Item songs have transformed from secondary cinematic elements to central marketing tools in Bollywood. Evolving through decades, these tracks have showcased glamorous visuals, infectious beats, and cultural nostalgia. From Helen’s classics to the disco era, Madhuri Dixit’s 90s hits, and modern blockbusters like ‘Pushpa’s ‘Kissik,’ item numbers remain a powerful promotional strategy, captivating audiences and boosting box office success while bridging generational appeal through nostalgic recreations.
Item songs
have evolved from charming, secondary cinematic elements into central marketing tools that are indispensable to modern
Bollywood promotions
. These tracks, known for their infectious rhythms and captivating visuals, have grown into cultural phenomena, demonstrating Bollywood’s ability to adapt and thrive amidst changing audience preferences.
In the golden era of Indian cinema (1940s-1960s), item numbers were predominantly performed by secondary characters, such as the iconic Helen and Cuckoo. These songs, like “Mera Naam Chin Chin Chu” from ‘Howrah Bridge’ (1958), added moments of glamor and respite without steering the core narrative of the films.
During these decades, film songs were also about evoking relatability. Classics like “Papa Kehte Hain” (Qayamat Se Qayamat Tak, 1988) or “Phoolon Ka Taron Ka” (Hare Rama Hare Krishna, 1971) became cultural touchstones. Their recent recreations in films and promotions leverage nostalgia to connect with older and newer generations, showcasing how even traditional melodies can be repurposed for contemporary appeal.
The 1970s and 1980s witnessed the infusion of disco beats into item songs, reflecting an urbanized India. Songs like “Piya Tu Ab To Aaja” (Caravan, 1971), crafted by Bappi Lahiri, became iconic. With bold choreography and nightclub themes, these tracks resonated with audiences seeking modernity and vibrancy in cinema.
The 1990s redefined item songs as star-driven spectacles. Mainstream actresses like Madhuri Dixit elevated these numbers into cultural phenomena with iconic tracks such as “Dhak Dhak Karne Laga” (Beta, 1992) and “Choli Ke Peeche” (Khalnayak, 1993). These songs, interwoven with the films’ promotions, drove audiences to theaters and cemented the relationship between star appeal and commercial success. Ramesh Taurani, in an exclusive conversation, said, “Ramesh Taurani: The way South films these days are doing wonders at the box office, people have understood that how important are songs in the film. We used to promote our songs earlier, and now it seems the era is returning to giving importance to songs. Look at Chamma Chamma or Choli Ke Peeche, ‘Chunari, Chunari, or ‘Akhiyan Milao’, ‘Rang.’ They were superhit songs and also helped the film to do much better. The audience used to come to see those songs in theaters. In the 90s and 2000s, if a film had good songs, ‘toh new comer ko bhi opening lag jaati thi’.”
Trade analyst Taran Adarsh feels the song always helps a film to pull in more moolah at the box office. He said, “Songs are used as a hook to attract the audience to cinema, and if the song clicks, people like what they watch on screen, and it automatically translates them to the phase for the film. It has been noticed time and again that a popular song or a song that has been accepted by the audience before the release always helps in boosting the collection at the box office.”
The turn of the millennium saw item songs evolve into carefully curated marketing assets. Tracks like “Munni Badnaam Hui” (Dabangg, 2010) and “Sheila Ki Jawani” (Tees Maar Khan, 2010) were designed to dominate promotional campaigns. Their lyrics, hooks, and sizzling visuals, amplified by social media, ensured widespread reach and created buzz long before the films’ releases.
Pushpa’s “
Kissik
,” Bhool Bhulaiyaa’s ‘Ami Je Tomar 3.0 and Beyond
The phenomenon of item songs continues with examples like
Pushpa 2
’s ‘Kissik’. Following the overwhelming success of “Oo Antava” in Pushpa: The Rise, the makers of the sequel hosted a grand launch for “Kissik.” Featuring Allu Arjun and Sreeleela, the song’s promotions included a city-wide blitz, starting with a high-profile Chennai event. The lyrical teaser, composed by Devi Sri Prasad and penned by Chandrabose, has already garnered immense attention. With its sizzling visuals and captivating beats, “Kissik” underscores the staying power of item numbers in driving audience anticipation.
On a different note, “Mere Dholna 3.0” from Bhool Bhulaiyaa 3 highlights the evolution of soulful dance numbers as part of promotional strategies. Though not an item song, its cultural impact was celebrated with a launch event featuring Madhuri Dixit and Vidya Balan. Both actresses performed live, rekindling the magic of the original track while showcasing their graceful synergy. The event became a central part of the film’s promotions, ensuring widespread media coverage and fan engagement.
Vidya Balan Turns Stage Fall into a Highlight of ‘Ami Je Tomar 3.0’
It was a star-studded one, with Vidya Balan and Madhuri Dixit dancing LIVE on the stage for the first time. The event grabbed major eyeballs just to witness two iconic actresses sharing the stage for a live performance. Therefore, the buzz for the event was high, leading to great promotion. Madhuri during the event revealed the reason behind doing the song. She said,I love the song because of you (Vidya Balan). When Anees Ji told me that we were recreating Mere Dholna with Vidya and me. I was so shocked because I have always wanted to do this song. I used to think, ‘Wish I would have got this song.’ Someday, somewhere in some show, I would perform this song, and when he said that we were doing it, I was so happy. I said I was doing this movie. I have to be a part of this cast.”
All in all, this era also marked a trend where nostalgic recreations became a bridge between generations. Songs like “Teri Baatein Mein” or “Mere Mehboob Mere Sanam” and ‘Mere Dholna, reimagined for new-age audiences, demonstrated how Bollywood tapped into cultural memories to make films more relatable while they also used the tool for better film promotion.
