Desicritics Category: Culture: Arts

Happy Independence Day - Musical Montages

Ritu Chandra — Sun, 17 Aug 2008 05:31:36 EDT

Happy Independence Day Folks!

(I know it is a little late, but here in the US we only celebrate on weekends, so no apologies)

I would like to celebrate the 61st 'Happy Birthday' of our nation by revisiting some musical memories from my growing up years. In the late eighties and early nineties DD had commissioned a series of 'Spirit of the nation' type montages. The most memorable amongst those was 'Mile Sur Mera Tumhara' that showcased the cultural diversity of the country through the prism of the folk and classical diversity of each region. This was Doordarshan and Lok Sewa Sanchar Parishad in it's last burst of glory, (before India began its journey towards globalization and DD towards fossilization).

For those of us who grew up in this era, these montages are unforgettable. Remember trying to figure out the exact line 'chain taras te nain tars te' (the Kashmiri portion of the song), or marveling the stunning locales of Kerela, or trying to keep up with the various languages in which Mile sur mera tumhara is sung, or getting goose pimples on seeing the final image of Lata Mangeshkar, the ultimate tribute to popular sur in our country fuse into the frame. My introduction to Bhimsen Joshi was through this montage. In those days I barely understood anything of what he sang, yet I loved to watch him, for the faraway look in his eyes, and the cute manner in which he would contort his face and hands as he sang.

I don't think anything has been able to capture the spirit of India's beauty, diversity and unity as imaginatively as Mile Sur Mera Tumhara did.

The other montage that ran in those days and I would specially like to showcase is the very unusual tribute to the spirit of the country through Raag Des. That was a collection of the who's who in the firament of Indian classical arts all performing on the Des raag. While Mile Sur Mera Tumhara has obvious appeal, this montage is a quiet charmer. Raag Des is a sweet and distinctive raag, easy on the ears, extremely malleable and exudes the fragrance of fresh sprinkles on parched earth. The essence of the raag finds it's way into songs of the every region in the country. The whole idea to integrate the country through the Des raag was a novel one. It is fascinating because the des raag probably existed before India was a nation, before we needed symbols and slogans to unite, yet even in those days there were binders in form of cultural roots and who would think amongst the innumerable raags that Hindustani and Carnatic classical music offer, it would be raag Des that would be the chosen binder. It is also the raag in which our national song 'Vande Mataram' is tuned.

Given the galaxy of classical luminaries that make an appearance in this piece, in another fifty years it will be worth it's microseconds in gold. Ravi Shankar's sitar piece particularly had left a lasting impression in the early days, when I heard it again after many years, it was even better than I remembered. I think it would have been appropriate to have had his appearance as the climactic piece. It is also fascinating to see Kavita Krishnamurthy's voice as the common thread in an effort that is essentially classical. It is a great way to gently coax the average listener into the world of classical music. It was only during the old DD stronghold that promoted folk and classical music with missionary zeal that something like this was possible. In today's 'bollywoodized' times it is next to impossible.

While we are on the topic of montages, it would be worthwhile to visit two contemporary efforts by AR Rahman - Vande Mataram and Jana Gana Mana , both conceived and presented by Bharatbala.

Watching the Jana Gana Mana video is like revisiting your ancestral town after twenty years. The same faces, but aged and tired. The same Bhimsen Joshi, the same Hariprasad Chaurasia, the same Lata Mangeshkar, but with many more lines creasing their faces. Some cherished old faces missing, notably Pandit Ravi Shankar, Ustad Allahrakha and Ustad Zakir Hussien and many new additions like Bhupen Hazarika, Hariharan, and the most pleasant surprise - Asha Bhosle. Interestingly Asha Bhosle was completely missing from all the videos of the earlier era, a sad reflection on how late in life this great singer actually got her due. Finally the nation sees the legendary Mangeshkar sisters singing together on the same platform in the same frame. And the biggest surprise, they even pause for a microsecond and smile, yes smile at each other! (A historic occasion given all those rumours over the decades that sibling rivalry prompted the sisters to sing all duets looking in opposite directions).

The new age montages highlight the sharp difference in the eras. These videos are shot like epics. They are marked by sweeping locales, jazzy camera angles, glossy finish and flamboyant, larger than life orchestration of all the elements. Quite typical of our times. Yet despite the grandeur, they somehow seem to be missing something somewhere. They are missing the feel of 'real' India that the old montages had to offer. In the videos of yore, the locales were lush and real. The prosperous fields of Punjab, the stunning Taj Mahal, the boatman on the Hooghly, the Calcutta metro, the Dal Lake these were the visual elements that made us intimate with the living and breathing India. The moonscape of Ladakh in the Jana Gana Mana video on the other hand is impersonal and forbidding. It has a stark beauty, without doubt, but that is not a representative of 'dravid, utkal, banga' that our national anthem alludes to. The visual montages used in Vande Mataram look more out of central Asia than they do out of India. The video just does not get 'it', in my opinion.

Ofcourse, the disclaimer is that I am an old fogey when it comes to aesthetics and I tend to automatically put myself in reverse gear. Older an effort the better it is. However, I must admit, that when Lata Mangeshkar starts to sing Jana Gana Mana my hair stand on the end. I am extremely thankful to YouTube and it's denizens for uploading these valuable videos and giving me a chance to revisit cherished childhood memories again. I leave you with the videos and I hope you will enjoy them as much as I did.

Jai Bharat!

Umrao Jaan - A Story of The Indian Girl Child

Madhu Chandra — Fri, 8 Aug 2008 09:41:41 EDT

Umrao Jaan is a Bollywood film produced by Muzaffar Ali in 1981, which was remade by J. P. Dutta in 2006. It is based on the Urdu novel Umrao Jaan Ada written in 1905 by Mirza Hadi Ruswa, based on the life of the famous Lucknow courtesan.

It is a story of an Indian girl child who laments her agony of life, composed in the form of poetry and music, with soul-gripping lyrics.

“Agale Janam Mohe, Betiya na kijo”
“In my next birth, Oh God, don’t bring me as a girl child!”

It is the song of a woman, whose childhood was looted when she was kidnapped by her neighbor Dilwar Khan for revenge against her father for testifying in a criminal case which led him to be imprisoned for several years. She was sold to a brothel at Lucknow at the age of eight, and was later adopted by a couple to bring her up with the same parental care, education, dance, poetry and music, only to charm the wealthy as a famous courtesan of Lucknow.

Ameeran, her parental name was changed to Umrao Jaan (love). The love she earned from wealthy men, who came to the courtesan, also brought her the label “Bazaar Aurat, a prostitute”

In the remake, former Miss Universe and Bollywood Super Star, Aishwariya Rai acted as Umrao Jaan along with Abhishek Bachchan as Nawab Sultan and Sunil Shetty as Faiz Ali.

At the age of 20, when she was fully grown and matured, Umrao got the title “Jaan” after performing a charming courtesan dance and singing at Lucknow, where Umrao caught the eye of wealthy princes, kings, and Nawabs.

Nawab Sultan was one among many such wealthy men, whose love was stolen by the charms of Umrao at first meeting itself. Soon, Umrao got into the net of Sultan, with true passionate romance, not knowing her love for Sultan would be rejected soon. Sultan’s father did not want to see his family defamed by his son marrying a “Bazaar Aurat” and disowned him.

When Sultan didn’t have a penny after his father disowned him he went to live with his uncle at Grahi.

In the absence of Sultan, Umrao was noticed by wealthy Faiz Ali, who wanted her at any cost. Faiz Ali turned to be a dacoit and got arrested during a journey to Grahi with Umrao. Sultan heard the news about Faiz Ali and Umrao’s coming to Grahi, and questioned Umrao about the suspicious relationship with Faiz Ali.

Brokenhearted, Umrao, finally decided to return back to her cage of courtesan at Lucknow, where on her arrival, she was raped by her childhood friend in the brothel, and yet, later, she forgave him unconditionally.

Soon, the British attacked the city and forced her to leave Lucknow. She decided to go to her forgotten childhood home at Faizabad. She found her father dead and her mother and brother refused to accept her because of her profession.

Umrao, shunned by her family, her lover and society, leaves to return to Lucknow, but fate plays another joke and on her way out of the city, she encounters the man who kidnapped and sold her to the brothel in the first place. Poor, wretched, homeless and injured, the man begs for pity, not recognizing that she is Ameeran, and she essentially forgives him.

Shunned by all and having forgiven those who destroyed her life, she lives the rest of her days in Lucknow with her poetry and ill fate.

Umrao Jaan’s story reflects what a girl child often experiences in Indian society where the issues of crimes, abuse and gender discrimination to the girl child are debated continually.

It is a story that reflects the life of a girl child, whose choice is nothing but slavery throughout life, beginning under the dominion of father at childhood, husband at married life and son at old age.

The story reflects the gender discrimination, female foeticide, and female infanticide in our society. The story reflects the trafficking of children, pushing many into the life like of Umrao Jaan.

After being shunned by her mother and brother, Umrao laments,

Tell me. Have you seen such a farewell?
Nor mother, nor father, nor brother.
No one is there.”
Tears are the ornaments and the palanquin of sorrow.
The locked doors are bidding farewell to me.
Never return here even in your dreams.

Look at my lover, he has broken my heart
After abandoning me midway,
He is setting a new life
As like a child gets new toy,
Plays with it for some days and then forgets
Don’t make me a doll like this, who cannot even cry

In the next birth of mine,
Oh God, don’t birth me as a girl child!
Whatever you have done now,
Oh God, don’t do it again.

Where Umrao Jaan was shunned and forsaken, no one could hear the song that narrates her misery, but it was Mirza Hadi Ruswa, who heard as she cried,

You call me, “the voice of broken heart.”
I am the instrument, which contains all melodies
Who am I, what and am I, for whom am I alive?
I myself do not understand.
Tell me the secret.
Tell me the secret.

Movie Review: Kuselan

Blokesablogin — Sun, 3 Aug 2008 06:26:08 EDT

My two sons are great fans of Rajnikanth, the Tamil Superstar. To tell you the truth, I have a weak spot for his "style" myself! When Shivaji was released some months back, we went around for a week aping his "style"! With equal enthusiasm, we made it a huge family affair with cousins and all to watch Kuselan, the latest offering with Rajni in it.

Thirty minutes into the film is when we realized that he was a "special appearance" and not the actual lead role. What a let down! The first 30 minutes had not even a photo of Rajni! So friends, if you are a die hard Rajni fan, please do not go to the movies trusting him to make his appearance any time soon. Then you can anticipate his "arrival".

The movie tells the touching story of Sudama and Krishna from the Srimad Bhagavatham (Kuchelopakyaanam) in a modern context. It is also a semi-biography that traces the origins of Rajnikanth's humble beginnings before he made it big in the film industry.

Our protagonist is a humble barber who wants a loan without giving a bribe. Obviously, in 21st century India that is as common as India winning an Olympic gold! He lives a simple and contented life with his wife and three children who in return ask nothing much of him.

The rustic village atmosphere is shattered by the arrival of a huge film crew including the super star. People in the village who know that the barber was childhood friends with the super star urge him to meet him and get them favors. Balu (Balakrishnan - do not miss out on the name!), the barber, refuses. Then they believe him to have spun tales out of thin air.

At this juncture I thought the film would be about micro credit financing as this barber could have greatly benefited from such a scheme. I hope those micro credit fellows will not turn corrupt like the rest of the lot. I digress.

The shooting is done and the local school invites the superstar to address them. There, our protagonist stand behind to see his friend speak. The friend narrates the incidents of his life that included the barber and wished that he were there to share in his success.

The barber leaves the crowd silently only to find the super star at his doorstep! The last scene was most touching and I was reminded of the Krishna-Sudama episode. The friends share a piece of peanut brittle (chikki) and the super star positions himself as the guardian for all his friend's children.

Apart from a very peppy number by Daler Mehndi, the rest are hard to even remember. The costumes for the songs were amazing but the songs were totally unnecessary and unwarranted in the film. Nayantara as Rajni's co-star was far from any kind of acting except for showing off her bod.

The story of Sudama (Kuchela) was one of many favorites as a child. To see it brought to the silver screen was a delightful experience. Some of our cousins, aunt, and uncle who were visiting us couldn't believe the fan following in America!

Book Review : Diplomatic Baggage: The Adventures of a Trailing Spouse

Kim — Sun, 27 Jul 2008 09:41:54 EDT

As a Trailing Spouse to Egypt, this was a book recommended at an Inter-cultural training session that I attended.

I am glad I waited 2 years to read this book (I might have been terrified of the move) although I'm kicking myself for spending money on it, even though I got it at a discounted price on Amazon.

I got carried away by William Dalrymple's (an author I greatly admire) review of it: "Brigid Keenan, is a new comic genius.... very, very funny"

Later in the book, I figured out that he spent time at their house in Damascus, while researching his book From the Holy Mountain.

Why did I hate the book so much?

Except for the last chapter, the author was constantly whining and groaning about the hardships that life had tossed at her. This after choosing to marry her husband of her own free will, knowing the kind of job he did and loved that it would take him to obtuse corners of the world. It was a fully informed decision that she took. Even spending some days with him, in what she calls a "chicken shed" in Kathmandu before deciding to marry him.

She constantly whines about everything from the help, to the kids, to her husband, to location.... in short, she whines about -Everything.

The life of a Diplomatic Trailing Spouse is much easier than that of other Trailing Spouses. Accommodation, household help, office help, everything is put in place before the diplomatic family even arrives at their new location. Brigid's grouse is that some of the other European embassies provide more services to the spouses than her husband's European Commission ambassadors office does.

She promotes herself as a glamorous, successful young London fashion journalist, but later in the book accepts and acknowledges that her children were the worst dressed in their school.

I do not know Brigid personally, but what I read in her this autobiography of hers, made me think of her as a spoiled, over indulged wife who can never find anything positive and good in life.

Granted she had a few scares like the maggots that got under the skin and had to mature and grow and eat their way out, but those kind of experiences were less than you could count on one hand. For the most part, she was preoccupied with how to find white gloves for a 6 fingered servant in India and wondering why there was no association to put beggars to sleep the way Animal friends do it for animals! At the same time brushing aside her daughters experiences with pedophiles and exposers as casual asides.

Brigid has written about Kashmir's art and crafts and co authored a book on Damascus; which may be worth looking at, but Diplomatic Baggage is not a book you want to buy or gift a friend who is going to be a Trailing Spouse, not unless you want them to cancel all plans and send their spouse to live abroad on their own.

List : The Definitive Geeta Dutt

Ritu Chandra — Wed, 23 Jul 2008 02:57:31 EDT

20th July 2008 marked the 36th Death Anniversary of Geeta Dutt. A small tribute to the memory of this enchanting songstress.

It is difficult, almost unsettling to think of Geeta Dutt as a shriveled septuagenarian(what she would have been if she were alive). Time stopped aging her voice long before she actually passed away in 1972. Even today her voice represents a youthful joie-de-vivre that can lift anyone out of the bluest of blue moods. Her sad songs have an aching vulnerability that makes one want to weep for her and with her. And her richly-layered bhajans are strangely soothing. No other singer could traverse such a complex range of emotions with the ease and spontaneity that Geeta Dutt did. In addition to the richness in expression, her was voice was rich in tonal quality, robust and sweet quite like a juicy Dasheheri mango!

Despite all these qualities, today she is merely a memory in the history of Indian film music. Slotted early in her career as a 'club song' singer, Geeta unfortunately got stuck in the very mold that she created for herself with such blazing individuality. Couple this with her own battles with the bottle, failing marriage to film-maker Guru Dutt and a lackluster approach to her career, Geeta Dutt faded away, much before her times.

Yet, her small repertoire is dazzling to say the least. This list more than amply strengthens the belief that God sends all good things in limited editions.

Note : Click on the link to view the video of the song

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1. Tadbeer se Bigdi hui Taqdeer Banale (Film : Baazi(1951); Composer: SD Burman; Lyrics : Sahir Ludhianvi) The seductive and persuasive strains of the guitar, SD Burman's path-breaking western treatment of Sahir Ludhianvi's ghazal, Geeta Bali's energetic screen presence and Geeta Dutt's vibrant singing, the dice had no option but to roll in favour of this 'Baazi'. 'Tadbeer se Bigdi' was the greatest attraction of Baazi and the audience went to see the film in repeat mode only to witness the magic of the two Geetas.

2. Thandi Hawa Kali Ghata (Film : Mr and Mrs 55(1955); Composer: OP Nayyer; Lyrics : Majrooh Sultanpuri) Raju Bharatan, the much maligned film music critic, summed up the effect of Geeta Dutt's voice in a rare moment of clarity- "'Geeta Dutt was thandi hawa and kaali ghata rolled into one. The moment she came, you got the refreshing feeling of aa hi gayi jhoom ke. There was a rare swing in her voice. She hit you like a thunderclap"
What more can one say to recommend the freshness in this song other than to say that the effect on yours truly is without fail '....naache jiya ghoom ke' .

3. Aaj Sajan Mohe Ang Lagalo (Film : Pyaasa(1957); Composer: SD Burman; Lyrics : Sahir Ludhianvi) Guru Dutt's innovative idea of using a vaishnav bhajan to depict the purity of the romantic situation in the film, was ably supported by his wife's singing. Geeta brings a very human yearning to her rendition and yet keeps it sublime and other worldly like a true bhajan. Geeta Dutt's interpretation of bhajans was very distinctive. Whether it is 'Tora manwa kyon ghabraaye' or 'Na mein dhan chahun' or our chosen 'Aaj sajan mohe ang lagalo', she blends the sensual with the sublime seamlessly. This is true to the sufi tradition whose texts abound in erotica that couples with spiritual fervour. It can be argued that if Meerabai made a time-travel trip to the 50s and 60s she would have sung in the voice of Geeta Dutt!

4. Ankhiyan Bhool Gayi Hain Sona (Film : Goonj Uthi Shehnai(1959); Composer: Vasant Desai; Lyrics : Bharat Vyas) The classic Geeta chutzpah brims over in this duet with Lata Mangeshkar. The coy and docile heroine being teased mercilessly (or praised to the heavens) by a bunch of giggling sahelis is one the staple daal-roti situations done to death in hindi film songs. Yet, Geeta's sweet and wicked take of the situation makes this song a standout. Note the way she sings 'Sona' in the first line. This song also represents the female-female genre of songs of which Geeta has many memorable examples like Bachpan ke din, Jaanu Jaanu Ri, Thandi Thandi Hawa , under her belt.

5. Koi Chupke Se Aake (Film : Anubhav(1971); Composer: Kanu Roy; Lyrics : Kapil Kumar) The soft, romantic type of songs flowered in Geeta's melodious and expressive voice. Geeta's singing in Anubhav demonstrates how much she still had to offer even at the fag-end of her life. In the chosen song, she is soft, teasing, whimsical, romantic all at once and the ever so slight tinge of pathos in her voice highlights the enigma that was Geeta Dutt.

6. Babuji Dheere Chalna (Film : Aar Paar(1954); Composer: OP Nayyer; Lyrics : Majrooh Sultanpuri) The slow and sensual club song is Geeta's comfort zone. She could sleep-walk through those kind of songs. Yet, this one stands out for hitting all the right notes at once. The measured sensuality, a hint of vibrancy, a slight edge in the voice and a full throated bass-heavy tone all combine to make this OP Nayyer composition into a classic club song. OP Nayyer composed a slew of such songs for Geeta and later Asha Bhosle. Aayie meherban could be considered the successor to his body of work with Geeta.

7. Mera Naam Chin Chin Choo (Film : Howarah Bridge(1958); Composer: OP Nayyer; Lyrics : Qamar Jalalabadi) This irrepressible upper is arguably Geeta's signature song. The swing in her voice can get even the most languid of people out there up and jiving. It is high energy, peppy and brimming with the joie-de-vivre that is the quintessential Geeta Dutt.

8. Nanhi Kali Sone Chali (Film : Sujata(1959); Composer: SD Burman; Lyrics : Majrooh Sultanpuri) From the seductive to the soothing - the transition is as smooth as butter. The synergy of the Majrooh-SD Burman combination and the nurturing vocals of Geeta Dutt make this lullaby from Sujata as one of the most memorable loris created for Hindi films.

9. Waqt Ne Kiya (Film : Kagaz Ke Phool(1959); Composer: SD Burman; Lyrics : Kaifi Azmi)A brooding film-maker, his honey voiced wife, the beautiful actress and the inextricable mess of their liason - Life was a pre-scripted tragedy for the Dutt couple. Kagaz Ke Phool was Guru Dutt's semi-autobiographical magnum opus that immortalised his personal situation. Kaifi Azmi's lyrics are poignant, SD Burman's tune wistful, but it is Geeta's singing that stirs up the storm of emotions. The songs aches with nostalgia. The travesty of time and the indelible stain that it leaves on the soul is universal. Rare is the person who looks back at his life and does not wistfully discover.... 'hum rahe na hum' .

10. Na Jao Saiyan (Film : Sahib Bibi aur Ghulam(1962); Composer: Hemant Kumar; Lyrics : Shakeel Badayuni)
The character of Chhoti Bahu in Sahib Bibi Aur Ghulam is undoubtedly one of the greatest written for mainstream Indian cinema. Meena Kumari immortalised the tragic Chhoti Bahu with a stellar performance. Anguish, devotion, desire, self-disgust, rebellion and a repressed sexuality every little facet that constituted the complex character of Chhoti Bahu comes to life in this song. When Geeta Dutt poignantly mentioned that this song represented her own emotions rather than that of the film's character, Chhoti Bahu, Meena Kumari and she all fused into the same person. This song is a fitting finale to the list.

See Also

Upperstall Profile : Geeta Dutt

Raaga : Geeta Dutt songs

Geeta Dutt : Biography

Note: This is an edited version of a longer article. The complete article along with some pictures can be found here

The God in Small Things

Ritu Chandra — Wed, 16 Jul 2008 00:13:25 EDT

I went for a walk to the waterfront today. Ever since, I moved to New Jersey, the waterfront has been a high-point of my summer life. The delightful discovery of its existence right behind my apartment complex was a moment of serendipity. The waterfront is a cosy little park, hidden behind a giant industrial storage area. The 'water' it faces is a narrow causeway that is used to ferry ships across to the various ports that dot this region of Jersey. It is a quiet place, with a small deck, some recreational facilities and a walking path alongside the reeds that mark the shores of the waterway. An evening walk at the water-front is the best way to get my spirits soaring and my friends..... smirking.

"So, did you visit your nala recently?"
"It's not a nala, it is a waterway"
"Are you considering cross-channel swimming?[smirk, smirk]"

The modest nature of its existence, its limited clientele and my exuberance over something this modest is the main cause of mirth amongst the blimps I consider as friends. My humble waterfront is no Atlantic City boardwalk after all.

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Robin Bhai is my dear 'internet' friend and fellow music lover. He and I have spent many delightful keystrokes debating over our musical proclivities. We usually arrive at a somewhat amicable agreement on most points... except one.

"Jaidev is far superior to Laxmikant Pyarelal (LP), Robin Bhai"
"

How? Jaidev has the music for barely 50 films to his credit, LP have 500."

"But the 400 of those films have pedestrian music"

"Yet they have 100 worthwhile ones. That is still more than Jaidev’s entire output"
"

Where is 'Allah Tero Naam' or 'Bansuriya Man Har le Gayi' in that count?"

"How many times can you admire a single dazzling goldfish in your little pond? The larger lake throbbing with marine life is likely to give more pleasure.

"Not if 90% those fishes are a dull grey in colour"

"One needs to appreciate the sheer effort required to build an edifice of 4000 songs"

"I can acknowledge it but I only appreciate genius"

“But there is a genius in numbers”

"Quality"

"Hits"

"Class"

“Elitist”

Thump

Alt-Ctrl-Del [That was Robin Bhai btw]

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My visit to the Valley of Flowers was my first real brush with spiritual India. The Himalayas are home to sadhus and babas of various hues. Little shrines dot the mountains and devoted men of God look after these shrines with an asceticism that seems to flow into anyone who spends time at those heights. I had a pleasant encounter with a twinkly- eyed baba who looks after a small hanuman shrine at the entrance to the valley. He invited us to his tent for a visit. I spent a rewarding hour sitting around the fire, sipping sweet hot tea and listening to fascinating tales of the mysticism of the mountains. As we left, I made a modest offering at his altar and my gesture was met with heartfelt wishes for my well-being. I came away feeling richer.

Two days later I am down in Haridwar, just in time to catch the famous aarti on the banks of the Ganga. Chaos, crowds, confusion. Someone pulls at my hand. "Pooja karni hai madam", another man jostles with him "aap log mere saath aaiye madam". A third man, a fourth, a fifth.... 'Madam!’… ‘Sir!’... 'Hello’... I want to scream.

Jostling with the crowds I find a footing on the banks of the river just as the aarti starts. A spectacular moment unfolds before my eyes. The fire in the lamps held aloft by the priests light up the dark waters of the river in a celestial glow. With the aarti over, I put my sentiments and some money into a little pooja contraption ready to offer it to the river. I reverentially hand it to the pandit who has finally won the battle to our clientele.

'Sirf itne rupaiye madam?". [Is that all mam?]

As I let my contraption with the little diya float down the river, the only thing that throbs in my mind - How will we get out of this chaos?

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The aarti on the Ganga at Haridwar is a much sought after experience. The five minutes during which it is performed are undoubtedly magical and uplifting. However, those five minutes of a higher experience come packaged with fifty five minutes of strife, chaos and frustration. The effect is all but diluted. In direct contrast, the little shrine up in the mountains does not provide any spectacle, only quiet reflection. Yet, the serenity and sense of purity surrounding the place strengthens its impact. The experience lingers till long after.

The tussle is between the established and the obscure, the grandiose and the unassuming. The established side of the line packs any well known entity(place, monument, art, idea etc.) that has built a reputation based upon the testimony of a huge section of the population. The ‘obscure’ comprises of little known entities that offer limited but potent enjoyment. The famous, is usually famous because there is some larger than life element associated with it. The reputation of the 'established' is in essence its aura. For e.g visitors to Taj Mahal are of three kinds - first that admire the Taj, second who admire the fact that they visited the Taj and the third who don't care. The famous usually attracts all these kinds of people. And that is what proves counter-productive for them.

The profusion of humanity at the doorstep of such entities dulls their aura. When so many people jostle for a share of the pie, everyone gets only a minuscule nibble. Little known places on the other hand hide only a slice of life, but to the traveler that seeks them, they generously hand over the entire slice. These places offer a sense of exclusivity, ownership and discovery. The experience is unadulterated and satiating.

I often wonder, if the sense of discovery of a modest entity is so rewarding, imagine the exhilaration of the explorer who discovers a grand edifice. How would Hiram Bingham have felt when he discovered the grand Machu Picchu or what was Neil Armstrong's state of mind when he set foot on the moon. (We all do know how Archimedes felt in his moment of Eureka in the bath tub). The first sip of the nectar that the cosmos offers to those who discover its secrets must have nirvanic potency. Yet, this effect starts ebbing with each subsequent sip and for long established wonders; it is nothing but stale wine.

For many who derive pleasure from reading, art, traveling or discussing ideas, evaluation is an enjoyable exercise. Take for instance the Desert Island concept. The process of choosing a set of artists whose work you would like to be marooned with provides an interesting insight into your own proclivities. What will sustain you for longer? A set of ten works all rated 5/10, or only one that is rated 9/10? Which artist do you rate higher? The one who creates a large body of work with more indifferent and some excellent output or the one who creates a smaller body of work mainly with excellent output?. Will you give credit to an artist for being prolific or will you take credit away for indiscriminate prolificacy?

Over the years I have discovered I belong to the tribe that gravitates towards the unassuming. I will gladly choose the one 9/10 work and devour it to it's minutest nuance. The artists I revere are the ones have a smaller but individualistic repertoire. The places I frequent are far from the maddening crowd.

At the end of the day, a rose in the garden is magnificent in its preening glory yet it has to be shared with the world , the small wild-flower that pops it’s head out from the undergrowth, is all but mine. There is a certain romance in obscurity, the romance of discovery. The world might run after the rose, but the nectar in my life comes from these tiny wild flowers.

My God - he lives in the small things.

Play Review: Lucknow 76

Tanay Behera — Mon, 7 Jul 2008 10:45:24 EDT

Few months back, Dr.BD had made a post on Lucknow, depicting few panoramas of the city sitting in a roof top restaurant relishing gorgeous food.

But why did this topic come into picture, the connecting chord is 'Lucknow', a city that I have never visited but have read about it and also heard lots about from my room-mate who graduated from IIM Lucknow. Last weekend, I was at Alliance Francaise de Bangalore, to watch a play titled 'Lucknow 76'.

The plot of the play was based on politics and history, shifting between two time frames of 1876 and 1976 looking at Lucknow city through the eyes of the common man. 1876 was a milestone for the Britishers, as that was the year, when Queen Victoria took over the command from the East India Company. 1976 was also significant in history because during that time, the once proud democracy, India was under the clutches of tin pot dictator, Indira Gandhi who had declared a state of Emergency as the Prime Minister of the nation.

So that reasons out for the numeral '76' in the title of the play.

But then why 'Lucknow' and why not 'Delhi' or 'Bombay' or 'Calcutta' or 'Madras' or 'Bangalore'. Because the director and playwright of the play, Abhishek Majumdar (AM) had spent some part of his childhood in this city. During AM's visits to Lucknow, his grand uncle, a scholar of history and geology had inundated his mind with tales and chronicles about the city from an old bungalow.

Now back to the play and the players on the stage.

The stage was a raised platform, bare minimal in terms of setting. A collage carpet dressed the entire floor. A ziz-zag geometrically-shaped stool, an artistically designed bench on one corner and few cushions were all the props used during the various scenes.

The play began with the entire cast of actors on stage firing words arbitrarily, and this state of confusion continued until two characters working in a press chisel in. Soon an old madam editor of the press enters and they discuss the sabotage of press and free speech during the 1976 emergency.

The sequence of the scenes in the plot follows a pattern like they do in these aerobic classes, one step back and then one step front. So one scene from 1876 and then one from 1976 and the flow continues. You get me right.

A greater part of the play covered, the 1876 era and it was masterly role-played.

The three lead actors for this part were a Muslim revolutionary, a Brahmin Compounder and a brownBritish madam. Now how can a British madam be brown, that's because her father, a Brit and a general on duty in India had married an Indian woman.

As the play moves to Victorian India, fervent and fiery debates rise about nation and ruler royalty neatly animated by the revolutionary and the Compounder. Questions are tossed about one's dedication to one's own motherland, supporting indigenous medicines against propagating Brit medical practices for general welfare, the language in which Vande Mataram was written and likewise. Though the two characters share views that are completely opposite, the Muslim revolutionary considering the very presence of Britishers in their own land a bane, the Hindu Compounder considering it a boon but yet they are the best of friends. These two characters expressed their school of views with downrightness.

The character of the British lady who wants to study India through the eyes of the common man was also commendable. She seeks the help of the Muslim revolutionary to take her on tours to the local bazaars, to the river bed of Gomti, to the sectors where the natives of Lucknow live, and where the street dogs, the cattle and innumerable flies add to the bustle. She is also introduced to mouth watering local food: the Dum Biryani, Sheermal, Zamin Doz, Kakri Kebab, Shami Kebab, etc.

During one of their saunters, the Muslim revolutionary cracks a joke to the Madam, the dialogue piece of which goes like this: 'Madam, you know what, in Lucknow we have more varieties of kebabs than you have Britishers in that small island.'

Few of the dialogues were engaging and just got glued to my mind. 'In a war, its beliefs that fight, not people.' You see the contemporary relevance, it was then, and it is the same, even today and I don't know what will happen in future.

The 1976 half of the play was more of a disjointed and garbled commentary. The unprovoked detention of innocent people, the abuse and torture of detainees in jails, the forced vasectomy of thousands of men under the infamous family planning initiative, the cutting down of electricity supply to publishing houses and the censorship on press were portrayed tactfully. The highlight of the 1976 era depiction was the naxal interaction which was arresting in terms of energizing acting and dialogue delivery. This bit was in Bengali which I feel quite a few in the audience could not understand.

The scenes were as sensitive as was the dark period but to add some easiness in the air, subtle and clever jokes were cracked like 'it's difficult to understand the philosophy of philosophy' (pun on Indira Gandhi's intent for the Emergency) and about the 'Mango tree on the Moon'. (Can someone guess what was actually pointed at here, for the second bit, though I have my own version but not sure if it fits perfectly to the context?)

The lighting was dim for most of the time, mostly because events showcased on stage were from pages of history. A quiet whiskered man, sitting on one corner, strumming his guitar and lending his voice to few evocative songs in Punjabi and Hindi in his countrified voice made the audience travel through the lanes of Lucknow both in 1876 and 1976. The music was a one-man-show, full credits to this gentleman.

Though I am not a connoisseur in the theatrical aspects of sound, lighting, music but still arrangements on the whole for 'Lucknow 76', appealed to me. The only glitch that I could notice, many in the audience had was that many crucial parts of the play were enacted in languages that was not deciphered by all (around 75% of the play was in English and the rest 25% in Malayalam, Hindu, Bengali, Tamil and Kannada).

There were around 12 performers for this play, (sorry, I don't remember their names, and I even lost the play's brochure) and each of them performed splendidly. This play was supported by the Black Coffee Productions in aid of the Concern India Foundation. The director Abhishek is an engineering graduate from NIT Trichy, one of the best technical institutes in India and then an MBA from Delhi University, after which he entered into his professional life in Bangalore. But his heart was in theater, Abhishek won the Charles Wallace Fellowship and went to do a course at the London International School of Performing Arts for a year in 2006. A couple of months back he was awarded the Metro Plus Playwright Award by 'The Hindu'. In a couple of months he is heading to the UK again armed with an Inlaks scholarship.

Bon voyage and wish you all the best.

Movie Review: Jaane Tu... Ya Jaane Na

Mayuri Sharrma — Sat, 5 Jul 2008 13:45:43 EDT

For a while now, we’ve been scoffing at ‘Pappu’ because he can’t dance, saala. We’ve also sung along, soothing her by explaining ‘Kabhi kabhi zindagi mein Aditi…’ We finally get to see Aditi and her gang on screen in Jaane Tu...Ya Jaane Na, produced by Aamir Khan Productions.

Aditi a.k.a Meaow and Jai a.k.a Rats (Imran Khan) are best buddies. It’s plain for everyone around them to see that they are much more than just that and are made for each other. Everyone, except they themselves. When it is pointed out by friends and their respective parents, they laugh it off because Aditi dreams of marrying a ‘stud’, someone who is tough and aggressive, completely unlike how Jai is. And Jai dreams of marrying a soft romantic girl, completely unlike what Aditi is.

After making up their minds that they don’t wish to marry each other, they promise to set each other up with their desired mates. As they are pointing out various prospective suitors to each other at a disco, Jai spots a girl and it is love at first sight for him. Watching him falling in love with Meghna (Manjari Fadnis) releases dormant feelings that Aditi was so far unaware of. She goes ahead and gets engaged. Its only when they see each other with their partners do they realize that they actually feel far more than friendship for the other.

Imran Khan is a find! He rocks, and how! He rightfully fills the young, chocolate-boy slot that has been laying vacant for a while now. A natural in front of the camera, the fleeting scenes where his inexperience shows fit beautifully into the script and his character. He is confident; immensely talented and it was such a relief to see a fresh faced, normal and causally clothed hero who is such a change from the ripped bodies, chiseled faces, perfectly teased and moussed locks and designer - clothed debutant heroes we’ve had so far.

Genelia is pretty, sparkling, very spontaneous and livens up each shot. Just wished she had polished her Hindi and diction, though.

It was a pleasant surprise to see Jayant Kriplani and Anuradha Patel, on screen after so long, playing Aditi’s parents.

Ratna Pathak Shah playing Jai’s widowed Mum is a sheer delight and Naseeruddin Shah playing Jai’s dead father (tacked to the wall, in photo frame no less!) makes you guffaw with his clever lines.

The fresh faced youngsters who play Jai and Aditi’s friends are an immensely cute bunch, with a special mention to ‘Jiggy’.

Very interesting cameos by Pratiek Babbar (Smita Patil and Raj Babbar’s son) who though slightly awkward, has a laced with wit part, making you smile each time he comes on screen.

Sohail Khan and Arbaaz Khan’s amusing sudden appearances make you guffaw and wish they stayed on for a wee bit longer.

For a debut directorial effort, Abbas Tyrewala has done a good job. And he has the potential to improve with each future project.

The plot is nothing new and liberally dotted with clichés. What makes this film work is the brilliant casting, well-etched characters, controlled and effortless performances, believable and identifiable circumstances and the screenplay that keeps coming up with something surprising each time you think you interest might wane. With immensely hum able music (A R Rehman) and catchy lyrics (Abbas Tyrewala) adding to its charm.

My Rating ****

My very own Rating Chart.

* I want my money back + a fully booked and paid 3 month trip to _________(please fill in a destination of choice)

** I don’t want my money back even though I didn’t like the movie, but director/producer may please pay for my popcorn/samosa/parking.

*** Time and money both well spent!

**** Loved it!

***** Whistle, clap, even smile at irritating neighbor-who-kept-talking-on-cell phone, queue up to buy tickets again and extol virtues of the movie.

Book Review: The Art of Black and White Photography

Rajen Nair — Thu, 26 Jun 2008 13:15:13 EDT

Torsten Andress Hoffman‘s book The Art of Black and White Photography is a well-documented book covering the whole gamut of black and white photography. The book is a sort of tutorial described in simple terms with a lot of pictorial details thrown in.

The author shares his vast experience in the field of photography — a treasure trove of information and revelation to any photographer doing black and white photography. Though the book is primarily meant for those photographers specializing in B & W, there are many useful tips for photographers in general. What is unique about the book is that besides touching on professional levels of photography there are many useful tips for the amateurs.

Apart from dwelling on B & W photography, the author also focuses on image composition and capture, and on the digital workflow. He clears the misconception that analog cameras are better suited to shoot B & W by disclosing that recent cameras in the market based on high-end technology offering 12 to 22 megapixels are good enough for excellent B & W photography. Though the latest cameras have features to shoot in B & W, the author recommends shooting images in color and then converting them to B & W in digital workflow by using the grayscale mode or the channel mix in Adobe Photoshop.

He explains the importance of shooting in RAW mode for bring out the grey tones in B & W images and the advantage of allowing you to saving as TIFF files instead of JPEG. In analog photography, a photographer has to use color filters to get dramatic B & W images. Now with digital SLR cameras backed by advanced software such as Adobe Photoshop CS3, one can manipulate the images to get equally good results. The author also touches on other topics such as how to overcome clichéd photos, capture moods, create unusual perspectives, pictorial tension between elements, the play of forms, B & W from color and new features of Photoshop CS3.

The book is also useful in the sense that it caters to different applications of photography such as architecture, street photography, portraiture, surreal photography with stunning B & W photography. The book illustrates the elements of photographic language differentiating creative photography from random shooting. In the last part the author highlights the role of post-processing techniques using Photoshop CS2 and CS3.

In the final analysis, it must be said the book is able to deliver what it set out to achieve, so I would recommend this book to any serious photographer as a must read book.

George Carlin, Comedian and Cynic, Passes Away

Aaman Lamba — Mon, 23 Jun 2008 12:39:48 EDT

George Carlin left an impression like few other comedians or media artists. One felt one was experiencing a darkly humorous perspective on life that made one all the richer, while leaving one with a sense of wanting to change things - to make the joke truly a joke and not wry commentary on the establishment. The nature of anti-establishmentarianism is to view the state of things as flawed. It goes beyond cynicism in wanting to destroy the defective system, seeing that as better than perpetuating it.

George Carlin came of age, in the media sense, as it were, in the 1960s and 1970s, the time of Johnson and Nixon. The anger and frustration of the anti-war movement easily translated to a general distrust of the overall establishment, and Carlin was able to parlay that into numerous comedy routines, though not overtly anti-society in the early years. He was a regular celebrity in the sixties, a role he later repudiated, calling it 'living a lie'.

He built his onstage persona post 1970 around a framework of misanthropy and mockery, using social criticism and language to good effect. He saw himself as 'here for the show' and designed to entertain as he mocked what he saw as the continuing degradation of American culture. He became known asthe "the comic voice of the counterculture", going on to influence two generatins of stand up comedians. He was arrested for his "Seven Dirty Words" routine in 1972 at Milwaukee's Summerfest and charged with obscenity. He went on to be the first host of Saturday Night Live in 1975, but went off the air, as it were, taking a five year break, although airing the first few of his HBO specials in the period.

He provided voice-overs for children's series like Thomas the Tank Engine and Friends, and acted in films ranging from The Prince of Tides to Dogma, besides providing the voice for Fillmore, the psychedelic Volkswagen bus in Pixar's Cars.

He had a history of heart problems, and drug and alcohol abuse, for which he entered drug rehabilitation. He died of heart failure at the age of 71 in Santa Monica, California.