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<keyword id="1671" type="PERSON" weightage="20" keywordseo="Shah-Rukh-Khan">Shah Rukh Khan</keyword> and <keyword id="6354713" type="PERSON" weightage="20" keywordseo="kajol">Kajol</keyword>, who are shooting for <keyword id="22746" type="PERSON" weightage="100" keywordseo="rohit-shetty">Rohit Shetty</keyword>’s upcoming movie <keyword id="1665132" type="UNKNOWN" weightage="100" keywordseo="Dilwale">Dilwale</keyword>, would be seen in a song shot in a single take. The romantic number would be shot at the famous black sand and white surf location in <keyword id="55091" type="COUNTRY" weightage="20" keywordseo="Iceland">Iceland</keyword>, and we can’t wait to see India’s most loved on-screen jodi to sizzle in this song. 
 
However, director Rohit Shetty is not the first Indian director to have thought of shooting a song in a single go. In the past, there have been songs or sequences where the director didn’t call for a cut and shot it in one go. 
 
Surely, this takes a lot of planning, rehearsal, and retakes, but what comes out in the final cut is spellbinding, and completely worth it. 
Here is a list of the songs and sequences that were shot in a single take. 
 
1. <keyword id="1013107" type="ENTERTAINMENT" weightage="100" keywordseo="roop-tera-mastana">Roop Tera Mastana</keyword> (Aradhana, 1969) Director <keyword id="328587" type="PERSON" weightage="20" keywordseo="Shakti-Samanta">Shakti Samanta</keyword> shot the entire sensual song in one take, with actors <keyword id="20397" type="PERSON" weightage="20" keywordseo="Rajesh-Khanna">Rajesh Khanna</keyword> and <keyword id="1888" type="PERSON" weightage="20" keywordseo="Sharmila-Tagore">Sharmila Tagore</keyword>. The song had the magical voice of <keyword id="6378234" type="PERSON" weightage="20" keywordseo="Kishore-Kumar">Kishore Kumar</keyword> and S.D Burman composed the music. The song was more than 03:30 minutes long. 
 
 
<a href="https://www.youtube.com/watch?v=HenA-OUyo0s">[Source]</a> 
 
2. Chale Jaise Hawaein (Main Hoon Na, 2004) Director <keyword id="3783" type="PERSON" weightage="20" keywordseo="Farah-Khan">Farah Khan</keyword> decided to shoot the opening sequence for this movie in a single take, and it was all the way more difficult because unlike Roop Tera Mastana, this song had a lot of dance steps, extras, background dancers, along with <keyword id="3872" type="PERSON" weightage="20" keywordseo="Amrita-rao">Amrita Rao</keyword>, the actress. Farah Khan choreographed the first 02:40 minutes of the song in a single take. 
 
 
<a href="https://www.youtube.com/watch?v=lmPfioaW1Tw">[Source]</a> 
 
3. I Wanna Make Love To You (Aitraaz, 2004) The Abbas-Mustan movie starring <keyword id="2823" type="PERSON" weightage="20" keywordseo="Akshay-Kumar">Akshay Kumar</keyword>, <keyword id="1655" type="PERSON" weightage="20" keywordseo="Priyanka-Chopra">Priyanka Chopra</keyword>, and <keyword id="2165" type="PERSON" weightage="20" keywordseo="Kareena-Kapoor">Kareena Kapoor</keyword> had this sensual song, which was shot in one room, and in one take. The 03:39-minute song was sung by <keyword id="5293" type="PERSON" weightage="20" keywordseo="Sunidhi-Chauhan">Sunidhi Chauhan</keyword>, with music composed by <keyword id="8539" type="PERSON" weightage="20" keywordseo="Himesh-Reshammiya">Himesh Reshammiya</keyword>. 
 
 
<a href="https://www.youtube.com/watch?v=vLr0jVmGNmY">[Source]</a> 
 
4. <keyword id="3018475" type="UNKNOWN" weightage="20" keywordseo="Zara-Bach-Ke">Zara Bach Ke</keyword> (Cash, 2007) This song, directed by <keyword id="32859" type="PERSON" weightage="20" keywordseo="Anubhav-Sinha">Anubhav Sinha</keyword>, had five actors viz. Riteish Deshmukh, <keyword id="10357" type="PERSON" weightage="20" keywordseo="Zayed-Khan">Zayed Khan</keyword>, <keyword id="2807" type="PERSON" weightage="20" keywordseo="Shamita-Shetty">Shamita Shetty</keyword>, <keyword id="981" type="PERSON" weightage="20" keywordseo="Dia-Mirza">Dia Mirza</keyword>, and <keyword id="1952" type="PERSON" weightage="20" keywordseo="Esha-Deol">Esha Deol</keyword>, dancing in what looks like a maze of different corridors. The song is around 03:39-minutes long, and was sung by Anushka Manchanda, Vishal Dadlani, Shekhar Ravjiani while the latter two being the music directors. 
 
​​ 
<a href="https://www.youtube.com/watch?v=Q81ymh8vl4Q">[Source]</a> 
 
5. Ek Villain (2014) The movie starring Sidharth Malhotra, <keyword id="89958" type="PERSON" weightage="20" keywordseo="Shraddha-Kapoor">Shraddha Kapoor</keyword> and Riteish Deshmukh had a fight sequence, which was 2-minutes long, and was shot in a single take. The sequence showed Malhota getting onto a ship and fighting with dozens of goons, one by one, in a single take. The scene was brilliantly executed because the fight looked real and the background music added a lot of drama to the scene. 
 
 
<a href="https://www.youtube.com/watch?v=6SVKBZthBUo">[Source]</a> 
 
6. Gallan Goodiyaan (Dil Dhadakne Do, 2015) 
This song from 2015's comedy-drama had a lot of actors, including Anil Kapoor, Shefali Shah, Ranveer Singh, Priyanka Chopra, Farhan Akhtar, Rahul Bose, Ridhuma Sud, Zarina Wahab, Vikrant Massey, Parmeet Sethi, Divya Seth, and Manoj Pahwa dancing with hundreds of background songs. Out of all the songs listed, this one has the most fast-paced beats, and is also the longest one-take song (04:38 minutes). Directed by Zoya Akhtar, this song was sung by ​Yashita Sharma, Manish Kumar Tipu, Farhan Akhtar, Shankar Mahadevan, and Sukhwinder Singh, with Shankar-Ehsaan-Loy's music and Bosco-Ceaser's choreography. ​Thanks to our reader ​Jahangir Hussain for pointing out that we had missed this song. 
 
 
<a href="https://www.youtube.com/watch?v=jCEdTq3j-0U">[Source]</a>

SRK Kajol to shoot one take song in Dilwale, but it’s not Bollywood’s first

Though anticipated, when it became official that the Melody Queen of India, <keyword id="31278" type="General" weightage="20" keywordseo="Lata-Mangeshkar" source="Orion">Lata Mangeshkar</keyword>, is no longer among us, it hit the collective consciousness of the nation like a sledgehammer. The only consolation was that she may have passed on, but her voice, which moved our hearts and provided succour to our souls for more than seven decades, will forever be with us. Like all inspirational stories, Lataji's early struggle to establish herself in the 1940s is one that we cannot ever forget. In those days, she would take a BEST bus and travel from her south Mumbai home regularly to meet Naushad Ali at his Khar West bungalow or in the studios, hoping for a 'singing break' under the legendary music maker's baton. In the vicious Mumbai monsoon, she would come to Naushad's home, wearing her trademark sari, carrying an umbrella but totally drenched, shivering and barely able to speak, let alone sing. The music director would offer her piping hot tea and cookies to soothe her, but no songs ... yet ... . "I felt her voice was not yet 'ripe' for my style of music," said Naushad, the perfectionist, in a conversation with this writer. He was trying to justify not giving her an early break. "To improve her diction and control over words, I advised her to learn and practice Urdu, which she did ... and finally, she was ready to record for me." The first choices of Naushad were the reigning stalwarts -- Noorjehan, Suraiya, Shamshad Begum, Zohra Ambalewali, to name a few. With time, trained by her father, Dinananth Mangeshkar, Lataji grasped the maestro's advice and got her first major hit -- 'Uthaye Ja Unke Sitam' ('Andaz', 1949) -- composed by her mentor Naushad. With it, she 'arrived' in the film industry. Thereafter, top music directors of the era wooed her, and they included Sachin Dev Burman, Husan Lal-Bhagat Ram (brothers), Ghulam Haider, Sardar Malik, Ghulam Mohammed, Jaidev, Salil Chowdhary, C. Ramchandra, Shankar-Jaikishan (partners), Roshan, Madan Mohan, M. Zahur Khayyam, Kalyanji-Anandji (brothers), Laxmikant-Pyarelal (partners), Sonik-Omi (uncle-nephew), Ravi Kumar Sharma or 'Ravi', Sudhir Phadke, Sajjad Hussain, Usha Khanna, and even A.R. Rahman, Anu Malik, Rajesh Roshan, Anand-Milind and Jatin-Lalit, among the younger crop of baton wielders. Producers and directors vied for Lataji's unique voice and style for their top heroines, especially because she could 'mould' her voice to suit most heroines. Without doubt, she had become the first among women singers, a position that Mohammed Rafi enjoyed among the men. Yet, there was a music director who remained aloof from Lataji -- with haughty pride -- and yet rose to the top echelons of the music industry -- the incomparable O.P. Nayyar. "I found Lata's voice too thin, too shrill, which did not suit my compositions," Nayyar had once said, claiming he was "the only music director who succeeded in Bollywood without Lata's voice". He added: "I needed a more vivacious, richer, healthier voice of, say, Shamshad Begum, Geeta Ghosh-Dutt, Asha Bhosale." One woman singer, Suman Kalyanpur, was blessed with a voice rivalling that of Lataji's, but she was content being in the shadows, yet she thrived on enduring masterpieces composed by some of the music directors. As Lataji's singing style matured under master music directors, her voice helped heroines who acted or danced to her tunes catapult to stardom, such as Madhubala, Meena Kumari, Nargis, Ameeta, Beena Rai, Waheeda Rehman, Vyjayanthimala Bali, Tanuja, Sharmila Tagore, Asha Parekh, Nutan, Saira Bano, Sadhana Shivdasani, Babita Kapoor, Zeenat Aman, Parveen Babi, Hema Malini, Rekha, Sridevi, Neetu Singh, Madhuri Dixit, and many others in the post-1980s, right down to the youngsters, notably, Kajol, Rani Mukherjee and Karisma Kapoor. After the exit of Noorjehan from India and the fading away of other stalwart female singers, by the late 1950s/early 1960s, Lataji was firmly perched on the top of the heap and brooked no nonsense from anyone -- producers, directors, composers, siblings or contemporaries -- attempting to clamber anywhere close to her roost. Bollywood is full of stories of how Lataji ring-fenced her position till the very end, often raising the hackles of her female peers, although male singers, such as Mohammed Rafi, Mukesh, Kishore Kumar, Mahendra Kapoor and Manna Dey (all deceased) and others, chose to maintain a professional rapport with her. Nevertheless, there were tales of how Rafi once bore the brunt of her "other side", or certain composers quivering as she gently declined to sing for them after they allegedly dared to commission some other female singers, for whatever reason. Of course, powerful filmmakers such as Mehboob Khan, Raj Kapoor, Kamal Amrohi, Dev Anand, Shakti Samanta, B.R. Chopra, Yash Chopra and the likes had no time for tantrums. Born on September 28, 1929, as the oldest child of a musically inclined family in Indore (Madhya Pradesh) -- comprising father Dinanath, Lataji, Meena (Khadilkar), Asha (Bhosale), Usha and sole brother Hridaynath -- she was tutored by her dad from the age of five and also acted in his musical stage plays, till death in 1942. Helped by a close family friend, Master Vinayak D. Karnataki, she got a foothold in singing and acting that year with a first Marathi song and a maiden Hindi song in 1943 before shifting to the film industry capital in 1945. In Bombay (now, Mumbai), she learnt classical music and continued singing the odd songs, till her big break with 'Dil Mera Toda, Mujhe Kahinka Na Chhoda' ('Majboor', 1948), with full help from Ghulam Haider, whom she later described as her "godfather". With a colossus such as Noorjehan still around, Lataji continued her with a few more hits -- 'Aayega Aanewala' ('Mahal', 1949) and 'Uthaye Ja Unke Sitam' ('Andaz', 1949), heralding her entry with a bang in big-time Bollywood. Simultaneously, she sang in different Indian languages with aplomb, non-film songs, with her range encompassing classical, tragic, melodious, erotic, melancholic, light, mischievous, depending on the composer, or the heroine, or the song situation. After the seniors passed away or faded out, Lataji sang expertly and easily with the gen next of male singers such as S.P. Balasubramaniam, Amit Kumar, Shabbir Kumar, Nitin Mukesh, Anwar, Udit Narayan and Sonu Nigam, and astounded her listeners with the seemingly "undying" power and youthfulness of her golden voice. Over the decades, she was decorated with a multitude of rewards and honours -- three Padma awards, five Filmfare Awards, the Dadasaheb Phalke Award -- capped by the Bharat Ratna in 2001. More than that, state governments named awards and institutions after her. Lataji sang at prestigious live concerts or charitable events, enthralling global audiences, picked up more overseas accolades, such as France's highest civilian honour, Officer of the Legion of Honour, in 2007, briefly dabbled in high-end merchandise, such as signature jewellery and perfumes, launched a production and music house, and entered into international music collaborations. Death has only removed her physically. The legacies she leaves behind will outlive her for decades. SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/ecommerce/news/aditya-birla-fashion-retail-d2c-unit-will-sell-ethnic-and-wedding-wear-from-top-designers/articleshow/89347587.cms">Birla has the best wedding suits stacked up and he wants them displayed on your phone</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/stock-market/news/textile-cigarette-metal-and-electric-batteries-sectors-stocks-up-budget-day/articleshow/89346157.cms">Textile, cigarette makers and others sector stocks that rallied since budget speech</a>

Lata Mangeshkar's over 70-year journey from travelling in BEST bus for singing break in the industry to melody queen of India

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SRK Kajol to shoot one take song in Dilwale, but it’s not Bollywood’s first

Nandini Sharma

Lata Mangeshkar's over 70-year journey from travelling in BEST bus for singing break in the industry to melody queen of India

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