sweet, simple, thod sa filmi video in which four gal pals excitedly plan their look and dance moves for the big Dandiya night.
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