Lost Heritage | Editor's Pen

Hi Friends

 

Thanks for the kind notes for our Anniversary and Ashvin’s interview. It was a great piece indeed. His struggle has and will motivate many. Lately, we came to know that Doordarshan will look into this matter and try to support Indie as much as possible. Move much appreciated.

 

Apart from our ongoing series on 10 special movies made in 100 Years of Indian Cinema, we are presenting another series - Learning A Masterpiece – where we discuss a movie in a 5-part series. Criteria for such movies would be the quality of work, not the box office collection. We will try to bring our lost heritage to fore. Movie for first season of Learning A Masterpiece will be Shyam Benegal’s Suraj Ka Satvan Ghoda and we will take our first step with an interview with celebrated theatre artist and lead actor in the movie - Rajit Kapur. I hope the interview and the series would inspire us.

 

Between these two editions, we lost revered critic Roger Ebert. RIP.

 

Regards

Sujoy

 

 

Rajit Kapur On Suraj Ka Satvan Ghoda | Learning A Masterpiece | Golden Podium

Recently, we got a golden chance to talk to Rajit Kapur known for his subtle portrayal of Gandhi in Shyam Benegal’s Making Of Mahatma. We talked about his debut film – Suraj Ka Satvan Ghoda – and that marks the beginning of our series on this masterpiece.

 

1. Rajit, what was your preparation for playing Manek Mulla in Suraj Ka Satvan Ghoda? What was your approach?

RK: As it is based on a novel, I read the novel / book first. Based on that I created Manek Mulla's image in my head. The mind of Manek Mulla, his thinking, his ability to weave yarns and stories using things and people around him, was important for me to imbibe. I presented and performed what came instinctively to me under the guidance of Mr. Benegal - to think like a young man who has no work to do but loved telling stories to keep himself and others entertained.

 

2. The movie has seven main characters - Maheshar, Ramdhan, Tanna, Jamuna, Lily, Sati and Manek. By the end of the story, the weakest character - Manek - emerges as the seventh horse. How do you see his evolution and what, according to you was the incident that influenced him the most?

RK: There is no real evolution. Manek Mulla walked away into oblivion. Basically everything around him influenced him. But when reality meets his imagination, he is jolted (When he comes face to face with Sati, while having tea with his friends, towards the end).

 

3. From Manek’s point of view, his relationship with three women was turbulent, largely due to Manek’s own nature. Which was the most uncomfortable and why? Also, which was the most difficult one to portray?

RK: The one with Sati, because in that relationship he is neither a kid (as with Jamuna) nor an adult (as with Lily). He is feeling his way through adolescence.

 

4. How do you see Suraj Ka Satvan Ghoda after all these years?

RK: It seems unbelievable how we managed to make this film. I cannot believe that it is ME up there on the screen. I think it is one of Shyam Benegal's best work to date (maybe after Bhumika or Manthan). It will go down in history as a classic. And I am honored and very proud to have been a part of it.

 

5. If today, someone revisits Suraj Ka Satvan Ghoda, what will be your advice?

RK: Please see it on the big screen or magnified screen. The exquisite camera work and framing for the scenes (using colored filters / lenses) particularly stands out when you watch the film on a larger magnified screen (other than the usual TV screen).

 

Team TRM is proud to present this interview. Suraj Ka Satvan Ghoda is more than just a film. It is a manual for budding filmmakers and aspiring actors.

Shakespeare Wallah | The Critique

I don’t remember any other movie where story was largely based on a family/set of people and they acted in it. Do you remember any movie? Shakespeare Wallah, loosely based on Kendal family, is one such example. Bollywood knows this family by virtue of their strong bond with the Kapoors. Jennifer – wife of Shashi Kapoor – was a Shakespeare Wallah. A Merchant Ivory movie, directed by James Ivory, is sort of a folklore in India Crossover Cinema.

 

Movie is about a family of English actors – Buckinghams - who stage plays in India. Story showcases an evolving India where a nomadic family tries to accommodate themselves. Story has an pivotal plot of family’s daughter falling in love with an Indian, played by Shashi Kapoor, who is in a romantic relationship with a Bollywood actress. Largely autobiographical, film achieves a lot in terms of storytelling and performances. Movie highlights the downfall of theatre culture in India and rise of Bollywood.

 

Shakespeare Wallah will be remembered for many things. Satyajit Ray’s music will be one of them. Infact, a large part of the crew was Ray’s and that includes a familiar name – Subrata Mitra. Story is brilliantly carved by Ruth Prawer Jhabvala. Her being close to Kendal and Kapoor added the realism such movies demand. Like typical Ivory movies, movie is subtle statement of filmmaking.

 

Sometimes I feel, we have ignored Merchant Ivory movies a lot. Many of them are more Indian than what we make here.

 

Written By: Sujoy Ghosh  

McMurphy In One Flew Over The Cuckoo’s Nest | Actor's Eye | Under Lens

Did you ever try treating fellow patients while being in a hospital as a patient yourself? Sounds funny, isn't it?

 

But that's what our character McMurphy, from the brilliant Hollywood movie  "One Flew Over The Cuckoo's Nest", fortunately or unfortunately, knowingly or unknowingly, does in the movie. The movie, telling a tale of frustration, sickness, feelings, leadership, liberation, love and loss, is a classic masterpiece in its own right.

 

Jack Nicholson playing the role of McMurphy, an unworthy criminal sent for evaluation to a mental institute, has provided the camera what it demands from the character. There are these moments where he is just making fun of the institution and the authorities; at times he is a bully and at times he is quite sensitive to the fellow inmates. He plays with them, he fights with them, he does make fun of them but then also teaches them to live life in the outside world, to stand against the odds and fight for their rights. He loves them and also teaches them how to love. McMurphy shows the poor souls, who have lost all hope from life, how to believe in themselves and enjoy the life to its fullest. Not even for a moment, while portraying all this, did Jack let Nicholson overshadow McMurphy.

 

The journey of the inmates from being a bunch of dull, sad, depressed and oppressed mental patients to happy, cheerful, full of life, though some still being oppressed is what marks the journey of McMurphy and the movie as well. How McMurphy teaches them to live life king size, what all he suffers for that and the cost everyone has to pay at different points of time, are just some of the things that make watching this movie quite an experience.

 

Written By: Gaurav Karmakar

Do Bigha Zamin | 100 Years Of Indian Cinema | Under Lens

Bimal Roy was known for his realistic cinema with heavy dose of rich literature. Over the years, he inspired filmmakers across the globe. Do Bigha Zamin is considered to be one of his best work. While cynics blame Roy for glamorizing poverty, critics believe that Do Bigha Zamin was perhaps the most iconic offshoot of neo-realist cinema and emblem of Indian Parallel Cinema. Known for its socialist theme, this film etches real India on reel.

 

Do Bigha Zamin is story of Shambhu and his family. He is a classic example of collateral damage of Industrial revolution in this country. His land is mortgaged and the Zamindar forges the documents to increase the amount of debt. To pay the debt and gain his own land, Shambhu and his son goes to Calcutta. Shambhu works as a hand-rickshaw puller and tries to earn money. His hardships and ordeals are brilliantly portrayed by arguably the finest actor of this country – Balraj Sahni.

 

Do Bigha Zamin is a strong statement against the people who try to exploit the poor and downtrodden. It supports the socialism movement. In ‘50s when the nation was going through a phase of development, this movie was a reminder that government should take care of the people who cannot stand for themselves. They should not pay the price of nation development.

 

Trivia: Balraj Sahni, to prepare for his role, rehearsed by pulling hand-rickshaw on the streets of Calcutta. He got the mannerisms right by studying some real rickshaw pullers.    

Four Years Of Movies | Editor's Pen

Hi Friends,

 

We started four years ago when Ali and I were studying in college. What a journey it has been. We have reviewed award winning movies interviewed amateurs and professionals, had special edition and series, huge surveys, film awards and even satire. Pretty good for bunch of people who work even on weekends. Our learning has gone from objective approach to subjective. As a writer, I feel that this growth reflects maturity and sensibility. It has shown some good results on web. We have seen our blogs having good presence in some genres on web. Frankly, it feels good.

 

However, this is a gentle reminder. We are still nowhere close to what we have aimed. There are reasons but no excuses. We need to work hard and prove a point. Our snail pace needs to get on some gear and accelerate. Owing to work pressure of our professional lives, it’s difficult. Let’s be slow and steady… but consistent. Pray for us.

 

I would like to thank our friends, readers, contributors and most importantly our core team members – Neha, Gyan and Rishabh. They have been instrumental in growth of this blog. On that note, I would like to introduce another friend of ours into the core team – Gaurav Karmakar. People who follow TRM, must have a good idea about Gaurav. He is an aspiring actor in body of a Software-wala. I have been fortunate enough to work with him in many short films. Welcome home dude.

 

This edition is a small one in terms of posts but with interview of Ashvin Kumar, I feel that its one of our most defining edition. This interview is not only about short films, this also about independent cinema, censorship and how we want to see our nation. Will it be a conservative - borderline - backward entity or not...

 

Thanks

Sujoy

Ashvin Kumar | Bare Thoughts | Golden Podium

While we feel great about Slumdog Millionaire and Life Of Pi doing good at Academy Awards, we forget about a brilliant little short getting a nomination. Little Terrorist got nomination in Best Live Action Short Film in year 2005. TRM got a chance to chat with the director – Ashvin Kumar – who unfortunately is more known for controversies than his admirable films.

 

Q: Ashvin, you are a film school dropout. What prompted you take that decision? Did you regret it at any point?

AK: Not at all. I attended two semesters before that I was working for 4 years in a post-production house. The two semesters were enough I thought to help me make the transition from being a business-man to film-maker. I saved two years of course fees and that was the finance for Road To Ladakh, my first film.

 

Q: Little Terrorist got accolades across the globe. It inspired many short film enthusiasts in this country including me. How do you see the current scenario in this segment?

AK: I am very happy to be the catalyst of this movement. It is a huge pity that no other Indian short film has been nominated since then even though there are thousands of short film makers in the country. The Government must take up the onus of celebrating these film makers and encouraging their efforts. The mainstream industry is a business can can't be expected to do so. Films add to the culture of a country and are valuable as an artistic medium. The government can do a lot, they have the institutions to do so as well.

 

Governments of all European countries, Canada, Australia etc. recognize the soft-power of cinema. It is treated at par with all other artistic and cultural activities. Our own government has the NFDC, Films Division, Doordarshan, the IFFI festival in Goa and so many other regional film festivals supported by the government, excellent institutions with the mandate to place us right on top of the global film making pile. Between them they own cinema theatres in all cities of the country, in which our films can be released and earn box-office revenues. I want the government to recognize cinema as a cultural activity the same way dance, theatre, visual arts, handlooms, crafts and folk arts are recognized and supported. It is a tragedy that to see regional films from my own country I have to travel to international festivals. Hundreds of films are made in India but there is only one kind of cinema that is shown in our theatres or our satellite channels. It is because of this apathy that Indian culture is routinely expressed (and financed) through Bollywood item-numbers, the same that have faced criticism recently for their misogeny. Independent films from India either languish in cans or do the international film festival circuit and are never shown in India. I have made eight films - none of them have had a proper release in India.

 

Secondly, there is no reason why a public service broadcaster like Doordarshan should purchase satellite rights to mainstream Bollywood cinema for twenty-thirty crores, and allow national award winning films (that they are mandated to show in primetime slots and pay money for) to languish after a hand-shake with the president of the country. If DD wishes to compete with private channels why is tax-payers money going into subsidize this activity? Doesn’t it have a responsibility towards the alternative / independent film making community who despite such odds go back to making films again and again?

 

Governments around the world have found innovative ways to fund and distribute their film-makers. There are innovative tax-structures, incentives to film makers to build businesses around independent cinemas, government owned channels and theatres that pay for such cinema in the interest of the larger good of the public. Film makers in these countries are treated like national art treasures, they are felicitated, encouraged and celebrated. In our country film makers are treated with disdain and at best tolerated unless you are part of the 100 cr group. Those of that club are celebrated for their commercial success rather than for their contribution to the diversity of Indian culture and civilization.

 

Cinema is THE art form  of the 21st century. Countries that have recognized the soft-power of this cultural powerhouse, have greatly enhanced their independent industries. Even a highly restricted country like Iran year-after-year produces outstanding works of cinema, at the forefront of global film-culture, regularly winning awards in top festivals and the Oscars.

 

There is a petition at www.change.org/saveindiecinema that has been signed by 20,000 people of which 60 are award winning film makers from across the country. It is our petition to the government to take our craft and contribution seriously and help us continue the work that we are doing.

 

Meanwhile, I am going to use YouTube to broadcast my work, I’ve given the URL above. At least it will get seen.

 

Q: Little Terrorist was an emotional take on the fact that most of the people hardly see others as Indian or Pakistani. Their humanity overpowers hatred. Where did you got the inspiration for Little Terrorist?

AK: From real life. IT is the reality on the ground isn't it?

 

Q: Your struggle with censorship has become sort of a case study. Don't you think that somewhere censorship should be there, especially in a volatile country like ours where maturity of common audience cannot be an example for others?

AK: Not at all. Films don't produce riots, lack of economic opportunities and social inequalities do. There should be certification not censorship. Cinema is an art form. Artists, by their very definition, are to be provocative and counter-cultural. That is how art grows and develops. If you censor, even things that are clearly in bad-taste and bad-form such as Honey Singh's lyrics, you reduce the potential of art to challenge established norms. Once you remove that then you are making propaganda which only reiterates establishment views.

 

Certification is important because you don't want to have kids watching adult content. Other than that there should be no censorship.

 

Remember there is no censorship on TV and the internet - how come we have not seen riots after the 26/11 attacks bloody images (many in bad taste) put on the screen in our living rooms to watch. Why is cinema singled out for censorship? It’s an obsolete rule inherited from the British Telegraphic Act which was there to control their colony. We are no longer a colony we are a democratic country. It needs to go.

 

Q: Inshallah, Football and Inshallah, Kashmir speaks a lot about the valley and armed forces. We always see the problem on big screen. Not the solution. What according to you should be the best way to bring Kashmir and North East in the mainstream India?

AK: For any reconciliation to take firm root, we have to first acknowledge that a problem exists.  The intention of Inshallah, Kashmir was to add a small voice to correct the gross distortion, bias and hostility in Indian mainstream discourse towards the people of Kashmir and locate a cross-section of voices within Kashmiri history, present humanitarian crusts and contextualize the Kashmiri aspiration for self-determination. It is a matter of great shame that we, the largest democracy in the world, are running a police state in Kashmir for over two decades in the name of the Indian citizen and national security. The collateral damage to the next generation, the youth of Kashmir, who I am particularly concerned about in my film, is unfathomable. A twenty-two year old Kashmiri has not seen a single day of ‘normalcy’ that which we take for granted in the ‘rest-of-India’.

 

There is a deep sense of alienation and victimhood. The Indian nation is personified by a soldier carrying an assault weapon, who can barge into homes, humiliate or assassinate at any time of day or night, with full legal impunity. The result of this is an easy radicalization of a new generation of Kashmiris - an otherwise temperamentally gentle people whose history and culture goes back thousands of years, who had produced a sophisticated, syncretic, temperate version of Sufi Islam – more influenced and with greater affinity to Buddhism and Hinduism than the Wahabi, Deobandi and other radical sects of Islam. The syncretic fiber of Kashmir has been altered for good. Meanwhile, the Indian nation continues to use Fear as a tool of administration. Fear, that is institutionalized. People resort to radical religious formations for a sense of purpose and belonging.

 

By sustaining the occupation of J&K with armed force, by not repealing the draconian AFSPA and PSA, by not allowing democratic freedoms to take any significant form in the valley, by not acknowledging gross human rights violations over the past two decades or providing compensation for those affected, by not providing employment or opportunities to the disaffected youth of Kashmir and by treating those Kashmiris who try to eke out a livelihood in the rest of India as terrorists, the government of India is allowing a deadly and potentially catastrophic fermentation of radicalism.

 

We, in India, talk about GDP and growth, emerging as a global superpower. And we are sanctimonious when comparing ourselves to China and its appalling human rights record. We say that we are a democracy and China is not. We conveniently omit that we’re running a police state in several of our insurgency affected states. People in glass-houses shouldn’t throw stones.

 

I am glad the national award has recognized the intention behind ‘Inshallah, Kashmir’ – I hope it’s a sign that things can and will change for the better. So that anyone who wants to watch this film can do so, I have uploaded the film for free on YouTube: http://www.youtube.com/watch?v=qoy5926-D1A

 

 

Team TRM wishes best for Ashvin. We stand with him because his opinion deserves support and has earned our admiration.

Sholay | 100 Years Of Indian Cinema | Under Lens

You have not seen anything of Hindi Cinema if you have not seen Sholay. Its blasphemous to give Sholay a miss. Perhaps the most watched, most loved and unanimously admired Hindi film in the history of Indian Cinema. Though made more than 35 years ago, it still has that zing. The characters are not only iconic, are almost part of our lives. Every third rickshaw has Dhanno written on it. Every tenth joke has a reference. We might not have the statistics to support this, but go on road, walk for a while and you might happily agree.

 

A voluntarily retired cop Thakur hires two henchmen, Jai and Veeru, to capture a dacoit Gabbar. Two men against a big dacoit and his gang. Usual David versus Goliath situation. Salim Javed spiced it up with some humor and two romantic tracks – one subtle and one boisterous.  Made during times of public unrest, the story struck chord with general audience who wanted to take system in their handle rather than depending on the establishment do the needful. Apart from the story and relevance with respect to erstwhile political scenario, music and performances were two reasons why Sholay did such an outrageous business. Holi sequence and Amitabh’s sarcastic comments in different scenes were two highs.

 

Trivia: In the original idea for Sholay, an army officer hires two ex-soldiers to avenge killing of his family. Salim Javed presented a very short story plot which struck chord with Ramesh Sippy. He hired the writer duo and they carved a brilliant script.