On the bazaars

1638. — “We came into a Bussar, or very faire Market place.” — W. Bruton, in Hakl. v. 50.

(source: Hobson-Jobson)

There is something incurably romantic about the bazaars within the depths of the cities of India. The term bazaar has been naturalized in the English diction for many centuries now. In fact, if you look at the various usages of the term in dictionaries, a whole new range of meanings connected with human culture and human habitat emerge.

Why am I writing this post on bazaars, such a commonplace habitat of the human world? I really don’t know — just felt the internal urge to connect with you all through some mad trope that attracts me. I have been thinking of a metaphorical connection with the world as a market-place where sometimes we shop things, emotions, moments, and people for real, while at other times we just go window-shopping coming back home empty-handed.

Visually, (taking the V.S.Naipaul kind of description in his India Trilogy) these streets in the bazaars of India are full of dirt, stench, betel-spittle, crowd and smoke.  These gullies appear like breathing, yawning, salivating human-beings who survive in what the rich and the famous would call ‘mediocrity’.  The bazaars (sometimes called haat) are the hubs of cheaper, affordable, and sustainable products. Yet, they are the most living and throbbing places in India.

A brief anecdote, as  Undergraduate students we used to have one day in every six months for ‘hostel duty’ where we were supposed to accompany the caretaker to the daily-haat in Bhubaneswar (famously known as 1 Number Haat). Those days, I dreaded the thought of even going to the haat to buy vegetables and groceries for the entire hostel. The heat, dust, and sweat of these market-places drove me crazy and even if it was 8 o clock of a winter evening, I would come back and take a thorough shower. Looking back into those times, I regret missing many chances of understanding the beauty of the daily market place, perhaps due to my ‘elite’ sentiments. I am not sure if personally I have overcome this distance from the daily markets, but have definitely become more perceptive towards the aesthetic charm of these markets.

The bazaars in India appear to reflect the avarice which is an integral part of human personality but which we human beings continuously try to push into the unconscious or perhaps pretend that it is not there in our personalities.  They reflect the hunger for ‘more’ kind of a sentiment. You can try visiting the markets and feel the need for buying what is completely, purely needless.

To be a nature-lover, searching for pockets that are ‘far from the madding crowd’, silent, and calm have been the passion of many. However, of late I have been observing the joy of the street-side, the openness of the markets, the secret sense of independence that you get when you are bargaining and arguing for  small, insignificant ‘nothings’ and then the pride of grabbing what you might think to be impossible in the scheme of your shopping. The madness of the crowd and the noise of the market-place often make the toughest person crack into anarchy, and also might drive the strictest ascetic to insanity. Try venturing out into the heart of old cities: Hyderabad, Mumbai (Dadar area, Hindmata Market), old Bhubaneswar, Ahmedabad, etc. during the day in the peak summers. You will understand what am I trying to talk of — no less than any adventure sport. However, a word of caution — do carry your water bottles if you try something of the kind.

There is an air of austerity, a moment of  ‘sacredness’ about shopping in the malls which are ‘cleaner’, ‘hygienic’ and  ‘sophisticated’ means of realizing your need for buying things (many of which you perhaps hardly need during this life time). Bazaars on the other hand are a carnival of absolute absurdity — raw, ‘brainless’ and completely ‘anarchic’. You have to shout and argue to finalize your deal here while in a shopping complex or in a mall, there is no question of any bargain. I have been thinking of the movie Confessions of a Shopaholic where brands and ‘smooth shopping’ lead to the debacle of a young shopaholic.  Find that there is something ‘profane’ in the absolute sacredness of the malls. The profanity of the bazaars on the other hand is open, unrestrained, and taboo-less.

The language of the market places are different in India. The vernaculars and dialects rule Indian bazaars. Each bazaar in every state of India is unique and different from the other bazaar — yet there are some common threads. Possibly, this is the only place where one would find communal harmony. Interestingly, here we would see a Muslim selling mithais to a Hindu, or a Sindhi selling textiles to a Bengali. I am often amazed by the kind of ‘harmony’ that economic interdependence could bring among people. One might argue that this harmony observed in bazaars is ‘cosmetic’ and one tiny spark in terms of communal differences could lead to a massive riot killing many.

I had once read an interesting take by Amitav Ghosh in one of his novels about the predicament  small shops in the market places of communally troubled zones. There is a moment in The Shadow Lines where Ghosh describes the Khulna riots and the Dhaka turbulence. This moment reflects the menacing calmness of the bazaars before a riot breaks out. In the novel that moment leads to the death of an ailing, poor old man.  No denying that market places are the breeding grounds of communal tension, yet these are also the places where communities survive without strife, based on peaceful coexistence.

Bazaar is also a term that has perhaps some of the most ambiguous and controversial implications. In Bollywood movies, the term bazaar is used to signify the red-light areas of cities where human trafficking, and flesh-trade is practiced within the heart of ‘ethical’ grounds of orthodox social structures. There is a 1982 movie which comes to mind with Smita Patil, Naseeruddin Shah, Supriya Pathak, and Farooq Sheikh in lead. The movie is itself called Bazaar and it reflects the absolute ‘stubborn’, unchangeable structures of Indian societywhich is more inhuman rather than anything else.

Bazaar_1982_film_poster

Bazaar_1982_film_poster_Courtesy: Wiki-images

The purpose of my thought in this article has been to highlight some of the uncommon aspects of a perfectly common arena like a market-place. Bazaars are colourful and vibrant in India. Yet, they are also places which have a silent menace, a hidden notoriety either in the form of eve-teasing, or else in the form of communal upheavals, or prostitution. But is not life designed the same ways: a combination of black, red, white, and grey shades?

Think about it and share your marketplace experiences :) ….

Goodmorning and do take care of yourselves until we meet again sometime in the timeline….

Countdowns

Have you ever been through countdowns and Top Tens like US Billboard Top 100s or  UK Top 100s? Ever lived in a countdown? For instance, you knew that you are in a countdown to leave on a particular day from a place, or countdown to a beautiful phase of your life that has a few more moments left? Or countdown to an examination or submission? Or countdown to a rocket/missile test? Pulsating, throbbing, and existing in a pure sense of ‘time’! Countdowns make you sense the value of time — the toughest reality of the Universe.  Living in countdowns is interesting, but not always fun. We perennially live in countdowns — vacation countdown, submission countdown, seminar/ examination countdown, new jobs/new place countdown, wedding/ relationship countdown, etc.

Let me not get into abstract philosophy. Since, am feeling somewhat musical today –  thought of getting a music countdown discussion for you.

While we were at school and before the age of computer games, graphics, and computer-based assignments began, there was a great love for music albums, countdown shows, and Top Tens on Television.  A famous countdown show named “Philips Top Ten”  was aired on Friday evenings at 9.00 pm on Zee Tv.  We were given permission to watch this particular show after completing rolls of the extra notes and home-works. Sometimes celebrities and famous stars were invited to present their list of Top 10 songs and that would be the gala episode. By the time the countdown ended we would be sleepy.  I had imagined that one day I’ll present my own Top-10 songs of all time in Philips Top-10 if I become a celebrity or star :) . In fact, made a list of songs. Thought should share the list today and also spell out reasons I like those songs. Bollywood is so melodious and musical and we breathe so much of music that it is tough to create a countdown actually.

Am just sharing the countdown of my favourite old timers, and not including the new songs here. The range is from the black and white era only. This article is a tribute to the era when the charms of just two colours encapsulated the canvas of Indian cinema.

TEN: From the movie Teesri Kasam (1966): Ae Duniya Banane Wale Kya Tere Man Mein Samayee, tune Kaheko Duniya Banayee??  ….Kahe banaye tune mati ke putle, dharti yeh pyari pyari, mukhde yeh ujle, kahe baneye tune duniya ka maela…gupchup tamashe dekhe wah teri khudayee…sapne jaga ke tune kahe ko de di judayee (Teesri Kasam). (Rough transl: Oh Maker of this world! What struck you that you decided to make such a complex world where there are no human but only statues made of clay? Why did you make the lovely earth, and lovely faces? Why did you make dreams and give those dreams in eyes only to lead us to separation…why do you watch the game of the world silently? ) The song beautifully scored by Shankar Jaikishen and written by Shailendra reflects the simplicity and innocence of a rural setup. The voice of Mukesh is interspersed with dialogues by Raj Kapoor to create an eternal feeling of awe and beauty.  Hiraman  (Raj Kapoor), a poor cart driver narrates the legend of the beautiful and innocent Mahua who was sold off by her step-mother to a Saudagar (merchant), to Hirabai (Waheeda Rehman) the local nautch girl. As the story unfolds, we  come to know that Mahua’s story ironically is the story of Hirabai herself. I have always liked the song because it seems to project all those questions to the maker that we ourselves ask in our innocence.

NINE: Movie Kohra (1964): Yeh Nayan Dare Dare, yeh jaam bhare bhare, zara peene do…kal ki kisko khabar, ek raat hoke nidar mujhe jeene do…. Pyar mein jeevan ki khushi, deti hai khushi kayee gham bhi, main maan bhi loon kabhi haar…tu manena (Rough transl: These deep dark eyes full of fear… let me drink from your eyes…Who knows what lies hidden for tomorrow?) One of my all time favourite singers is Hemant Kumar. His voice reflects a soft baritone, a complete calmness and harmony with rhythm, and rhyme. A very unconventional tone. This particular song from Kohra shows a deep  existential dilemma, a love that is bound to a moment, he keeps saying who knows what will happen tomorrow? Based on the novel Rebecca, the song  itself gives a lilting, haunting effect. I find it one of the most sensuous songs of Hindi Cinema with Waheeda Rehman and Biswajit playing the role of a gorgeous newly wedded couple.

Yeh nayan dare dare...

Clipping of the song

EIGHT: Movie Sujata (1959): Jalte Hain Jiske Liye Teri Ankhon ke Deeye Dhoond Laya Hoon Wohi Geet Main Tere Liye…Dard Banke Jo Mere Dil Raha Dhal Na Saka…Jadoo Banke Teri Ankhon Mein Ruka Jal Na Saka…Aaj laya hoon wohi geet main tere liye…. (Rough Transl: That for which the deeyas of your eyes get lit up, I have searched out and brought such songs for you) . You should watch the song for the beauty of the bygone era and the charm of the land-line phone. Expressions were the greatest factors of cinema of that age and Sunil Dutt sitting on a glass showcase singing the lines to Nutan over the phone is a moment to cherish. Personally, I have grown up hearing this song being hummed by grandma — it’s her favourite song. The story between a high caste Brahmin boy (Sunil Dutt) and a low caste girl (Nutan) is one of the greatest cinematic commentaries on marriage across castes — a problem still persisting in twenty-first century India.

SEVEN: Movie Madhumati (1958): Zulmi Sang Ankh Ladi re…Sakhi Kaa Se Kahoon,Jane Kaise Yeh Baat Badhi…ek din chhota raat badi…Zulmi sang ankh ladi. Mera pagal pana toh koi dekho,  pukaroon main chanda ko sajan ke naam se, manke jadoo ki chhadi se… Zulmi sang ankh ladi re…. (Transl: Need help in translating these lines. Completely at a loss for words) When it comes to Madhumati, I am always stuck with which song to choose? All the songs are equally delightful and unique. Salil Chaudhury‘s music and Shailendra’s lyrics combine to create an eternal musical. This song is less known than Bichhua or Ghadi Ghadi Mora Dil Dhadke or Aaaja re — but the beauty of the song is concealed  in its  rustic language full of mock anger at the object of love who is addressed as ‘ruthless‘ . Lataji’s timeless voice adds to the haunting effect of the song. The charms of a suave Dilip Kumar from the city coolly watching the gorgeous Vaijayanthi Mala dancing unrestrained on the village streets,  something that you can only feel if you observe and perceive. Watch the expressions of Johnny Lever in the song and you will get an idea of what subtle comedy is.

SIX: Movie Khamoshi (1969): Woh Shaam Kuchh Ajeeb Thi, Yeh Shaam Bhi Ajeeb, Woh Kal Bhi Paas Paas Thi, Woh Aaj Kareeb Hai…Jhooki Hui Nigahon Mein Kahin Mera Khayal Tha… Dabee Dabee Hansi Mein Ek Haseen Sa Gulal Tha…Main Soch ta tha mera naam gunguna rahi hai woh, najane kyon laga mujhe muskura rahi hai woh (Rough Transl: There was something starnge about that evening and there is something strange in this evening…). The song is one of my favourite Kishore Kumar renditions. The effect of a Ghazal combined with modern instruments is simply outstanding — the feel of the water rippling across the boat makes the song a delight to the ears.  Watch the expressions of Waheeda Rehman when she sits like a wooden doll on the boat.

FIVE: Movie Pyaasa (1957). Jaane Kya Tune Kahi Jaane Kya Maine Suni, Baat Kuchh Ban Hi Gayee….Sansanahat si hui, Thartharahat si hui, jaag uthe khwab kayee baat kucch ban hi gayee(Rough Transl: Who knows what you said? Who knows what I heard? Something changed and something just snapped….There was some stirring and my soul rose from its deep slumber….). There is something called melody and there is something called performance — Guru Dutt was a master of both. The pursued playfully inviting the pursuer to pursue her — a combination of beauty, grace, wit, charm, and love.  This is one of those lighter songs of Waheeda Rehman and Guru Dutt that stand out in the history of Dutt’s cinematic style. Combining the charms of folk lilt and the mischief in the voice of Geeta Dutt, this song shall remain a core favourite. Moreover, observe the song for its Light and Shadow cinematic technique — simply magnificent.

FOUR: Movie Dil Hi Toh Hai (1963): Laaga Chunri Mein Daag Chhupaaoon Kaise,  Chunari Main Daag Chupaaoon Kaise, Ghar Jaoon Kaise Hogayee Mailee Moree Chunariya, Kore Badan Si Kori Chunariya… Jaake Babul Se Nazrein Milaoon Kaise Ghar Jaaoon Kaise? …Kori chunariya atma mori maill hai maya jaal, woh duniya more babul ka ghar yeh duniya sasuraljaake baabul se nazarein milaoon kaise ghar jaoon kaise? (Rough Trans: My veil has been stained, how do I hide it? Oh, How do I face my father, Oh How do I go home?) This song by Mannadey can be easily branded as the most philosophical song of Hindi cinema. Only Mannadey could have handled such a composition where the soul is compared to a veil and the world to the in-laws place, and God’s abode is thought of as the father’s house. The song speaks of the strife of the world staining the soul. Just listen to the melody, the pure chhandas and aalaaps in Manna Dey’s unparalleled classical rendering. The classical dance by Padmini is so completely in sync with the spirit of the song. The combination of the carnal with the spiritual makes the song a masterpiece of Indian cinema.

THREE: Movie Sahib, Biwi, aur Ghulam (1962): Piya Aiso Jeeya Main Samaye Geyo Re, ke Main taan-maan ki suddh-buddh gawa baithi, har ahat pe samjhe woh aaye gayo re, jhat ghunghat mein mukhda chhupa baithi . The melodious voice of Geeta Dutt somehow deserves much more accolades than has been given to her. Geeta Dutt brings out the raw beauty in melody whether it is Piya Aiso or it is Babujee Dhire Chalna. She remains my favourite voice for all times. Added to the charm of her song, Meena Kumari’s performance in the song brings out the best that Indian cinema could aspire. Especially, observe the two girls helping her out in dressing up — it seems Guru Dutt brings  a painting out of a canvas and places it on the canvas of the camera.

TWO: Movie Kala Pani (1958): Accha Jee Main Haree, Chalo Maan Jao Na, Dekhi Sabki Yaree Mera Dil Jalao Na…Chhote Se Kasoor pe Aise Ho Khafa? Roothe Toh Huzoor The Meri Kya Khataa…. S.D.Burman’s music, Asha Bhonsle and Rafi Saab’s voices combined with out of the world expressions by Madhubala and Dev Saab –  what is called great cinema . There is a moment in the song where Dev Saab sings : “Ho lena kisike” to Madhuabala’s question “Kya Karna Hai Jeeke?” Unforgettable is the only word that I can think of. The playfulness and charm  of the singers flow into the playfulness of the protagonists. I fell in love with Dev Saab instantly when I saw him in this song and in Har Fikr ko Dhuyein Mein Udata Chala Gaya,  Khoya Khoya Chand which are my all time favourites.

A clipping

A clipping

ONE: Movie Howrah Bridge (1958): “Aaiye meherbaan baithyie jaane jaaan, shauk se lijiye jee ishq ke imtihiyaan…” . Shakti Samanta’s movie Howrah Bridge marked the turning point of Hindi cinema. Watch this song as one of the best examples of the earliest forms of Club music and of course my biases for Madhubala is self-evident. Her easy charm, effortless beauty, and extremely expressive eyes add to the beauty of the song. Asha Bhonsle’s voice combines an easy melody and feather-like delicacy in the song. Especially remarkable is K.N.Singh’s glances and expressions — lechery and desire completely overt in expressions. Ashok Kumar’s sophistication acts as the crowning glory.

Let me add that this list is completely incomplete :) . The Black and White era is so rich in Indian cinema that it would be an injustice to say that you have accomplished a countdown with a handful of songs. I have deliberately left out some of my all time favourites like Abhi Na Jao Chhod Kar;  Lag Jaa Gale Ke Phir Yeh Haseen Raat Ho Na Ho; Ajeeb Dastaan Hai Yeh; Main Zindagi Ka Saath Nibhata Chala Gaya; Kuchh Dil Ne Kaha, Kuchh Bhi Nahin; Chalo Ek Baar Phir Se Ajnabee Ban Jaye Hum Dono; Jane Woh Kaise Log The; Hum Bekhoodi Mein Tumko; Aaaja Piya tohe Pyar Doon….. Simply because time and space do not permit me to discuss all these songs on Iris.

Hope you enjoyed the selections here….Do write back with your favourites. Signing off…. Goodnight and take care! :)


Random Musings: Gulzar’s ‘Mausam’

Mujhko Bhi Tarkeeb Sikha Koi Yaar Julahe….
Aksar Tujhko Dekha Hai Ek Tana Bunte
Jab Koi Taga Toot Gaya Ya Khatam Hua
Phir Se Baandh Ke Aur Sira Koi Jodh Ke Uss Mein
Aage Bun’ne Lagte Ho….
Maine Tou Ek Baar Buna Tha Ek Hi Rishta
Lekin Uski Saari Girhain Saaf Nazar Aatee Hain Meray Yaar Julahe. ~ Gulzar, (Rough transl: Oh Weaver! Teach me a method too to weave…Often, have I observed  you weaving through one strand…until a thread broke or melted into the cloth…You then take up one of the corners of the cloth with a new thread and start weaving once more….But I, I had tried to weave only once only one relationship…but all the openings in the cloth are so clearly visible, oh friend Weaver! )

A student wrote to me ‘Ma’am there are professors and there are human beings — you will soon transcend the second one to become the first’.  I protested saying that it’s not true, a profession cannot compete with the attribute of being human. The debate was on for sometime and he said that those who teach (especially literature) use sentiments without getting sentimental.  Perhaps, he was right to a certain extent, the need for being scholarly, for being an ‘ideal’ is so strong that sometimes we lose that little gesture of human-ness that would be relevant as a yardstick to setup that ideal.  His statement took me back to my University days (confessional), when one of my Professors had pointed out to a few friends who used to hang out regularly with me and were core supporters of my brainless pranks, ‘Be careful of her. Nothing and no relationships will come in the way of her ambitions — you will fail, while she will will move on to her next destination’ . I had cried the entire night the day that comment had come, nothing was more important for me at that point of time than friends, but perhaps my teacher was right, subliminally I was trying to negotiate my own ways — alone

However, when it comes to feelings and sentiments, no one is an exception — desire to be acknowledged, desire to be loved, desire to be desired is universal and as a human being I have been no exception. We all fail only at the doorsteps of our sentiments.

These personal anecdotes refreshed the memory of a movie that has been a favourite — Gulzar sahab’s Mausam (1975). Thought will pay a small tribute to the maestro on his Birthday (18th August) with this article. It has been raining here profusely and my health, a week of hospitalization, has made me more philosophical  — watched this movie again on my laptop with the rains shimmering down the windows.

A sepia look outside the window

A sepia look outside the hospital window

I have been trying to write on Gulzar  for very long, but every time write something, I delete the post.

Mausam

Mausam

‘Mausam’  reconnects us with these sentiments, emotions, feelings, attachments that are common to all species of the Universe.   It is the story of a medical student Amarnath Gill who comes to live in Darjeeling on a vacation  before his final medical exams and falls in love with an innocent hill-girl, Champa, daughter of the Vaidya. After the vacations he returns back to Calcutta to complete his medical studies and decides to come back to marry the girl. As destiny has  it, when he finally returns it is 35 years later. His life as a highly successful surgeon and manufacturer of a unique pain-killer keeps him busy for all these years. Dr. Gill’s search for the girl begins on a casual note  and starts getting denser with every new mystery, until one day he reaches the place where she actually lived her last life as a mentally challenged person — she died eight months before his coming back to Darjeeling, waiting for him to come back till her last breath. Guilt-ridden the doctor decides to search for Champa’s only daughter Kajri, adopt her and give her the life that her mother deserved. As fate ordains, the doctor finds Kajri in a hen-cooped brothel, mouthing the choicest slang, and living the life of a drunkard, chain-smoker, prostitute. She is rescued from the mohalla and taken by Dr. Gill to the rest-house. He tries to ‘civilize’ her, make her wear sarees and live as a daughter, while not revealing to her that he is the man who is responsible for the destruction of her mother and her own life. The twist comes when Kajri falls in love with the aged doctor and when he reveals to her that he did not come back to Champa because of a shame when he was jailed for an accidental death of a patient during a surgery.  There is some sort of a compromise when in the end the doctor adopts her and takes Kajri back to Calcutta, saying: “Mere saath chalogi? Peeche mud ke dekhne keliye hum dono ke paas kuchh nahin bacha hai.”  (Will you come with me? Both of us have nothing to look back upon.)

Gulzar’s craft is such that little subtleties of life and emotions are captured with an unspeakable brilliance.  In addition, a power-packed performance by Sanjeev Kumar as the doctor and a double-role by Sharmila Tagore as Champa and Kajri, make the movie a classic in its own ways.Realism and masterly acting and craft effortlessly blend in the movie.

There are social messages in Gulzar’s stories, be it Kitab (1977) or Khushboo (1975) or Ijazaat (1987), but what is unique is that they do not sermonize.  Gulzar is a poet and his movies and scripts are poetry in motion and vision, of course with a strong undercurrent of realism. The social messages are embedded in his portrayal of human emotions which seem to be his priority especially interpersonal relationships.

An interesting aspect of the movie when you observe it closely is the casualness with which the movie begins and the seriousness with which it ends. Watching the movie, I felt that the doctor did not come back to Darjeeling with any heightened romantic aspirations of meeting the girl whom he loved through his life. He casually refers to his co-workers when they come to meet him that there was an ‘accident’ — the accident being he fell in love with a girl.  It is only when he starts tracing her and meets several characters, unique in their own ways,  keep giving him fragments of information about the girl, while reminding him,  ‘she was a nice girl, but she was waiting for some doctor to come back…but does anyone come back once they leave?’ With every new character reminding him of his guilt of deserting his love, the passion to search for her grows stronger in the doctor. As the plot unfolds, so do the loss, the pain, the wait, each strand of emotion slowly unfold. Life too reflects this subtlety — emotions sometimes flood, while at other times they wait to haunt you and return to you with a slow, deliberate pace.

Mausam is also about modernization of smaller towns of India and the slow urbanization of the medical system. Encounters between the village Vaidya (Champa’s father) and the Allopathic doctor are remarkable. These seem to be symbolic encounters between two completely different systems of thought.  There are specific names of the herbs that the Vaidya uses. Even Champa is an adept apothecary. When doctor Gill comes back to Darjeeling after a long interval, there  is no trace of the Vaidya Thapa. People of his own locality have completely forgotten him and it is the modern medicinal practices that are ruling in the small towns too. In fact, there is an interesting moment in the story when Dr. Gill has a headache and he goes to the Chemist and asks him to give him an Asprin. The Chemist offers him his own invented medicine. He responds in a tongue-in-cheek fashion to the Chemist, saying ‘no don’t give me Gill’s tablet because that has a lot of Chlorine’.

The girl Champa looses her mental stability while waiting for the doctor to come back.  She keeps telling people around her that she will make Kajri a doctor and get her married to a doctor. Through Kajri, Champa lives in a different form — while Champa is about the unsullied emotion of love, Kajri knows only the language of lust. Kajri is a commentary on the life of girls of small towns, bereft of education or a decent parental upbringing. Champa spends her life in a small weaving factory, weaving clothes, waiting for her love to come back, and fighting her mental derangement. While Kajri is forced into prostitution by the surreptitious moves of her own society and people.

Mausam is an extremely powerful commentary on not only the emotion of love or lust, but also the changing patterns of social and cultural thoughts. Such movies are rare in the history of Bollywood cinema — they make what is truly unique in Hindi cinema. When you are watching this movie, watch it curled up in your bed, with a hot cup of tea, undisturbed by the noise of the world outside, with the rains pattering at your window — perhaps then you get a feel of Gulzar’s art and his craft.

Sepia -- the window through an empty glass

One of my friends recently told me, ‘life is full of options…koi kisi keliye mara nahin jaa raha hai…’move on’ ….’ I have had a few questions — is it intellectual and emotional honesty to regard love in terms of options? When we are talking about human integrity and corruption-less society, does that come from too many options? Does emotional integrity in individuals figure anywhere in building up a superstructure of a larger society? Probably, yes…. Gulzar’s movies show a different trend — they seem to depict a deep emotional integrity, an honesty — a dogged dedication, conviction to one human being or one ideology.  Whether that human being or that ideology is correct or wrong is an altogether different question and different subject.

Do I Hate Love Storys?

Got to watch ‘I Hate Luv Storys’  finally after almost a year of the release of the movie.  A friend actually ‘informed’ me that there is Salman in a guest appearance at the end of the movie and the girl gets to marry him — so I didn’t want to miss the movie at the cost of my own life. Salman hardly gets to marry the girl in any of his movies when he is in guest appearance :( . Moreover, didn’t even check IMDB for the spoiler. Well, then wow! I did it again — watching another LOVE STORY!!!

However, this post is not going to be a ghisa-pita review of the movie, we have enough of reviewers on the block. My intention is to see its practical application (whatever that means) :P .

For so many years I have been promising myself that I will watch Spiderman, He-man, Shaktiman, thriller, action, even vampire…but not a love story!!!! However, as destiny would have it I land up ‘lyking’ love stories and vice versa. No, I mean theoretically –  don’t really know what am I supposed to explain this as. Academics has so much taken the better of me that these days I think only in terms of theory and labs :( .

Coming back to the movie, ‘I Hate Luv Storys’  like all the multiplex masala Bollywood movies of ‘our times’ has a confused hero, an equally confused heroine, and a not-so-confused fiance. As cliche has it, girls fall for the attractive and confused good-looking, non-committal hunk rather than the nice guy who would make their lives much easier. There are of course well-meaning common friends who try their best to fix-up the love story, but keep failing. Five-six songs later and an engagement later the ‘oh so confused poor hunk’ realizes that he has to win this girl, and then running through airports, two-three cabs change, a few gorgeous looking tee-shirts later, the girl and the guy are back with sehnais and with happy parents blessing the love story. Grrrrrrrr!! I hate love stories!

However, the crux of my problem today is do I “really” hate love stories? What makes love stories click in the market? There must be some ‘feel good’ factor, some sweet promises that make these stories tick.  In fact, when you come back home tired and lost, why is it that a soft romantic number makes the evenings bearable rather than the strong disco types? Why does Bollywood have to get 14 songs shot in exotic locations in order to make the big bucks? Why do characters like ‘Prem’, ‘Rahul’ and ‘Raj’ still remain (almost) every girl’s fancy? Filmy, that I have always been, ‘I Hate Luv Storys’ inspired me to investigate these questions further.

Even in Hollywood, greater is the love story greater is the bucks that it makes…. Let me recount from memory some of the classic love stories which in spite of achieving hall of fame, thousands of pages of reviews, awards, and accolades, still remain review-hungry.

I have always thought and lived with a dream to meet Humphrey Bogart, the super-cool American expatriate in the movie Casablanca (1942).  The gorgeous Ingrid Bergman and her entry into Bogart’s life in that old club, the mystery of love in the backdrop of a larger-than-life 2nd World War and Nazi concentration camps, Casablanca is a movie that would inspire the romantic of romantics. The exit scene when Rick and Ilsa walk hand in hand into the thick mist mumbling the cult dialogue: “Louis, I think this is the beginning of a beautiful friendship” — stuff that dreams are made of . The statement “one should not fall in love, but rise in love” would best suit the characters in this movie.

Who can forget the chirpy Audrey Hepburn, the pretty princess running away from the tyranny of the palaces into the life of the bohemian journalist Gregory Peck in the classy classic Roman Holiday (1953) ? The combination of charm, beauty, love, humor, and magic — the beautiful princess falling for the ‘common’ man became a model for generations of film-makers. The film has inspired girls to emulate the naughty, wide-eyed princess let loose with a dream man on the roads.

I can name ‘n’ number of movies and review them where the protagonist is no one but “LOVE” … ! Cleopatra (1963) was supposed to be a historical tale recording the life of the young, versatile Egyptian queen, who emerged as a challenge to the entire Roman empire.  In addition to the beautiful Elizabeth Taylor (Liz Taylor was known as the ‘dream of every American man’ in her times) and Richard Burton as Marc Anthony, Rex Harrison as the towering Julius Caesar, make the movie a cult among love stories, with passion and darkness as its core. Recently, while I was reading tributes pouring in for Liz Taylor on her death, the only thing I could remember was the movie, and the shock, the surprise, the intrigue on Caesar’s face when he unrolls the Egyptian rug sent to him as a present by Cleopatra, and finds Cleopatra herself bundled-up within the rug!! These are love stories that write and rewrite histories.

To name a few other such movies Vivien Leigh and Clark Gable ‘s Gone With the Wind (1939) based on the novel with the same name by Margaret Mitchell, depicting the fiery love affair between Scarlett O’ Hara and Rhett Butler, and Sound of Music (1965) would remain  classic favorites in love stories. However, I am slightly more biased towards the novel Gone with the Wind than the movie. That scene when Scarlett pleads Rhett not to leave her: “Rhett, if you go, where shall I go? What shall I do?” He famously answers, “Frankly, my dear, I don’t give a damn”, make you cringe with anger and frustration. I have always had one question at the end of this scene: “how could he do this to a woman who loved him so deeply and frustratingly?”  Sound of Music is diametrically opposite, here it is love that turns the worst moments of human history for the best. Based on the true story of the 2nd World War Austrian war family of the von Trapps, the movie is a spectacle on wide angle. Love can be so cinematic and so musical, was beyond my imagination until I saw Sound of Music. That song: “I am sixteen, going on seventeen” is a fairytale in motion.

Closer in time,  ‘Forrest Gump’ (1994) and  ‘You’ve Got Mail’ (1998) have been my personal favorites.  That moment when Forrest realizes at the flash of a second that he has been running through the coasts for years because of his unrequited love for Jenny, is so mellow and the last scene when after the death of Jenny, Forrest, and Jenny’s son, the little Forrest spend time at the bus stop before the bus comes to pick the kid away to school, give the impression of  time itself  being caged.

‘You’ve Got Mail’ shall remain a dream movie….I remember each and every dialogue, each and every scene, and in fact when I visited United States on a Valentine’s Day (my longest Valentine’s Day), the first thing on landing at JFK I did was to go and buy a mug of coffee at Starbucks, dream the ‘American dream’ and pay a tribute to ‘You’ve Got Mail’ :) . That brilliant scene towards the end of the movie when Joe Fox stops Kathleen Kelly and asks her: “Well, let me ask you something. How can you forgive this guy for standing you up and not forgive me for this tiny little thing of… of putting you out of business?” and then Kathleen starts to cry, hmmm…makes you fall in love so deeply. The other dialogue that has been a personal favourite through my adolescence, when I was struggling  to learn the computer in school, was of Kathleen Kelly: “What will NY152 say today, I wonder. I turn on my computer. I wait impatiently as it connects. I go online, and my breath catches in my chest until I hear three little words: You’ve got mail. I hear nothing. Not even a sound on the streets of New York, just the beating of my own heart. I have mail. From you.” :) Hmmm…. The problem of my life was however different, instead of a man like Joe Fox I fell for the computer and the computer screen at that point of time :P !

Each of the movies that I was recounting above deserve to have at least one article  independently. However, the thing that’s common to all these movies is love in various forms –  in some it is cute and fairy-tale like, some it’s passionate and angry,  some it’s meant to turn pages of history,  some it’s everyday affair, some it’s ego and business, and in some it’s just unsullied affection which remains non-reciprocated.

There is something deeper that I intended to prove through this post. This post is committed to search for deeper human values and bring into light those aspects of life that people are either reluctant to accept or else believe that it shows their weakness or vulnerability. Those who are fighting against corruption, lawlessness, and terrorism, need to first ask themselves how honest have we been as individuals towards our conscience and towards the fundamental aspects of life. LOVE is that fundamental aspect — need not be always physical, always emotional, always social or cultural, it might be just HUMANE. Love is that angle in cinema which brings human beings face to face with their true selves — because internally we all desire and we all live to be loved. Possibly, that’s the reason why love stories sell a lot: “Har insaan ko zindagi mein ek baar pyar zaroor karna chaheyie. Pyar insaan ko bahut accha bana deta hai” ( Pyar toh Hona hi Tha ;) ) We keep on finding solutions to our existence because as human beings our very basis is acceptance, acknowledgment, and reciprocation. Unfortunately, while we are struggling to bring the higher orders of life into stability, the fundamental aspects still remain unattended. Love is a strength and not a failure….

In this context, ‘I hate Love Storys’  is one minuscule of many such fragmentary attempts to glorify love. It’s no where to be compared with the great movies of the past century which I was just cataloguing. But, it did lead me to ask myself the million dollar questions: “why do love stories sell?” and “Do I really hate love stories?” :)

Maybe will write about some cult Bollywood love stories if my mood permits in the future….Till then,

“It is not time or opportunity that is to determine intimacy;– it is disposition alone. Seven years would be insufficient to make some people acquainted with each other, and seven days are more than enough for others.” — Jane Austen

Kora Kagaz: a Reflection on Relationships

Rishte badi mushkilon se bante dekhe, tootne keliye bus ek hi lamha…

(my transl. relationships are built with difficulty over time but can also snap within a moment)

(Nusrat Fateh Ali Khan and AR Rahman from “Gurus of Peace”)

Thanks to Moserbaer CDs at least we get to watch original movies in good print at low cost. These CDs have actually contributed substantially to the cinema world and for viewers as well because: (a) They are cheap and easily available; (b) They are not pirated and (c) Some very old black&white and Eastman color movies are available now in the market. I got to watch Kora Kagaz (1974) from one of these CDs yesterday. I had always loved the songs of Kora Kagaz, but did not get the opportunity to watch this movie before. I liked the movie very much and thought of writing an article related to that. However, the theme of this article is not completely cinema and cinematic techniques of Kora Kagaz; the theme is — relationships.

I am slightly nervous while writing this post — relationships are difficult to be written about and feel worried that my own prejudices and emotions should not come in the path of the narration. Anyway…. I begin with the movie.

Kora Kagaz is the story of a young girl (Jaya Bhaduri) from a well-to-do upper middle class family and a college literature professor (Vijay Anand) who comes from a “poor” family. By choosing to remain in the teaching profession in a city college, the professor chooses to maintain a humble lifestyle. He gets married to the girl with a reluctant acceptance of the girl’s mother (Achala Sachdev), who had dreamt of getting her daughter married to an engineer/doctor or a businessman. The actual drama begins after the wedding, when there is a constant interference from the side of the bride’s mother, unacceptable to the “honest” and “prestige-conscious” son-in-law.

Every new day there is a new problem in the couple’s life. One day there is a fridge sent by the mother, the second there is a telephone, third the mother goes and tells some relatives that her son-in-law will go to London and submit his PhD thesis, and so on. The man in turn feels that each of these tokens of “love” are nothing but “nails” hammered on the coffin of his honesty and principles. He believes that these ideas are especially contrived by the mother-in-law to show him down. The newly-wed girl is sandwiched between her mother’s love/influence and husband’s principles. Finally, they separate on a very bitter note to be reunited years later.

Like most Bollywood movies, this movie ends with an optimistic note when the protagonists meet in the railway station years later and decide to live happily ever after. Well, that is the movie but life is not a movie. The protagonists are reunited by destiny and are given a second chance by life. But, that may not happen in “real” life. Actual story may not end/start with a reunion. Reflecting on the movie, many things came into mind. Yet, what appealed to me in the movie was the way the complex threads of relationships have been handled. The Director (Anil Ganguly) has to be credited for understanding and presenting these complex problems related to marriage. Parental interference (both bride and groom’s side), societal demands and finances and importantly communication gap all these form the crux of not only this story but many other real-life stories. I shall discuss each of these four aspects with examples in this article. Personally speaking, frustrations and failures of married/love lives of my friends and relatives based on these aspects came haunting after watching the movie.

Coming to parental interference, most of the times parental interference creates a havoc in the life of a newly married couple. As per most Indian customs, after the wedding the bride is supposed to live with the groom and his family. She changes her maiden title and has to relinquish many of her bonds with the maternal home. Expectations are high on both sides and a new addition to the family creates some amount of anxiety. Often interference at this stage affects long term relationships. Especially, if there is an interference from the bride’s side, things get blown out of proportion. The girl is ‘expected’ to adjust and she might find it difficult because of a very different kind of upbringing. Sometimes the expectations might be just very high. In such situations if there is parental interference, things become very difficult. Sometimes the parents/relatives/siblings of the groom and their constant interference lead to friction in a new relationships. Expectations that the bride “has” to be “meek”, “humble”, “respectful” and “dutiful” are always there, but sometimes these reach the limit of atrocity. Meekness, humility and dutifulness does not mean that one forgets that the person is new into your family, needs time to adjust and deserves to be understood as a “human being”. Sometimes the desire for seeing the bahu as an embodiment of perfection is so high that people become unforgiving.

For an example, a friend of mine kept to sick-bed for months immediately after marriage because she was expected to assist her elder sister-in-law in the kitchen to cook for their joint family. She was finding hard to cope up and there was constant tension with her husband which got severely aggravated when the bride’s sister called up and spoke to the groom regarding the issue. The boy didn’t take it lightly and matters could not be settled until both side’s parents met and had to solve with mutual discussions. But sometimes such simple issues become a huge problem ending in breakups.

One cannot always blame the groom or his family. Sometimes the fathers, mothers, aunties, siblings of brides play no less spoil-sport. In their over-zealous protection for the daughter and in their possessiveness, they land up creating problems for the new couple who need some space to understand each other. One of my acquaintances took her sister on her honeymoon! You can guess the response she might have got from her spouse…. In another instance, the mother of the girl kept calling her frequently, telling her she should pester her husband to switch over from his current employment and should choose a job which is closer to the girl’s home. Result: there were constant bickering on both sides until they separated.

As far as societal expectations and finances are concerned, these are problematic both in marriage and love affairs and are deeply interconnected. These days one can see a trend in which if you are in love/marriage the first thing people tend to ask you is the “CTC” of your husband/boyfriend. I am not sure if males face the same questions for their spouses/girlfriends from their circle and friends. The success or failure of an affair depends on the amount/lifestyle your spouse can “buy” for you from malls and shopping complexes. In Odisha, I have seen a major trend — if the groom is a “software engineer” then only the bride’s family accept it with pride. If not hmmm…hard-luck :) . One of these days we sat joking in the mess regarding “computer engineers” taking away all the “nice” girls and all the “nice” money . Some of us conceded in tongue-in-cheek fashion that we do not want a “literature” researcher as our spouse for he can feed us only with “love” and not with “pizza” :) . Well, the scenario doesn’t seem to be new. In Kora Kagaz too there is a firm dig at this trend when the girl’s mother broods over her daughter being married only to a “literature master” who earns 600 rupees per month. While, another newly married girl’s parents boast of their son-in-law as an NRI engineer who earns huge amount in US dollars nearly 10-12000 rupees (in 1970s).

Not just finances, in the University, I remember many of my friends (males) were rejected by the girl’s family on the grounds of their not being a student of engineering/medical. A particular choice of subject is considered to be the hallmark of lasting friendships and relationships…strange! Also, vice versa many of my female friends (doing a “simple” MA/M.Sc/ M.Phil) were taken for a “joy-ride” by engineers/doctors only to be dumped by them for a choice of girls either of the same profession or from professions like MBA, CA, etc., whom they could call their “equals”. Many think that literature, economics, sociology, psychology, culture studies are meant for “freaks” and “time-pass” who have nothing to do but to perenially waste time. However, society forgets that some of these “freaks” like Tagore, Sarojini Naidu or Amartya Sen contributed to the making of the “modern” India, and some other “freaks” like Kant, Hegel, Foucault, Derrida, Spivak and Levi-Strauss have made the “world” that we see at present. In fact, an entire lecture can be given on how Foucault’s theories brought jail reform in the long run or how Derrida contributed to what today can be called the “margin-center”. But, let us keep that discussion for another post.

We have burnt many a midnight oil in the hostel trying to soothe broken hearts where one person was preferred over another either due to his/her social status or education. Especially, some of my close friends fell prey to the so-called glitz and glamor of the world and returned brokenhearted for they were “shown” that they are dunce, good-for-nothing types who have no position in the “soft world”. One of my acquaintances who was a topper in her career suffered huge pain when she was told by the family who had come to “see” her that “will she be able to adjust with their son who earns huge amount after his BCA? Can she show her ‘feet’ to the groom’s family so that they can judge whether she is “lakshmi”?” Irony! :) Congreve says “way of the world”. For example, once when we were in college I had come across this story of a girl committing suicide for not being accepted by the boy’s family even while the person impregnated her on the grounds that she did not match the status of the boy who was a senior “ranger” in the forest department. Phew!

While I was in Post Graduation one of my relatives asked what were my subjects and I replied that I was doing a PG in literature, and he replied “hmm! there are millions of PGs in literature what difference does it make to the world! If you were a scientist or engineer you could have managed…hmm” . He was right in a sense! Apart from education and finances, societal pressures manifest in other dimensions too. Pressure for “male child”, pressure to buy a house/car like peers or colleagues, pressure to maintain beauty/charm and also pressure to be more intelligent than colleagues/friends’ spouses. These are true for either gender. Societal pressures are huge and excruciating. I observe sometimes people uploading snaps of their intimate moments on social networking sites for the sake of “showing” the world that how amazing and warm their relationship is. How much that is in “good” or “bad” faith can be a subject of research for psychologists dealing with inter-personal relationships….

Communication gaps in relationships are also strongly responsible for the complexities. Everything in this world revolves around the necessity to communicate. Gestures, non-verbal communication and face-to-face discussions play a huge role in determining the “health” and “longevity” of any relationship. In real life, sometimes communication is the only thing lacking in otherwise perfect relationships. Especially, in elderly couples after their children have grown up and left them for their own destination lack of communication creates health hazards.

Finally, one can say that each relationship is unique and has its own beauty and complexity. Starting from friendship to love to marriages relationships are complex, because human beings are highly complex. Freedom to choose and not to choose can be left as a mutual issue between the people sharing a certain bond, unless the concerned parties “seek” advice. If you observe the animal world and especially monkey parents, they too leave the little-one to play, rise and fall as per its pleasure, so that it learns the rules of the game. But when it topples and hurts itself then the parents jump and give support. So also, human relationships are an intricate “game” and one should get the chance and the opportunity to learn the rules of the game and play it effectively in their own style.

Thoda hai thode ki zaroorat hai…zindagi phir bhi yahan khoobsoorat hai :)

Disclaimer: This article is not intended to hurt any gender/professional sentiments. The author merely records experiences of people.

Amarnath Talkies: Cinema for the Small Town

The Indian Premier League (IPL) and the tussle between Producers and Mulitplexes in Bollywood has taken its toll on cinema and cinema-goers. IPL has become another name for “reality show”. It is the baap of all reality game shows – these CRICKET matches. IPL has yet again proved that it has a “power” even over the other most important source of entertainment for Indians — TV Serials, Poll Tamasha and CINEMA. This is because Cricket in India is not just a game, it’s a religion. In general, both cinema and cricket make the staple of our entertainment dose, and in fact move beyond entertainment to being the life breath of people who take these as “national pride”. But, the IPL fever has been such that cinema has suffered a serious setback. For a “cinema worshiper” like myself not going to theatre because of the lack of new releases and “good” movies has become some kind of a punishment. Added to this, recession has made the going extremely tough. While, I see many of my seniors and batchmates struggling for a “decent” pay check even after toiling like hell on their thesis or MTPs in IIT, the only thing I feel like having is a heady dose of a real good masala blockbuster in a theatre.

I am becoming nostalgic and slightly angry! I will come to the nostalgia part in a short-while, but first let me recount the reasons for my anger. Let’s pan the camera towards some of the bigger movies that have released in the last few months: Chandni Chowk to China (CC2C), Dilli6, Billu Barber aka Salon Specialist (latter my addition), Aa Dekhen Zara, Firaq, Raaz — the Mystery Continues, Siddharth…. This list is recollected from memory, apologies for slippages if any. Unfortunately, I do not appreciate any of the above movies. The less said about CC2C is better…Dilli6 had the possibilities of an amazing movie with one of my favorite star cast (Waheedaji) and some of the best tracks that I have heard in the recent times (I like Masakali and Genda Phool immensely). But one has to remember that a movie should “speak for itself” rather than “speak about itself”. I went to watch Firaq in the theatres. It is a technically very well-made movie, but if you ask me about its content I would say that it is flawed. Movies which are made with a “social message” are supposedly “balanced” in their “judgement” of a particular incident. Firaq comes under that genre of cinema and so naturally one expects that it shows a certain kind of “balanced” portrayal of the sensitivities associated with both religions. But….

I am having a hunch that in the name of making “serious cinema” or “matured cinema”, our “cinema-making” capabilities are suffering badly. Added to that, media, cinema-makers and actors have made “gossip” a staple for PRing a particular movie. If you observe the current trend of Bollywood, before every release there is a new gossip to pepper the marketing of a movie but no one bothers to look into the subtleties of acting or making a “real good movie“. I suspect it is the PR-ship of a movie which is responsible for the saleability of the movie rather than the movie itself. Take the war between Khans, the over-hyped and sometimes maligned life of Salman, Katrina-Ranbir/Preity-Ness and innumerable such stories. It seems that the “cinema-lovers” attention has now diverted from actual cinema into the rumours and real life drama in the lives of celebrities. We are virtually given the life of Big Boss viewers. Not that there were no gossips or rumors in the yester-year celebrities. Starting from Nargis-Rajkapoor to Hemamalini-Dharmender or Amitabh-Rekha to the current Sanju-Manyata rumour mills have always been ablaze. These yesteryear stars were not only celebrities who gave reasons for rumours because of their public image, they were also great actors and immensely dedicated to their career.

The trend has changed now. Today the personal lives of stars are so flavored and served in such gorgeously decked-up china platters that they appear more delicious than their movies themselves. For instance, while reading articles one on Sharukh’s pay cut and the other on Rishi Kapoor’s recent interview to Rajeev Masand in a famous news channel, I felt a twinge of sadness and sympathy . The life of an actor like Shahrukh is being measured by the “cut in his pay check” and that he had to accept it in a wedding “for not dancing”! Similarly, it was actually not in a good taste to say that Katrina is “better” than Deepika just about the time when a new movie of Ranbir-Katrina Ajab Prem ki Gajab Kahani is about to hit the theatres. Is this gossip thing not going a little too far and actually destroying the potential of good actors who are now paying more attention to their lives off-screen rather than on-screen?

That brings us to the “small town cinema” aspect and to Amarnath Talkies.

I am sure that hardly any of my readers might have even heard of “Amarnath Talkies“. It is a small single-screen theatre of a capacity not more than a 150-200 people in the sleepy town of Dhenkanal somewhere in the heart of Odisha. The theatre has a balcony that is called sankha and a small arena called samudra. The balcony caters to the “well-to-do” people of the town and also to the newly married couples who get a rare once or twice in a life time privilege of getting away from their extended families in the name of “taking ‘her’ to the cinema” ;) . The cost of these balcony seats extend not beyond 20-30 rupees per head. The movies that premiered in Mumbai are released in the these small-town theatres after nearly a 7-8 months gap. In those days, we used to read reviews in Cine Blitz or Film Fare, read gossips and wait eagerly for a certain movie to release. The release of a certain block-buster movie carried a great fanfare. A peddle rickshaw decked up with huge posters of the movie and a man sitting inside with a bhonpoo (loud speakers) in hand, would be shrieking and announcing the arrival of a new movie in town: “Heyi heyi re! Asantu dekhiba Amir-Juhinka Dhamaka Ishq apanka nijara Amarnath theatre re (Let’s all go and watch the new movie Ishq starring Amir Khan and Juhi Chawla in your nearest Amarnath theatre) !” I always enjoyed listening to these announcements as they really served to heighten the anticipation for the movie :) .

Well, we hardly got to watch movies in Amarnath Talkies and the reasons were simple — the theatre was always littered with pan thook and smelt of bidi . The hoot and whistling in the hall almost drowned the voice of stars performing on screen. Generally parents were afraid of taking their “grown-up” daughters to such theatres because the comments were somewhat “below dignity”. Yet, there were unique occasions when parents could not deny taking the kids to watch movies. When movies like Saajan, Ishq, Dil toh Pagal Hai, Kuchh Kuchh Hota Hai released, their fame was such that they could be avoided at no cost. These movies came to the theatre almost a year after they were released in Mumbai and by then they had already become mega blockbusters.

My own experience with these small town theatres are highly nostalgic. For instance, an entire theatre in Angul (my parents worked there) was booked by a relative as a birthday gift for me. We all went to watch Raja Hindustani with four-five friends and their families and the relatives’ family in that theatre where we were served tea and juice. In general, on most of the occasions it used to be night-shows in Amarnath Talkies with aunts, uncles, parents and friends and that too with “dinner only at home” as the condition (not like cinema goers of Mumbai). Watching a movie was no less than a carnival. :) In another instance, we had run away from school to watch Dilwale Dulhaniya Le Jayenge in one of these theatres. We bunked school after the tiffin-hours and went to the Talcher talkies with friends to watch this movie which had become a cult of our times. But, the fear of being caught and punished kept looming large and made the experience of the movie even more enjoyable. My grandfather took me to a special screening in Amarnath Talkies of the English movie ET and its Odiya adaptation, meant specially for journalists, writers and critics. Those were the times when we could connect to the movie itself and the thought of the movie remained fresh on our minds like the taste of chocolates….

These small town theatres served another purpose. They were the major source of promoting regional cinema in their showtimes. Every Durga Puja or Kali Puja or Id , blockbuster movies released which sustained the regional film industries. But, with the arrival of VCD/DVDs and pirated movies, regional movies suffered huge losses. As a result, today you do not find movies like Amada Bata (The Untrodden Path), Danda Balunga (The Street Loafer) Adina Megha (The Unseasonal Cloud), Samuka (The Shell), etc any more in Odiya film industry. Regional films have actually suffered a huge setback in Odisha (in Maharastra to some extent too) where the audiences are more biased towards Bollywood. Not only the viewers are responsible for the debacle of regional movies, but also the producers/directors are equally responsible with their small investment, verbatim copy of Bollywood movies and very bad cinematography (Telugu and Tamil movies are exceptions to some extent). It is not correct to say that good writers, scripts, directors are lacking in these places. There are good writers, scripts and directors, but the investment is definitely poor and so is the mindset. Moreover, since most of the small-town theatres have closed down so where would the prints be sold? Many of these theatres have been converted into Kalyan Mandaps or worse still have become places where goons, loafers and underworld lives. But the thought of Maharaja theatre, Shreya-Stuti or Amarnath theatre in Odisha arouses the same kind of longing for a “good” movie as does the thought of Regal, Metro or Shreyas in Mumbai.

Somehow, as an ardent movie-fan I wish for a change we made some real cool masala hits, forgetting the “technicalities” and the “processes” of movie making. Recently, I was talking on phone with an aunt in Odisha and she was going gaga over Salman’s God Tussi Great Ho which she got to see in one of these smaller theatres. I was wondering what was so intelligent or cool about the movie? I went back and watched that movie and I am not ashamed to admit that I enjoyed it much more than Singh is King (the latter was a huge hit)….

Hmm! how I pray that this war between producers and multiplexes end soon. I have already started missing the movies…. :)

Slum Who Millionaire?: a Critique of Slum Dog Millionaire

I seriously have been resisting getting into the debate over Slumdog Millionaire (2008 ) and thought like every busy-for-nothing “type” let film critics, media and editorials battle it out. I was happy with the “Golden Globes” and “BAFTAs” pouring in for A.R .Rehman (one of my favourite music Directors). Moreover, who cares what the rear view of a mirror is as long as it clearly reflects my image on its surface! Then, I watched the movie… re-watched with some friends…then re-watched it alone, this time to understand what comes in the way of my appreciating it and the already famous awards and acclaim that have come for it. I read the reviews, the debates and counter-debates raging over the movie. Decided to forget it — but strangely couldn’t! So, had to plunge into…better than being “sleepless in Mumbai” :) .

Well, let me try to piece together my confusion…

The movie is brilliantly packaged, technically sound with a contemporary story-line and significantly “cleverly marketed” as a “rags-to-riches” and a “feel-good story of the decade”. The movie lives in its strongly strewn “moments” — of love, of anger, of orphaned existence, of communal riots, of beggary, of brother seducing a brother’s love, of betrayal, of honesty versus crime, and finally the feel-good factor of “love winning it all” and “virtuous-victorious” kind of ending, which of course makes you sit up in the theatre. “And they lived happily ever after…” thus ends the movie on an optimistic note. But, considering the deaths of Salim (the brother of Jamal Malik) and the Don, if we know the underworld well, then Jamal and Latika will hardly be left in peace, they were after-all the reasons for these deaths and also they have 2 crores in hand. If the cops can be after Jamal, so can be the underworld. However, we are not supposed to question while watching a movie–suspension of disbelief. We all love “happy endings”. But, then why did some of us not smile as we came out of the theatre? Two reasons: (a) We have seen something of this movie in many other Bollywood movies, maybe better versions; (b) The cultural part: I mean the “dog” part…

The first point is the crux of my blog: (a) We have seen something of this movie in many other Bollywood movies, maybe better versions. Let me take you back to a series of movies of late 1980s and 1990s, which had similar subject lines: of course not a “Kaun Banega Crorepati?” kind of story, but stories which you identify as “Mumbaichi Katha” with love stories set in the backdrop of “problems”. They were vibrant, pulsating and often “true” pictures of Mumbai, may not be clinically and technically as evolved as Slum Dog , but had in my opinion superior content narrated in a casual matter-of-fact style. Movies that immediately come to mind are: Salim Langde Pe Mat Ro (1989), Parinda (1989), Baaghi (1990), Sadak(1991), Bombay (1995), Satya (1998 ). No I don’t mean to compare and critique Slum Dog in the lines of these stories, my comparison rests on the fact that they belong to the same genre and to the fact that Slum Dog wins a “Golden Globe”, while some of these movies are not even known in the home audience. When you watch Salim Langde pe Mat Ro… you tend to realize how far the tentacles of the underworld seeped into the chawls of Mumbai. There is no glossing over, no overboard styles and no Mr. Bachhan prototypes in the movie. Of course one of the best examples of parallel cinema that I have ever viewed. The plot is set in the chawls of Mumbai, even the restaurants that Neelima Azim and Pavan Malhotra (in title role) frequent can be imagined as any second restaurant near railway stations like Kanjurmarg or Ghatkopar. The Hindu-Muslim equations which Slum Dog tried to portray for our western and diaspora viewers in 2008, has actually already seen its consummation in Salim Langde pe back in 1989.

When you watch Parinda, the aspect that hits right on your face is the innocent love story of Karan (ironically played by Anil Kapoor) and Paro (Madhuri Dixit) and the way they were killed by the underworld Don Anna (Nana Patekar) on their wedding bed. As far as my understanding, Parinda defines the grammar of movies in this genre. Amazing cinematography (watch the pigeons flocking and un-flocking along with gun shots near Gateway of India in the movie) and extremely touching love-hate relationship between the brothers Anil Kapoor and Jackie Shroff.

Baaghi and Sadak make you fall in love with the young, angry Salman Khan and Sanjay Dutt as they battle it out for girls stuck in the red-light area of Mumbai. Sadak especially brings out amazingly well the horror of attempting to tinker with the “business” of these people. Sadashiv Amrapurkar roaring and maneuvering against Sanjay Dutt as Maharani makes you literally shiver. The “murk” of the profession is menacingly narrated with a “shrug-off” kind of narration.

Bombay of Mani Ratnam and Satya of Ram Gopal Verma are cult movies. The first, set in the backdrop of Hindu-Muslim riots of 1991 featured Arvind Swami and Manisha Koirala — a Hindu-Muslim couple strangled in the riots, are looking for their lost twin kids Kabir Narayan and Kamal Basheer in the gullies of riot-ridden Mumbai. The pain of parents who have lost their kids, the pain of two frightened siblings torn-apart by violence and the dangerous communally instigating speeches of the Hindu and Muslim leaders, Bombay is truly a Golden Globe material. I love the A.R.Rahman of “humma-humma” or “Tu Hi Re…” unabashedly more than the A.R.Rahman of “Jai Ho!” The second, Satya of RGV, marked some of the all time highs of Bollywood art.The “cool-suave” Chakravarthy playing the title role gave a new-look to new-generation underworld-operating Mumbai. Urmila Matondkar in the role of “Vidya” makes you fall in love with “innocent love” all over again.

Watch these movies if you have already forgotten them! Mr. Boyle — India has seen it all! But thanks for showing it to the “West”. Slum Dog is a cock-tail of some of these movies, combined with the cultural dimension. That brings us to the second point: (b) The cultural part: I mean the “dog” part…. Unless we learn to love ourselves for whatever we are and whatever we have, we will be kept calling “dogs” . Mr. Sekhar Kapur says in his blog that even Bandit Queen was funded by the West and so was Elizabeth, what’s wrong if Boyle makes a movie on India? Of course, nothing wrong. Except for the “Millionaire” part. Danny Boyle has chosen to make a movie on the slums of Mumbai — he has lived, shot the movie in slums and even appointed slum children as his protagonists. That’s philanthropic! But that is also forms of capitalism and neo-colonialism. Mr. Kapur doesn’t visualize the future where instead of him being a film entrepreneur, he might end up being “employed” by the huge number of Hollywood production houses investing in Indian cinema. I don’t want to see small-time Indian production houses being engulfed by the large MNCs of Hollywood. We will then have cinema made only for people living in the West. The “dog” isn’t actually slums of Mumbai. In fact, “slum dog” can be seen as a metaphor for Indian cinema, for Bollywood especially, and for India which is visualized by the “West” as a gigantic mind-boggling slum. Considering the huge success of Bollywood worldwide, “slum-dog” seems to pun on the fact that Bollywood (the slum of Hollywood) is making it big in the world film circles. However, what seems unfortunate is not the West seeing India as a “slum” but Indians perceiving themselves “through the lens of Slum Dog Millionaire” . Yes! we have slums, we have underworld, we have poverty we have communal tension! Face it! But which country in the world doesn’t have it! Racism in US or England is a different form of communalism. Look at Southern United States, the situation is extremely difficult there. There is poverty in US too — and the poverty there is worse because of its psychological dimensions. In India people who live in chawls, many of them wouldn’t want to leave those chawls for their entire lives. Some of them choose to live there. For example, look at Tehelka’s recent report on Chawls in their website.

If you intend to watch Slumdog Millionaire, watch it for its clever concoction of “Indian” stories and for its cinematography. I have high regards for Mr.Boyle, because he could actually “sell” a Bollywood masala to the West, and showed that India also has its unique story-telling capacity. But my point was that Indian cinema is also capable enough to sustain on its own. The yardstick for Oscars, Golden Globe and such awards should not define our cinema-making capabilities. The movies that I cited above in my article are some examples drawn from both parallel cinema and main-stream commercial cinema. We are capable of matured movie making even without international acclaim.

Maybe that’s what they call — “art for art’s sake” …