In the song, all the other men are dressed in pure white, but Raj is dressed in a red-velvet blazer making him stand out from the others. The color red is the color of love, and Raj gives a stole of the same color to Sakina, that epitomizes his deep love and affection for her. She accepts the present and wears it, in a way almost accepting Raj's love assuming her lover Imaan (Salman Khan) is not coming back. However, Imaan arrives and waits for Sakina at the bridge. When Sakina sees him, she runs towards him, and the stole that Raj gave to her falls down from her shoulders, conveying to us the fate of Raj's love. Raj's moon Sakina goes to her saawariya, but his memories of her are enough to make him live through his life
Raj's gift is dropped
The moon is, in fact, yet another recurring theme in the oeuvre of Sanjay Leela Bhansali. In almost all his films, the moon makes a special appearance of its own. In Hum Dil De Chuke Sanam, there is Chand Chhupa Badal Mein, where on the festival of Karva Chauth, all the women, including Nandini (Aishwarya Rai), are waiting for the moon to come out in the sky. Karva Chauth is the festival where women keep a fast for their husbands and break that fast once the moon is out in the night sky. Nandini reminisces about her lover Sameer (Salman Khan) on this day last year when she was with him. The women sing, "Aaja re aaja chanda ki jab tak tu na aaye ga. Sajana ke chehrein ko dekhne ye man tarsa jayega." Come Oh Moon! Show Yourself. Till the time you won't come, this heart shall be thirsty to see the face of my beloved. Sameer tells them, "Na na chanda tu nahi aana. Tu jo aaya toh sanam sharma ke kahi chala jayena." No, no, Moon, don't come. If you come, then maybe my love will go away feeling shy.
posts, I had mentioned that Saawariya was a contrast to Hum Dil De Chuke Sanam in which Sakina rejects a musician Raj (similar to Sameer) for a more brooding Imaan (Vanraj). In Hum Dil De Chuke Sanam, Vanraj (Ajay Devgn) takes Nandini back to her lover. In Saawariya, Raj tries to stop Sakina from going to her lover. It is interesting to note that the lyrics of Yoon Shabnami also paint a contrast to Chand Chhupa Badal Mein. In both the songs, people are waiting for the moon to come out. In Yoon Shabnami, Raj sings, "Chaand woh bharma gaya, tujhko dekha toh sharma gaya." The moon got really confused and felt shy when it saw you (his lover) This is quite the opposite of Chand Chhupa Badal Mein, where Sameer is asking the moon to not come out because then his lover will get shy on seeing the moon. "Tu jo aaya toh, sanam sharma ke kahi chala jayena." In both the songs, the singer sees his beloved in the chandani―the moonlit night. Chandani raat mein har sajani apne sajana ko dekhe ki. In the moonlit night, every woman shall see her beloved. Yoon shabnami pehle nahi thi chandani. The moonlit night has never been gorgeous before. When Chand Chhupa Badal Mein ends, Nandini holds the sieve through which the women see their husbands to break the fast, but she avoids making an eye contact with Vanraj, because he is not her lover. It is a testament to our syncretic culture that the moon is used by Sanjay Leela Bhansali on two distinct religious occasions―Eid in Islam and Karva Chauth in Hinduism―to convey a similar underlying message. This has also been seen in his other films, such as Bajirao Mastani, where he tries to present the implicit similarity of religions. Usi Durga ki murti ko sajaate waqt hare rang ka chooda, hare rang ka shalo, aur hare rang ki choli pehnaate hai. Durga idols in temples are often adorned in green (the color often used to represent Islam). And, both the songs in the two films have a peacock symbol in them which is another Sanjay Leela Bhansali trademark. There are peacocks drawn on the walls in Yoon Shabnami; while Nandini sings. "Saawan ki rah jaise dekh mor hai." Just like the peacock is in search for rainfall.
? Dev's other worshipper Chandramukhi (Madhuri Dixit) is also related to the moon as she is named after the moon itself.
Paro is the moon
In Bajirao Mastani, a desolate Kashi (Priyanka Chopra) is coming to terms with the realization that her husband Bajirao (Ranveer Singh) has found a paramour in Mastani (Deepika Padukone). At some point in the film, Kashi is sitting by herself in Shaniwar Wada with her gaze transfixed in the direction of the moon. When Bajirao comes to meet her, she tells him that she is observing the moon, which is trying to hide between the clouds. Yeh chaand bhi na, kabhi iss badli ke peeche, toh kabhi uss badli ke. Here, she likens Bajirao with the moon, and subtly makes a statement that he is hiding something from her, and she is aware that he is spending his time with Mastani as well. Later, in the song Pinga, Kashibai compares the arrival of Mastani to the appearance of moon. She sings, "Dekho mere piya ki sanwari, jiya se banwari. Mere angna mein dekho aaj khila hai chaand." Look at my beloved's innocent sweetheart. She is at my door like a full moon. Thus, the film again highlights the presence of moon and compares Bajirao and Mastani to the moon. In Marathi culture, the women and the men often wear a crescent moon symbol called a chandrakor on their forehead as well. In Pinga, Mastani also wears a chandrakor for the first time, while Kashibai expectedly wears it throughout the film.
1. On Bajirao Mastani―Link
2. On Motifs in Sanjay Leela Bhansali's films―Link
5. On Goliyon Ki Raasleela Ram-Leela―Link
Dialogue of the Day:
"Usne meri aatma ko chhua hai, Maa."
―Nandini, Hum Dil De Chuke Sanam