Marriage On The Reels | Editor's Pen

Hi Friends,

Sorry, if the title sounds cheesy. Sincere apologies. At TRM we rarely talk about personal lives of actors in detail unless it’s of heritage value of some sort. Today, let’s have an exception. According to gossip sections of leading newspapers, marriage of Chitrangada with her equally famous husband Jyoti is passing through a rough patch. Things are not wrongs and with inputs we have, gossip might have an element of truth. That bring up an age old topic – glamor kills marriages?

Actually, this is a tricky question. Reason, there are numerous broken homes but for each broken home there is a couple who have survived together for decades. We have Nargis - Sunil Dutt, Krishna - Raj Kapoor, Neetu - Rishi Kapoor, Saira Bano – Dileep Kumar and Jaya – Amitabh Bachchan. There have been rumors about one or other but they remained together long enough to rubbish rumors. Yes, there was a Rekha in Bachchan story and a Nargis in Kapoor story but they moved over and had a beautiful life together.

Relationship is such a beautiful thing. While people sadistically enjoy random gossips, I wonder what made Katherine Hepburn and Spencer Tracy live for so long in love without any deterrent. The only thing that justifies is presence of unconditional and ego-less love. Well, that’s easy to write and hard to follow.

Regards

Sujoy

Story Plots In Suraj Ka Satvan Ghoda | Learning A Masterpiece | Under Lens

Suraj Ka Satvan Ghoda can be divided into seven main plots/subplots. Some of these are fiction/gossip, some of these reflect reality and some are half-truth half-fiction.

Jamuna and Tanna’s love: Jamuna and Tanna are in a very delicate relationship. Sometimes it seems to be mutual and sometimes it seems to be Jamuna’s obsession. Jamuna, in her adolescent age, needs an emotional support. Tanna provides her solace. But when Tanna recedes away she needs someone else.

Jamuna and Manek’s romance: When Jamuna is alone, she seeks comfort in Manek’s company. For her Manek is nothing more than an escape route. What Manek looks out for in this relationship. Is it for real or he is imagining himself in someone else’s shoes? Even with this ambiguity, Jamuna’s weakness is exposed.

Jamuna’s marriage: From the outset, Jamuna’s marriage is a compromise with the situation she is in after her relationship with Tanna ends. But her need for emotional support is still there. Ramdhan, in a tricky way, provides her comfort. What exactly happened between the two is unknown to others and this part of the story is largely based on gossips and Manek’s imagination.

Tanna’s astuteness: Tanna’s sincerity towards his father and relationships acted as the background for the entire film. He turns down marriage proposal for the sake of his father who hardly gives him a damn. He takes up responsibility and shows immense character. He even turns down Jamuna’s adulterous advances at a later point.

Lily’s voyeurism: Lily was in a complex situation – between a broken relationship and a marriage. She is not in a state of mind where she can conceive the idea of new relationship. While the groom is at doorstep, she doesn’t know what to do. The wave of fresh air, though for a moment, allows her to get rid of the mental block and embrace new future.  

Satti’s life: Perhaps the only story which had no element of fiction. A poor girl who devotes herself to Manek falling for his goodness. However, as circumstances dictated Manek’s frailty, a typical middle class attribute, she despite of being most deserving gets nothing in the end.   

Manek’s Epilogue: Manek, in the story, evolves as a weak character. In the end he accepts his helplessness with grace and ponders what would have happened otherwise. At that juncture, he meets Satti again. His past haunts his present and he realizes how gross his mistake was. The subplot ends on a open note. We don’t know what Manek does in the end? Does Satti gets a better life? Though a small but a defining ray of light is there. That’s what Suraj ka Satvan Ghoda means. The weakest link but the greatest hope.

City Of God | Brutal | The Critique

I have never seen crime glorified in this way. Frankly, a little psychopath in me giggled at the end. Godfather and Goodfellas were great but they seemed to be more white collar when compared to our IT lives. City Of God (Cidade de Deus) is what crime is, means and should end like. Crude, naked and gory. Set in Cidade de Deus in Rio de Janeiro and based on novel by the same name, movie showcases the underbelly of crime in its crudest avatar.

Movie is woven around few characters and shows their rise and fall. Lil Joe and Bene are the main criminals, Knockout Ned is the antihero and Rocket is the protagonist who is a photographer. The story revolves around these central characters and a number of small characters who play their valuable parts as the story progresses. The language is crude. Crime is almost guilt/remorse free. But the most important fact is the convincing power of the actors as they play their role.

Even if story is kept apart, the film is technically brilliant. The shots of the Brazillian suburb are simply brilliant. Be it the initial chicken scene, the chase scene, scenes of brutal murders in den and the climax. Everything is brilliantly choreographed. Art direction is equally compelling. Bets thing is that one can see the locality first hand without any shade of artificiality. Direction is obviously awesome. Fernando Meirelles and co-director Kátia Lund brought out a sensation on screen. Accolades attest that.

Written By: Sujoy Ghosh

Ardha Satya | 100 Years Of Indian Cinema | Under Lens

Om Puri, Naseeruddin Shah and Smita Patil defined Alternate or Parallel cinema in 70s and 80s. Among many brilliant movies they have featured, Govind Nihalani’s Ardh Satya stands out as iconic feature. Over the time, Ardh Satya has evolved as greatest example of rebellion against mainstream clichés and traditions. This list cannot be complete without Ardh Satya.

Based on Vijay Tendulkar’s play Surya, movie depicts life a police officer Anant who is trying to remain in the system without compromising his values. Torn between his past where a dominating father left scars and an equally traumatic present where he is been roughed up for being true. Self-nihilistic, Anant goes on to ruin everything by not complying with the standard norms. As everything fades away, love of his life recedes away as well.  

Ardh Satya redefined story telling. Cops were self-righteous in past as well but they hardly felt impotent on screen. It was such a taboo. A similar moment was there in Zanjeer as well but it was overshadowed by Amitabh’s machoism. This weakness was rarely explored as in detail as done in Ardh Satya. Something that was attempted many times but achieved rarely.

Trivia: Amitabh Bachchan was the first choice. He was ruling the industry and had no time in hand. The role went to Om Puri and he made most of it. Amitabh later worked with Nihalani in Dev where he played role of a cop.

Bringing Back | Editor's Pen

Hi Friends,

Bombay Talkies is bringing the best of the current generation on screen in an anthology of four short films. These shorts are directed by Anurag Kashyap, Dibakar Banerjee, Zoya Akhtar and Karan Johar which ensures potent mix of mainstream and offbeat cinema. The starcast boasts of likes of Amitabh Bachchan, Nawazuddin Siddiqui and Rani Mukherjee.

Bombay Talkies seems to be an apt tribute to Indian Cinema which completes 100 years this year.

These two words - Bombay and Talkies - represent old school hangover. When Mumbai was Bombay and we still used Talkies for film theatres. Today, its unimaginable but films used to run in theatres for 25 weeks uninterrupted. Somethings haven't changed yet... actors being adored by public even when they are in their late forties.

Bombay Talkies sounds to be a perfect combination. Some old school, some new wave.

Written By: Sujoy Ghosh 

Chashme Buddoor | Simplicity At Its Best | The Critique

Chashme Buddoor and Jaane Bhi Do Yaron are perhaps two brilliant examples how a film becomes cult in India. While latter is a milestone in slapstick, former beautifully carries the subtlety in veins. Made by Sai Paranjpye, writer-director, Chashme Buddoor is about men bonding over typical issues, simple uncomplicated love and aspirations of 80s. It captures the era beautifully and preserves it for generations to come.

 

Three bachelors – Siddharth, Omi and Jai – played by Farooq Shaikh, Rakesh Bedi and Ravi Baswani stay in together in a flat. Omi and Jai are voyeurists who ogle at girls around the place and in college. They flirt and more than often suffer humiliation. Same happens when they try to flirt with new girl around – Neha played by Deepti Naval. However, to save their face, they showcase their endeavors as success. Things turn around when Siddharth meet Neha and they fall in love.

 

Camerawork and editing is mediocre. While, technically, there is not much to offer, somehow, that turns into an advantage. Best part of this film is script and performances. Simple, yet amazing. Typical Hrishida mold. Surprise package in this film is veteran actor Saeed Jaffrey who plays the role of a shopkeeper who gives these fellows regular stock of cigarettes. They rarely pay their bills. This side track gives the best moments of the film.

 

This little sweet film is a definite must watch.

 

Written By: Sujoy Ghosh

Abhay Kumar's Placebo Effect | Golden Podium

Team TRM got a chance to talk to Abhay Kumar whose forth-coming documentary has attracted attention of indie lover. Here we go:

1. Abhay, Placebo has got the attention of Indie fan base. It’s a documentary and this is the only thing we know. Can you tell us more?

AK: It is a hybrid documentary; which means we are using various narrative tools to tell a real story. It uses animation, found footage, archival footage, travel footage, spy cam footage to tell this story of this world that I happened to stumble across. Details about the subject matter can be found here: http://www.wishberry.in/Placebo-15875      

2. Where did you get the inspiration from?

AK: Events transpired which kick started this film before I even knew I was making a film. I just found out along the way that this is a story I really want to tell.

3. What kind of difficulties you faced while shooting the footage?

AK: It was an undercover shoot so I had to be careful of not blowing my cover. It meant shooting using unconventional aesthetics (basically make do with whatever you can!). It's a shame that authorities in India do not have a positive outlook towards film making. They view anyone with a camera as someone trying to do an expose.

The aesthetic (or the lack of it) which we have used in the film is something which has come out organically while trying to bypass a lot of restrictions we were tied with.

These were the difficulties of the 'real' world. Then there were the difficulties of the head. In this place where i was, the time-space relationship is highly skewed. I would often get lost in this world which we were simultaneously creating while shooting. I'm still not sure if i have found a way out yet.

4. Tell us about the technical part of shooting as many of our readers are short film makers. What kind of camera you used? How are you taking care of editing?

AK: I started shooting on a Sony HD handycam. Infact 70% of the film is shot on a consumer grade handycam. Nothing too technical about it. I will be editing the film myself and we are trying to get together an edit machine which can bypass tedious format conversions.

5. Documentaries hardly have a market in this country. Do you think Placebo is financially viable?

AK: I want to find the film first before thinking about it's financial viability.

6. What will you suggest to someone who intends to make a documentary?

AK: 2 words: Make it :)

We wish Abhay and his entire team great success and power in their belief.

Mother India | 100 Years Of Indian Cinema | Under Lens

What are the odds that you will find an international magazine talking about Indian cinema without making a note of Mother India? Rare. Its impossible to imagine History of Indian Cinema without a note about this movie. Embodiment of nation in form of a woman who holds her morals higher than everything, literally. While India was on its path to success, Mother India etched the guidelines for nation building.

 

A woman, deserted by her husband under sorrowful conditions, fight a male dominant society for her small children. In village, she braves drought and flood, at times inspiring fellows, without doing anything amoral. As time changes her course, her kids grow into young men – one calm and other truant. Having seen her braving odds, they respect her. One of her sons, in the end, crosses the line and she does the unimaginable.

 

Brilliantly written, Mother India, was perhaps the most relevant movie of its time. India was at the crossroads and Nargis symbolized as Mother India trying to keep hold on her children – one who can keep his head cool and one who is righteous but doesn’t hesitate to pick weapon for rights. Her toil through seasons was symbol of how farmers held the nation and ensured prosperity for all. In the end, she does what she believed was right, ethical and honorable.

 

Trivia: Sunil Dutt and Nargis played son and mother in film. In a freak accident on shoot, Sunil saved Nargis. While in hospital, they fell for each other and married. In Om Shanti Om, a subtle (or loud?) tribute was given to this incident.  

Ek Doctor Ki Maut | The Critique

Have you seen an actor performing, in a movie? If you haven’t seen Pankaj Kapur, in one of the best NFDC productions, “Ek Doctor Ki Maut”, then I bet you haven’t seen one. It’s a story about the struggle of a doctor and his close ones, all struggling in different ways, though around the same cause. The struggle to prove a doctor’s research correct, not just scientifically but ethically as well, was the spirit of the script.

Pankaj Kapur, in his very own master style, has played the character of Dr. Roy so beautifully and in such a subtle manner, that not just once but almost every time he comes on screen you would just say - “Wow”. He makes you feel the feeling of a scientist, he makes you live his dreams, he makes you feel the pain he is bearing and he makes you feel his inner screams. Pankaj Kapur has superbly underplayed his usual self to portray, in the right amount, Dr. Roy’s dedication, his sudden burst of anger, his struggle with the society in the light of reality, his negligence towards his family for the sake of his research, his strengths and his weaknesses. You can see him smiling, crying, shouting, being sympathetic, feeling pity over the actual sick patients and at times over the sick ones of our society. The character is indeed a beautiful one to perform, for any actor. It brings out the stability, control and passion of an actor by challenging him to dive in the ocean of feelings to bring out the right pearls to be shown to the world.

This movie also has some other very fine actors, of the likes of, Shabana Azmi, Irfan Khan, Deepa Sahi and Vijayendra Ghadge, with Shabana Azmi truly demanding a special mention for a brilliant performance. She, as the wife of this struggling, sympathetic, short-tempered, negligent yet brilliant scientist husband, has done an amazing job to complement Pankaj Kapur’s show. All this and much more, makes this three National Award, one Film Fare and two State Award winning movie, a must watch.

Written By: Gaurav Karmakar

Suraj Ka Satvan Ghoda | Learning A Masterpiece | The Critique

Dharamveer Bharti’s work Suraj Ka Satvan Ghoda never got the recognition Gunaho Ka Devta got. However, on celluloid, Shyam Benegal’s adaptation of the story stands tall as one of the most admired pieces of alternate cinema. Rarely we experience such an endearing effort on screen. Maybe SKSG is not as compelling as Benegal’s other movies like Bhumika or as moving as Nishant, SKSG successfully balances all the elements of drama brilliantly.

 

SKSG is a metafiction. Sitting in his room with a bunch of friends, Manek tells some stories. Part of these stories are reality and part of them are his imagination. Stories are woven around Manek, three women in his life and people around them who actively influence the events. Manek, largely, remains a passive character. His friends ridicule him for this fact and he accepts the criticism gracefully. In the end, the way the title is explained by narrative, it successfully ties up all the open threads of different stories and bring about a conclusion that stays with you even after years.

 

Characters are contemporary and relevant. Even after twenty years, they seems to be carved out of people among us. Like most his films, Benegal keeps the focus on lives of lower-middle and lower class of the society and how their economic situation influences their life. Benegal doesn’t try to create caricature. Manek or any other character is as close to the real world as it can be. Their situations, maybe borderline fiction, seems to be very realistic.  

 

SKSG has some nice performances. Rajit Kapur, Amrish Puri, Neena Gupta, Lalit Tiwari and Raghuvir Yadav leave an impact. Music by Vanraj Bhatia is soulful. At no point it attempts to overpower the story and narrative and plays a very understated role. Direction is flawless. Aided by a brilliant story, Shyam Benegal brings out the best from the literary piece. No wonder, it received the National Award for Best Feature Film in Hindi.  

 

Written By: Sujoy Ghosh

Anjaan | Gypsy From Shores Of Ganges | Statesmen

Among most popular songs of 70s and 80s, songs like ‘Muqaddar Ka Sikandar’, ‘Khaike Pan Banaraswala’ and ‘Ee Hai Bambai Nagariya’ would stake claims for ruling the popularity index to the extent of becoming an integral part of lingo for 90s. These songs and many amazing songs like these were penned by Anjaan who was born as Lalji Pandey. A true Banarasi, Anjaan’s poetry was heavily loaded with Bhojpuri accent which was his USP.

 

Anjaan started his career in 50s with Prisoner Of Golconda. His talent was noticed and he got more work. However, these were small films and most of his work didn’t get the recognition. Scene changed in mid 60s when he was noticed by O.P. Nayyar and later Kalyanji-Anandji, R.D. Burman and Ravi. His collaborations with them gave his career the much needed boost. Still, he was not there. 70s was his time.

 

In 70s the advent of Amitabh Bachchan was one of the key factor for his success. Amitabh’s off screen persona and background influenced writers to write more rustic characters. His strong connect with Hindi belt improvised the language of cinema. Among many films, Khoon Pasina, Don, Muqaddar Ka Sikandar and Lawaaris were the highlights. In 80s, Anjaan was one of the most sought after lyricists. In this span of almost two decades, he worked with all big names including Laxmikant-Pyarelal and Bappi Lahiri.

 

In 90s, he was not as healthy as before. With falling health, his works reduced. His son Sameer took over and became one of the leading lyricists of 90s. In year ‘97, he left this world forever. His last work released by Amitabh Bachchan, his only book of poems was a poetic summation of his life. It was titled - Ganga Tat Ka Banjara.  

 

Written By: Sujoy Ghosh