Desicritics Author: Sanket Vyas

Movie Review: Parzania (2007) - Gujarat Burning

Sanket Vyas — Mon, 30 Apr 2007 12:05:30 EDT

Parzania is an unflinching account of the communal violence that erupted in Ahmedabad (my birth city) after the Godhra incident in 2002. It tells the true story of a Parsi family that lost their son on that fateful day when their livelihood was destroyed by right wing Hindu mobs in what can only be described as planned genocide. It shows how the government and the police (later verified by multiple eyewitness reports and The International Human Rights Commission) stood by while their citizens were looted, raped and murdered.

Nearly a thousand Gujarati Muslims lost their lives that day and about 100,000 were rendered homeless. This movie was incredibly difficult for me to watch as I was brought up in a very secular household and the fact that the atrocities were being committed not by 'foreigners' but by Gujaratis to other Gujaratis. Parzania was directed by an LA based Indian filmmaker, Rahul Dholakia. After stiff resistance in finding distributors for this movie it was finally released worldwide and in India this January - everywhere except Gujarat. Sharmila Tagore (current Indian Film Board Censor Chief) has blasted the Gujarat authorities who have refused to provide extra security to the theater owners who want to show the film but are afraid of reprisals from Hindu fundamentalists.

The movie is mostly in English and while it is lacking at times technically, like the legendary director Satyajit Ray said, those flaws are "like spelling mistakes in a beautiful sonnet". The two main actors, Naseeruddin Shah and Sarika, deliver extraordinary performances. This is expected from Shah but the performance delivered by Sarika (a Bollywood glamor girl of the 80s) is incredibly poignant and makes you numb with grief.

Corin Nemec portrays an American journalist who has come to India to complete his thesis on Gandhi's teachings of non-violence. His character is quite jarring and comes off as an alcoholic boor who drops the 'F' bomb entirely too much in the beginning of the film. By the end though, he is more restrained and does well as the narrator to the story that he was not yet ready to see. Fifty years ago the American civil rights leader Martin Luther King, while flying from Delhi to Ahmedabad, told reporters "I came to India as a tourist. But I go to Ahmedabad as a pilgrim."

These days many say that no one associates Gujarat with Gandhi. In fact, Gujarat and communal madness seems now to be sadly and permanently intertwined. Filmmaking is about telling a story, but every now and then the story is so strong that the telling isn't as important anymore - this is one of them.

(Picture Courtesy: imdb.com).

Kalyanji Anandji - Relevant Legends

Sanket Vyas — Tue, 24 Apr 2007 00:51:31 EDT

Bollywood of yesteryear was much easier to classify in regards to its music than it is today. The male singers short list consisted of Mohammed Rafi, Mukesh & Kishore Kumar - if you needed a female voice you called Lata Mangheshkar or her sister/rival Asha Bhonsle.

Similarly the music composers carried more weight than the film directors, as hit songs could all but guarantee a strong opening for the movie. Those composers are mostly gone now but far from forgotten and their names still invoke fond memories for many a Bollywood fan - S.D. Burman, his son R.D. Burman, Laxmikant Pyarelal, Shankar Jaikishen, Naushad, O.P. Nayyar and Kalyanji Anandji.

Kalyanji Shah & his brother Anandji Shah moved from Kutch (in Gujarat) to Bombay in the early 1950s to start a family business. A local businessman who owed their father money gave them their first musical lessons in lieu of paying his bill and the rest as they say is history.

They worked with most of the musical greats of that era and were responsible for many memorable film scores (Don, Qurbani, Muqaddar Ka Sikandar & Lawaaris). It was a different time back then as evidenced by a story recalled by the surviving brother (Anandji) from the late 1970s...

"Lataji was a regular at our place for Kutchi home-cooked food, while Ashaji would frequently come over as well. Once we had a major concert lined up with Kishore Kumar in Mumbai but he suddenly took ill. Ashaji and R D Burmansaab called us up at that critical hour and without accepting any money, performed at our show all evening.
"Burmansaab even belted out our hits like 'Khaike Paan' from Don. Shortly after they had called, we also had got a call from Lataji offering to come sing at the same show."

R.D. Burman singing 'Khaike Paan'? Live in Bombay? Where's a time machine when you need one? Below is a picture of Lata Mangeshkar flanked by the two brothers Shah.

It was a different era back then but lest someone think that these legendary musicians are no longer relevant, one needs look no further than the resurgence that their music is enjoying today.

Everyone from the hottest DJ's (who have the hipsters wearing their cool t-shirts) to the Black Eyed Peas (who credited Kalyanji/Anandji on their Grammy award winning album last year) are exposing their 1970s songs to a worldwide audience paying homage to the maestros' tracks that featured funk breakbeats, wah-wah guitars and Motown-style orchestrations.

Kalyanji passed away five years ago but his brother is still doing concerts in front of packed crowds - if you live in the Atlanta area don't miss this once in a lifetime chance to see a true Bollywood legend.

Travel Essay: Rajasthan On My Mind

Sanket Vyas — Wed, 4 Apr 2007 01:50:24 EDT

I don't know if it was the last blog post I did (on the movie Dor), the amazing dance troupe of Gulabi Sapera (aka the Gypsy Queen of Rajasthan) that we saw live in New York over the weekend or the New York Times travel article that offered guidance on how to see India in under two weeks with the advice to 'skip Rajasthan'. Or maybe it was a combination of all of these things and I just needed an excuse to share my experience traveling to Jaisalmer.

Yes, Rajasthan is one of India's most popular tourist destinations (for Indians and non-Indians alike) but suggesting one should skip it because it has become too touristy is just plain silly. It reminded me of when U2's Joshua Tree came out and propelled them to the legendary status that they enjoy now. A friend of mine told me that he was no longer a U2 fan because they had sold out and were now popular. Pardon? Things become popular with people because they are good and are worth visiting (or listening to, etc.) and shouldn't be shunned just because you are now not the only one to appreciate them.

The pictures you see are from our visit to the city of Jaisalmer in Rajasthan (the one below is actually the view from our hotel room inside the fort). This city is literally in the middle of nowhere and takes eight hours via train to reach from the closest rail link. Air travel is not an option due to security concerns over its proximity with the Pakistan border. But if you go there you will be amply rewarded as it is akin to stepping back in time, Lord of the Rings style. One quarter of the population lives in a 13th century fort (the city's centerpiece) that is now home to several inns as well which fill up rather quickly I might add. If you do go to India take the time to visit this city, it is something you will not soon forget.

Some Personal Notes On Guru

Sanket Vyas — Thu, 8 Feb 2007 09:00:08 EST

As hype goes, Guru certainly had its share of it and for good reason. It was made by one of the most pre-eminent directors of our day (Mani Ratnam), with music by one of the industry's finest composers (A.R. Rahman), lyrics penned by a legendary poet (Gulzar) and of course headlined by the hottest movie star couple of the day on and off-screen (Abhishek Bachchan and Aishwarya Rai).

The result?

A potentially great movie that ultimately collapsed under the weight of its own ambition. The movie is loosely based on the life of Dhirubhai Ambani and tells the story of how an ordinary man became one of the richest and most powerful men in India. The performance of Abishek Bachchan was very good as he completely disappeared into the role (looking eerily like Hollywood actor Alfred Molina). However the finest acting job was by none other than the 'Disco Dancer' star himself, Mithun Chakraborty. His role in the film was unlike any he had undertaken before and served as a validation of his long and storied career in Bollywood.

But while the plot was intriguing, the story did not flow, and in the end, the audience was left with more questions than answers.

In the final analysis I would recommend this movie not because it was a great film but because it touched me in a very personal way. It allowed me to experience the India of my parents' youth and my imagination. The uncrowded and unpolluted streets, the fields being tilled by hand, the smattering of my native Gujarati being spoken every so often and the simple way of life uncluttered by the litany of modern conveniences.

The train station scene in which Guru is being seen off by his family was particularly affecting for me as it took me back to what it must have been for my father when he came to America.

The picture above is of that actual day in 1971 when he did and that is me he is holding. My mother is to his left and surrounding him are various friends that we keep in touch with till this day. The look in his eyes says it all (much as Guru's did in the film) - that dreams are not worth having unless you are willing to go out and live them.

As for the songs, "Barso Re" depicts the India of that era so very nostalgically and gives Aishwarya her signature song for the movie. The other song of note is "Tere Bina" and is used throughout the movie at various points. It's background vocals are sung by none other than A.R. Rahman himself and it is easily the best song on the entire soundtrack.

Movie Review: Shaan - A Look Back

Sanket Vyas — Thu, 1 Feb 2007 02:37:48 EST

It was inevitable of course that five years after the mega-success of Sholay (Bollywood's tribute to the spaghetti western) the powers that be would get together and attempt to do the same tribute for 007. The result was Shaan which took over three years to make, brought back many of the same people that made Sholay and was one of the costliest films of its time (barely making back its original budget).

The movie itself is just one breathless sequence of events that combines romance, buddy flicks, great songs, implausible plotlines and of course the thing that no Bond picture would be complete without - a signature villain. Seeing Kulbushan Karbhanda now cannot be done without picturing Mike Myers' famous Dr. Evil from Austin Powers. In his debut film, Karbhanda handled the role perfectly and proved to be more than just a caricature in his alligator infested lair. Amitabh is his usual uber cool hero - fans of AB 2.0 should watch this film to see what made his dad such a star. This film also stars Shashi Kapoor (brother of Raj and Shammi) and my favorite heroine from the 80's, the angelic Parveen Babi.

Try to make this movie today and you can just imagine the pitch... "Ummm - I need the biggest actor of the day, an unlimited budget, great songs, melodrama, side-splitting comedy, action sequences never attempted before in Indian cinema - and oh, did I mention the lead actor will have to wrestle an alligator in the final sequence?"

Yes, this movie (like all great Bollywood masala films) is like many movies rolled into one - but with all cylinders firing. The end result is inspired madness that will keep you entertained until the final reel. At times the editing and plot development will challenge logic but the film has so much energy and enthusiasm you just won't care.

R.D. Burman, universally regarded as one of the true legends of Indian cinema inheriting his talent from another legend, his father S.D. Burman, provided the music for this movie. Two songs are memorable from the movie with the first being "Janu Meri Jaan". The song unfolds in a scene in which our two heroes have to get our two heroines back after being caught in a lie. The setting? Try a double decker bus then a two seater bicycle followed immediately by a machine gun shootout. The second song is "Yumma Yumma" which takes place in Dr. Evil's, I mean Shakaal's lair. It is one of the few R.D. Burman songs to be vocalized by the composer himself, something that he did far too rarely.

Kabhie Kabhie - 30 Years On - Part I

Sanket Vyas — Wed, 10 Jan 2007 09:08:42 EST

Few movies have such universal appeal across generations as the 1976 classic, Kabhie Kabhie. The songs for the movie log in at #13 according to the BBC's Top 40 Bollywood Soundtracks of all time.

Parents and their kids alike know the songs and the songs resonate with even those Desis that have not been bitten by the Bollywood bug. In short, a movie like Kabhie Kabhie comes along only so often in Hindi cinema and it's not only due to all six of its stars turning in career-defining roles. It's also due to the fact that there are few movies that boast of such a rich haul of timeless lyrics, lilting music, poetic dialogue and a theme that explores the many aspects of romance - both young and young at heart.

To date, Yash Chopra maintains that Kabhie Kabhie was an art film in commercial garb. It combined many big stars of the day with roles that audiences were not used to seeing them in and of course - it had those timeless songs. Yash Chopra's financer and friend Gulshan Rai even told told him after watching the film that he felt he had wasted his money and that the film had little chance of success. But Yash did not waver in his support anf the movie went on to become the biggest hit of the year.

Kabhie Kabhie ranks among my ten "desert island soundtracks" meaning there are entirely too many great songs to just select 1 or 2 favorites. Thus there will be two songs for today and two more next week (all presented in chronological order of how they appear in the movie).

The 1st song is 'Main Pal Do Pal' by Mukesh and is preceded by the now famous introduction to the movie by Amitabh Bachchan (see the song here).

The 2nd song is arguably the most famous love song in all of Indian cinema, the title song of Kabhie Kabhie itself - just perfect in it's lyrics, music and vocals. The video shows however that the lyrics belie what is really happening on screen.

In Part II of the retrospective for this movie we will examine the Rishi Kapoor/Neetu Singh contributions in song.

Devika Rani - Bollywood's First Lady

Sanket Vyas — Wed, 13 Dec 2006 00:27:54 EST

This year marks the 70th anniversary of one of the landmarks of Indian cimema, Achut Kanya (The Untouchable Girl). The star of the movie was Devika Rani, co-founder of Bombay Talkies and an icon of Indian cinema herself. She was the grand niece of the legendary poet and Nobel Laureate Rabindranath Tagore who was knighted but resigned his commission out of protest to British rule in India. Devika herself was no stranger to awards being the first ever recipient of the Dadasaheb Phalke Award - annually given for lifetime achievement to Indian cinema and the Padma Shri Award for her contribution to the arts.

Devika Rani went to England in the 1920's to study architecture and also ended up studying drama and music at the Royal Academy of Drama. It was there that she met her husband (Himanshu Rai) who was an Indian actor and film producer. Together they collaborated on the first Indian talkie Karma in 1933. While on their honeymoon in Germany they became well acquainted with many German filmmakers and technicians who came to Bombay to usher in Bollywood as we know it. One of those, director Franz Osten, was responsible for her most memorable role in Achut Kanya. Starring opposite her was Ashok Kumar (older brother of Kishore) who incidentally was cast after the original hero eloped with Devika. However, she did return to finish the film.

The earliest (and still one of the only) film to deal with the Dalits/Untouchables, it was the fledgling Bombay Talkies first bonafide hit. This film about a Brahmin boy and an untouchable girl who fall in love generated quite a bit of controversy during the same time that Mahatma Gandhi was crusading for the rights of the Dalits in Indian society. Gandhi gave many lectures regarding this issue and fasted for the Dalit's rights to enter temples, an act that resulted in many death threats against him. Gandhi declared that there is no such thing as an untouchable in the holy writings as the very idea conflicted with humanity and therefore could not be the divine truth. Despite many attempts to reform this issue it still persists in modern India to this day.

On the occasion of this landmark year, I'd like to draw your attention to two that were inspired by the movie. The first one is "Phoolon Ke Rang" sung by Kishore Kumar from the movie Prem Pujari. Devika often teased her friend and co-star Ashok about how much a better singer his younger brother Kishore was and often listened to his songs on her movie sets. The second song is from another recipient of the Padma Shri Award, Diwaliben Bhil. She originally hails from Junagadh, Gujarat and is a member of the Koli tribe. Diwaliben also happens to be a member of the lower castes but this did not stop her from achieving international fame and success. The song is a traditional Krishna Bhajan but it is made very special by her rendition of it.

Music Review: Musafirs From Rajasthan

Sanket Vyas — Wed, 29 Nov 2006 02:30:32 EST

The meaning of Musafir is traveller or voyager and if you allow them - this band from the Indian state of Rajasthan will take you on one amazing music trip. The musicians of Rajasthan are considered the fabled original gypsies (since proven true by linguistic & DNA evidence) and consist of 11 singers, dancers and instrumentalists who have the rare ability to function as one.

Rajasthan's musician castes are predominantly Muslim, dating back over 500 years to when the Moguls first invaded India. The kings (or maharajas) tended to hire the best local musicians and many of them converted to Islam in order to work in the court. They adopted the name Khan and passed their new faith onto their descendents.

The typical Rajasthani band reflects only a single ethnicity yet Musafir is a secular mix of Hindu, Muslim, Gypsy and Sufism. Their songs build slowly with the harmonium or sarangi giving the tune as the singer incants the scale. The percussion then begins and more singers begin the melody with other instruments blending in. The song itself may pass through as many as thirty changes in mood and tempo before climaxing with all musicians joining in at the end. Whatever the song, tempo or improvisation - the eleven group members manage to communicate internally producing the effect of a singularly mesmerizing entity.

My two favorite songs on the album are:'Moria Badnawa an instrumental that interprets a famous folk song about a peacock from the village of Badnawa. The song follows the peacock through it's day - first singing as the sun rises, opening his tail as the sun continues it's trek across the sky until it finally attracts a female peacock as dusk arrives. Listen as the song begins with just one instrument and reaches it's crescendo as each subsequent one is added in perfect harmony with the other.

The song halleriya means lullaby and is sung at the celebration for a new birth. It represents not just the mother and father's happiness but the whole village celebrating the arrival as well.

DVD Review: Born Into Brothels - India's Oscar Triumph

Sanket Vyas — Mon, 13 Nov 2006 05:07:21 EST

Officially speaking, India has had three movies that have been selected by the Academy of Motion Picture Arts and Sciences (Oscars) but none has ever taken home the golden statue. That drought ended last year - not with a big Bollywood production or even an art film but with a small documentary - Born Into Brothels. In 1995 New York photojournalist Zana Briski went to India to document the harsh conditions for women in a developing country. She was interested in female infanticide, child marriage, dowry deaths and widowhood. A friend took her to Sonagachi, a red light district in Calcutta and "from the moment I stepped foot inside that maze of alleyways, I knew that this was the reason I had come to India." Briski developed close relationships with the women and then with their children.

Briski noticed the children were fascinated with her and her photography and got the idea to teach them to document their lives with their own photos. She chose children who were eager to learn and gave each a point and shoot camera to use. Even though Briski had never used a video camera before, she decided to film the process. What happens when the line between merely documenting tragedy and doing something about it becomes blurred?

The answer lies in this poignant story of how these children are taught to visually record their lives in the squalid margins of society. We witness the frustrations, victories and disappointments that ensue in a world where criminals' children are stigmatized and not accepted into private schools. These students come from several generations of sex workers and drug dealers where the girls constantly face the imminent specter of 'joining the line' to earn money for the family. The children have witnessed and experienced things that most of us never even have to think about. They are treated as little adults who have to cook and clean from early morning until late at night while neighbors hurl profanities in their direction throughout the day. Just when the movie starts getting too heavy the children get an unexpected advocate to help change their lives - themselves. Don't miss the special featurette on the DVD that shows their lives three years later which is as moving as the film itself.

I would like to draw your attention to two songs from the soundtrack of the film. The first one is a simple yet elegant classical composition consisting of only two instruments - the Tabla and Flute. The second song is Gopala by Krishna Das, a musician originally hailing from New York. Das is an accomplished singer in the Kirtan style of chanting (invoking the name of god multiple times). Used by many religions throughout India, Kirtan is one of the oldest forms of meditiation whose origins trace back over 500 years. While it is somewhat strange to hear ancient Hindu chants sung by a self-described 'ordinary white guy lucky enough to have found India,' the resulting music will surprise you.

Two Songs to Celebrate Diwali and Eid

Sanket Vyas — Thu, 26 Oct 2006 00:06:39 EDT

Diwali and Eid, two of the most important holy days of Hinduism and Islam, were celebrated this past weekend around the world. While Diwali is popularly known as the 'festival of lights' its true meaning is closer to 'the awareness of the inner light'. Central to Hindu philosophy is the assertion that there is something beyond the physical body and mind which is pure and infinite - one's soul or atma. Diwali is the celebration of this inner light. Deeps (candles) symbolizing this represent the victory of light over darkness, truth over falsehood and knowledge over ignorance. It is this light that is said to remove all obstacles and dispel ignorance. It awakens the individual to one's true nature, not in the physical sense but the spiritual one. With this knowledge comes the awareness of the oneness of all things which leads to ananda or inner peace.

The first Eid was celebrated in 624 AD by the Prophet Muhammad with his companions and relatives after the completion of a month of fasting (Ramadan). As with all months in the Islamic calendar it begins with the sighting of the new moon. Fasting done during this time is said to develop the ability to exercise self-restraint and patience. It seeks to to free the human soul of earthly wants and endow it with moral and spiritual strength to promote harmony, peace, kindness and compassion. On the morning of Eid every Muslim wears new clothes and then goes to the mosque for Eid prayers. These prayers are to thank god for their blessings in life and for giving zakat (charity donations) to the poor. After the prayers people spend the day visiting family and friends while some go to the graves of their ancestors to pray for them and convey their salaam (peace).

Both songs today are from my favorite singer, Kishore Kumar. Kishore never bothered much with religion - he respected both Hinduism and Islam but considered music the most divine thing in life. His favorite wife (he had 4 in all) was the actress Madhubala. She was Muslim and her death was said to break his heart. The first song is "Allah Kare" and it shows Kishore's great singing range in Urdu. The second song is "Deep Diwali" and he sings it as joyously as the holiday itself is.

It is interesting that both holidays that have come to symbolize so much joy and hope always fall within a few days of each other. Just something to think about - that maybe we are not as different as we would like to believe and that peace is a dream we all have in common.