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