Tuesday, 5 February 2019

Street Fighter

Q1. Do you think Mamata Banerjee's latest dharna act is suicidal?
Q2. Who do you think poses the biggest threat to #Modi in the upcoming #LS2019 elections?

If you think that the answer to the first question is "Yes" and the answer to the second question is "raga", well, then you don't know Mamata Banerjee very well.

In his 1991 blockbuster HUM, Amitabh Bachchan tells Rajinikanth: "You have learned about crime from the books of law. I have learned about crime, and how to fight it, from having lived my entire life among criminals." In many ways, this applies to Mamata. She is a street fighter of the highest order, one who, despite appearances to the contrary, uses her brain as much as she uses brawn. By declaring open war against Modi and the "Modi-led" CBI, she has effectively positioned herself as the mahagathbandhan's main PM candidate. If her "crusade against Modi" affects the election results in the MGB's favour, then Mamata, and not raga, Kejriwal, Akhilesh, Mayawati, or anyone else, will lay the biggest claim to the PM's seat. Every single person knows that raga thinks through his rectum; he is a laughing stock of the biggest order and his "EVM EVM Rafale Rafale" cries have no substance. Hell, the moment he opened his mouth in the Parliament about having "Rafale tapes", Jaitley shut him up. Not one single member of the opposition, including raga, has so far been brave enough to declare open war against Modi, thanks to his immaculate statesman image. Mamata is the only one to have done so. It's a brilliant tactical move, which is actually going to hurt raga more than Modi. Even if the MGB loses this time, as they are sure to, post-election it will reunite not under raga, but under Mamata. Once the polls are over, irrespective of the results, she is going to emerge as the opposition's foremost leader.

Also remember one other thing. Even today, despite everything, Mamata enjoys an incredibly enormous fan base in WB, and not just among rural or muslim voters, but among the urban educated Hindu voters too. She defeated the seemingly invincible CPM on their own turf and on their terms barely 8 years ago, and the people of the state have still not forgotten that. It wasn't an overnight thing: she planned it carefully over a period of 12 years, beginning in 1999. So strong was her image even back then that that mighty thug, Jyoti Basu, literally ran away from the CM's post in 2000, leaving an inexperienced and vulnerable Buddhadeb Bhattacharya to face the Mamata juggernaut in the 2001 elections. Mamata would most likely have made CM in 2001 itself, but that sudden decision to quit the ABV ministry didn't go down well with the state's voters. However, it gave her one full decade to plan CPM's demise better.

Another thing is that Mamata enjoys immense support among members of the opposition, which is why soga has always seen her and few others - nobody else, in fact - as the biggest threat to raga's chances of making PM. This support extends to the interiors of the CONg camp as well; remember her statement: "Even though I have left the Congress party, I can lay down my life for Rajivji even today"?

A third factor of Mamata's wile is that she hardly ever goes to Delhi, but spends almost all her time in Bengal. This puts her in greater touch with her voters than any other leader of the opposition. Even w/o the utter lawlessness that her cadres are going to unleash upon voters in May, Mamata is likely to remain least unaffected (among all the major opposition leaders) by the Modi wave.

So, no, I for one definitely do not think Mamata's anarchist acts are random, idiotic and suicidal. On the contrary, they are much better planned, targeted and orchestrated than anyone else in that camp can execute. I see her as Modi's biggest rival and threat in the entire country today, someone who knows when to strike, where to strike, and how to strike.

And that, for me, is a matter of grave concern.

P.S.: I don't think priyanka gandhi-vadra is going to have any effect on voters at all. In fact, I'm willing to bet that this time, Amethi will go to Smriti Irani.

Thursday, 16 August 2018

Legend. Goddess. Superstar.

Note: This post is from the perspective of a true-blue fanboy. Do not come looking for any kind of objectivity in this one.


[Image courtesy: Google Images]

260+ films in a career spanning 51 years. An awards list longer than her own cascading-waterfall, raven-black locks. Regularand effortlesseclipsing of her super-illustrious male co-stars like Kamal Haasan, Rajinikanth, Mithun Chakraborty, Rajesh Khanna, NTR and Amitabh Bachchan. Being recognized by colleagues, critics and audiences alike as “the only female superstar of Indian Cinema” and “the best Indian actress of all time”.
All this together serves to describe but a little part of the phenomenon, the one-woman army that Sridevi was. For she was much, much greater than the sum of her parts.
The oval-faced, olive-eyed beauty who drove men to heights of such romantic frenzy that they would forget their marital status and pursue her (she ultimately married two of them over the span of a decade in her life, with the first ending disastrously). Actress par excellence, who incited such insecurity among her co-starsheroes and heroines alikethat they would actually avoid being cast in a movie with her, for she left nothing for others to do once the camera was switched on. Refusing to accept inconsequential, glamour-only roles, even if they came with blank cheques and/or were opposite the mighty Bachchan. And driving millions of her fans, nay, devotees, to throes of ecstasy with her monolith-melting performances over and over again, with her unique blend of talent of a god-level prodigy, innocence of a child, face of an angel, and body of a supreme seductress.
Au revoir, goddess. There shall be, there is, not one other like you. Not one other shall command our unswerving, unwavering devotion like you did. And do.

And shall keep doing. Forever and ever.


[Image courtesy: Google Images]

Friday, 1 December 2017

Oh Deepika, Why Couldn't You Talk About Your Acting?

I recently came across a bunch of old (late-2011/early-2012) magazines on Hindi Cinema and was leafing through them when I chanced upon an interview of Deepika Padukone that coincided with the release of Desi Boyz, her moderately well-received late-2011 release. The interviewer's last question to her was: "Who do you think has a better body than you in bollywood?" To which she replied - and the interviewer comments praisingly on the confidence in her voice as she answers this question - "None."



I wish the interviewer had asked her, and others of her ilk, questions on her acting prowess instead of her physical charms alone. I point this out for the simple reason that I do not recall ANY questions in that direction, i.e. Acting, anywhere in the interview, whatever little I remember of it.



And I wish that the actress herself had made an effort to veer the interview towards a discussion of her acting chops. Needless to say that like the interviewer, she made no such efforts either.



A telling comment of what sells in present-day bollywood. Sad.

Why, oh why couldn't you have focused on and talked about your acting, Deepika?


How raga Proved His Family's Non-Hindu Lineage

Over the last 5-6 years, the lineage of the nehru-gandhi family has been a matter of hot debate, esp. on social media. It has been debated ad nauseam how giyasuddin gazi became gangadhar nehru, how indira gandhi became maimuna begum prior to her marriage to phiroze jehangir khan, he of the muslim father-Parsi mother lineage (his mother's surname was ghandy), and how the union was blessed by no less than India's answer to Lord Voldemort, who turned fjk into feroze gandhi overnight, how indira (in)famously claimed to be the descendant of babur at the latter's grave (as mentioned by her Foreign Minister Natwar Singh on numerous occasions later), how nehru himself once claimed "By education I am an Englishman, by views an internationalist, by culture a Muslim, and I am a Hindu only by accident of birth", and so on. Of course, there have been numerous counter-arguments to this as well.

But be that as it may, this latest act by rahul gandhi, it can be said with some confidence, rather firmly puts the stamp of endorsement on the tainted family's non-Hindu lineage.

The Somnath Temple has two guestbooks, one for Hindu devotees arriving at the temple and the other for non-Hindu visitors. By signing the latter guestbook, the scion of India's answer to the Cosa Nostra has effectively admitted that even without his Roman Catholic mother's religious roots, his family is not, and has never been, a Hindu family. Unsurprisingly, it also provides a strong pointer towards the reasons of the family's longstanding and continued hatred for the HIndus of India.

https://in.news.yahoo.com/rahul-gandhi-name-shows-somnath-114842772.html 

Tuesday, 26 September 2017

Triple Talaaq, Secret Superstar, And Some Random Thoughts on Women's Emancipation

Is the urban Muslim society in India heading for a change in sync with times vis-à-vis the role of its women in society and the arts?

The answer to that, hopefully, is 'Yes'.

The prime basis of this assumption is, of course, the overwhelming support Muslim women all over India have given to the central government's recent move to abolish the triple talaaq system, with a special five-judge panel of the Supreme Court of India endorsing the move and recommending that the government ban the unconstitutional practice by enacting a law. And in the midst of this sensational move to grant Muslim women their much-deserved emancipation from an age-old social evil comes another indication that India's urban Muslims may be opening up to the march of time: Secret Superstar, the movie.

With actor-filmmaker Aamir Khan throwing his weight behind the film as its producer and star, debutant director Advait Chandan's Secret Superstar is the story of brave and ambitious Insiya, a young Muslim girl played by 17-year-old Zaira Wasim of Dangal fame - who aspires for musical stardom.

The urban Muslim society has often had to field accusations of not moving with the times, especially in providing opportunities to its women, though the last four decades or so have seen a marked improvement. The enforced cloistering of Muslim women in occupation and the arts is hopefully entering its final lap, and Secret Superstar, a league different from the orthodox Muslim socials popular in the late-60s and early-70s Mere Mehboob and Mehboob Ki Mehndi come to mind - may serve as a clarion call heralding its end.

Wednesday, 9 August 2017

Kishore-Lata Romantic Duets: Random Ruminations Of A Hospitalized Pancham Lover

During my recent two-day stint at the hospital, during which I had to undergo a long-pending surgery due to an internal haemorrhaging issue in the lower abdominal region, I had the opportunity to re-visit some of my all-time favourite Kishore Kumar-Lata Mangeshkar duets composed by—who else?—RD Burman. I shared these songs on a Facebook forum dedicated to Pancham, but then, I thought, why not compile the separate entries in one place?

So here it is, my thoughts on some of the finest RDB-KK-Lata collaborations (in no particular order), dedicated to the Nightingale of India, the best Music Director India has ever produced, and the greatest (male) singer of India in his birth month. Enjoy!


[Picture Courtesy: Google Images, edited]



  • Jagir (1984): “Chor tera naam hai”
[Tin Murti (1982): “Churi chhara kaj nei”]
One of the more fun, peppy romantic duets of KK & Lata.
Shakti Samanta in the 70s and the 80s specialized in making Bangla-Hindi bilinguals, like Amanush-Amanush, Ananda Ashram-Anand Ashram, Anyay Abichar-Aar Paar, Andha Bichar-Dushman, ANUSANDHAN-BARSAAT KI EK RAAT, etc. Samanta used to shoot every single scene in these films of his twice, once in Bangla and once in Hindi. Pramod Chakravorty joined the bilingual bandwagon with the superhit entertainer Teen Murti-Jagir in 82/84, but the difference was, Chakravorty only shot the scenes twice; the songs were shot only once, in Hindi, and used in the Bangla version as-is, with the songs dubbed over. This is why the lip-sync is off in the Bangla version. Watch the Bangla version of this song after the Hindi version and you'll know what I mean.
Nevertheless, that does not take anything away from this playful, naughty number. Both KK and Lata were well into their 50s when this song was done, yet they sound as youthful as the lead pair looks. Mithun is at his charming best, and although Shoma Anand could never really make it big as a heroine, she looks incredibly pretty in this song (and a bit like one of my paternal cousins). One other unique thing about this song is: despite being a romantic number, this one is as foot-tapping and dance-worthy as can be.


  • Aandhi (1975): “Tum aa gaye ho”
If “Tere bina zindagi se koi” is a musing on a life of lost opportunities and “Iss mod se jaate hain” talks about the opportunities that stare one in the face at the beginning of youth and love, then “Tum aa gaye ho” is the quintessential ‘while in love’ ditty that completes the cycle by putting in the place the 2nd of the three phases of love.
Suchitra Sen was an unusual choice; she came into the film when the original choice, Vyjayanthimala, declined as she was too much in awe of a certain Mrs. Gandhi, and surrendered completely to Gulzar's vision w/o demanding the slightest change anywhere in the script, unlike an earlier occasion when she demanded several changes in the script and Gulzar was compelled to say no to her. In this song, her heavy-duty makeup and her age show through—she was in her mid-40s when she did Aandhi—but the song itself, and the acting of the seasoned lead pair, one a fan favourite and the other a director's joy, more than make up for it.


  • Nehle Pe Dehlaa (1976): “Saawan ka maheena aa gaya”
For me, the USP of this song, apart from the music, of course, is not KK, neither Lata, neither a very handsome-looking Sunil Dutt, but the stunningly gorgeous, the absolutely divine Saira Banu. I'd marry her. Any day.
Feast your eyes, ladies and gentlemen, on this heavenly queen of oomph!


  • Bade Dil Wala (1983): “Tujhme kya hai deewane”
The third of the delightful KK-Lata duets from Bade Dil Wala, and this one is a classic romantic number. “Kaho kaise rasta bhool pade” is playfully romantic in tone, but is not picturised on the romantic leads; “Kahin na jaa” is more about lending emotional support to the partner in times of crisis. But this one hits the sweet spot of the bat much like “Saagar kinare” from Saagar, “Kasme Vaade nibhayenge hum”, and “Deewana karke chhodoge” from Mere Jeevan Saathi.
The one thing about this song that strikes me is how much, orchestration-wise, this resembles the Lata solo “Aisa samaa na hota” from Zameen Aasmaan, which came a year or so after BDW. It is possible that both songs were composed more or less together; BDW came later, maybe as a result of Chintu’s well-known tardiness (but this is conjecture on my part). However, it is entirely probably that whichever song was recorded first occupied RD’s mindscape significantly enough to influence the one that was recorded second. “Tujhme kya hai” has more of Lata than of KK, and RD gives her the same high notes in this one as in “Aisa samaa”. And like “Saagar kinare”, all the BDW songs have a very, very contemporary feel.
And yes, “Tujhme kya hai” also has a lot of similarities with “Jaane kaise kab kahan” from SHAKTI. It's like “Jaane kaise” is the eldest sibling, “Tujh mein kya hai” is the middle sibling, and “Aisa samaa” is the youngest sibling.


  • Bade Dil Wala (1983): “Kaho kaise rasta bhool pade”
A return to gypsy camp after a long time since “Mehbooba Mehbooba” from SHOLAY and “Dilbar dil se pyaare” from Caravan. In the meanwhile, we have been subjected to the terrible “Kamaal hai kamaal hai” by Laxmi-Pyare in Karz, an otherwise fine album. And once again, like “Dilbar dil se pyaare”, it is Lata and not Asha doing the honours.
Musically, BDW is the best album among Bhappi Sonie's entire body of work, much better than anything he did with Shankar-Jaikishen or anyone else. BDW, Saagar, and Sitamgar are like Mere Jeevan Saathi of the 80s: flawless albums, less than desirable box office performances of the films.
For a long time, songs were seen as a tool, a means of releasing the tension that has been building up in the on-screen narrative (“Khaike paan Banaras-wala” from DON is the best example). This one is another fine example of a song being used to ease up on the tension: the hero, accused of a murder he didn't commit (very Vijay Anand-ish), is fleeing and comes upon a gypsy camp, where he and the gypsy girl hit it off and they break into a song. Not a strictly romantic song, but can easily be construed as one, given the chemistry of the singing-dancing pair and the lyrics. Close your eyes and you'll feel that this is a repartee between a romantic couple.


  • Alag Alag (1985): “Kuchh humko tumse”
The music in Kaka's penultimate home production was criticized by some for being “Laxmikant-Pyarelal-ish” for the use of dholak beats. The film, or its box-office performance, takes nothing away from this childhood favourite album of mine. What a delightful song!


  • SHAKTI (1982): “Jaane kaise kab kahan”
Another top-notch KK-Lata number, but one with a twist: all the romantic frolicking turns into a sensuously-charged coming together of body and soul. Note how the tone of the song changes—to one of long-anticipated physical union as the song moves to the 3rd antara.
This is also one of AB’s most romantic numbers, along with “Kasme Vaade nibhayenge hum” and MUQADDAR KA SIKANDAR’s “O saathi rey” by Kalyanji-Anandji.


  • KASME VAADE (1978): “Kasme vaade nibhayenge hum”
Along with “Saagar kinare”, this one is THE definitive KK-Lata duet. Do I really need to elaborate on this?
https://www.youtube.com/watch?v=W68p7_MYPF8

  • Aanchal (1980): "Bas meri jaan bas"
More sensuous than romantic, with Rekha oozing oomph from every pore. Wonder what a certain Mr. Tall Man had to say to this!
https://www.youtube.com/watch?v=iS84MRB7rUw

Monday, 31 July 2017

On "Aati rahengi baharein": Late-night Panchamania (And Bachchan-mania Too!)


Surprisingly, there are very few songs/sequences depicting things like birthdays, college life, etc. in AB movies. In all likelihood, the larger-than-life image that was created for him by writers and directors, as well as his aura, was responsible for that. Two rare birthday songs picturised on him and with him as the birthday boy are "Inteha ho gayee" from SHARAABI and this one from KASME VAADE.

https://www.youtube.com/watch?v=CD2KC79uaes

Unlike the SHARAABI song, "Aati rahengi baharein" is comparatively a lot more low-key and straightforward, shorn of the high-decibel jing-bang orchestration that one gets to hear in 'urban mehfil' songs. There's hardly any hoo-haa either in the picturisation or in the composition. It starts off on a low note, to the mouth organ strains of "Happy birthday to you", and ends on a low-ish note as well, and this goes perfectly in sync with the fact that the birthday is that of a college professor. Just about the only high note is the brief mouth organ piece in the middle (when Randhir Kapoor starts grooving immediately before his antara), and that's in line with the character of the person doing it as well - a college-going, carefree, happy-go-lucky yuppie. This, then, is a song that ties up not only with the situation, but with the characters as well: a triumph of low-key composition meant for indoor use.

N.B.: there is one other indoor song in the film, the mujra number "Pyar ke rang se". Again, fits in with the mood, but does not do much in setting up the characters or advancing the story, unlike "Aati rahengi baharein", which gives the viewer a very good idea about the kind of relationship the three principle characters share.