Tapish

भाग तीसरा

अपना नाम सुनकर लाजवंती असमंजस मे पड़ गई, और उसके कदम ठहर गए| कुछ भी सूझ नही रहा था | गर्मी में भी वह काँप रही थी| कानो मे शोर , ह्रदय मे बवंडर, दीमाग मे सुन्नपन, लाजवंती की हालत यूँ के काटो तो खून नही | कहीं अंदर से उसकी अन्तरात्मा ने उसे भाग जाने का निर्देश दिया , अब रुकी तो फिर कभी जा न पाएगी, पर हठीले पाँव चलने का नाम नही ले रहे थे |

छोटे ठाकुर करीब आए, लाजवंती की साँस थम गई| उसके कानो के पास, हल्की आवाज़ मे, प्रीति भरे स्वरों में, वह बोला, “प्यार होके रहेगा”

उसने तो फुसफुसाया था, पर लाजवंती को लगा जैसे सारे रेगिस्तान ने सुन लिया| एक एक शब्दांश था कोमल फूल-सा, पर मन मे गढ रहा था शूल सा| जब सहरा पे बारिश की पहली बूँद गिरती है तो कड़कड़ाती है, वैसी हालत लाजवंती की हुई| दोनो पीले मरूस्थल के बीच, गर्म हवा के आँचल मे ढके, यूँ तो कुछ क्षण ही खड़े थे, पर लाजवंती को लगा के एक युग बीत गया हो| रेत की तरह वह भी चारो दिशा फैल गई|

future testing2

testing

Future Testing

Testing again 😛 Seeing if ‘future’ posting works or not…typing this on 20th April but publishing it for 21st date…dekho…

Song Playing Right Now: Lata Mangeshkar, Manna Dey:Woh Chand Muskaya; From Aakhri Dao [03:16]

Tapish

भाग दूसरा

लाजवंती तब तक भागती रही जब तक वह अपने घर की दहलीज़ तक नही पहुँची| उसकी साँसे तेज़ थी, और गला सूख रहा था, पानी के खोने का डर मन को खा रहा था, लेकिन सब से ज्यादा हैरानी उसे अपनी प्रतिक्रिया पर थी – यह कैसा बवाल था, यह कैसा शोर था, क्यों उसका दिल ज़ोरों से धडक रहा था? उस नौजवन के प्रती यह कैसा आकर्षण था? एक क्षण ही तो उसे देखा था, फिर मन् मे यह कैसा भँवर? इससे पहले वह कुछ सोच पाती, घर के अंदर से आवाज़ आई:

“अरी ओ लाजवंती, आ गई तू?”

अपनी साँसों को रोकते हुए उसने वापस आवाज़ दी, “जी बापू” अपनी चुनर से उसने फटाफट पसीना पोंछा, और घाघरे की गाँठ को सीधा किया जो भागने से सरक गई थी| उसके बापू खोली के छोटे से दरवाज़े से झुकते हुए बाहर आए|

“कहाँ मर गई थी इतणी देर्?” उन्होने पूछा, मुँह सिकुडते हुए| “घड़े कहाँ है? पानी नहीं लाई? ”

Tapish

(This story is running on my main blog, Random Expressions; let's say this is the repeat telecast here)

तपिश
लेखक: दीपक जस्वाल

रात चुप चाप दबे पाँव चली आ रही थी | शाम की मधुरिम लालीमा अपनी आखरी साँसे गिन रही थी | दूर क्षितिज पर अब भी कही उसकी लौ फड़फड़ा रही थी, मानो अन्धेरे से अपने जीवन की भीख माँग रही हो | पर अंधकार, जाड़ों की मोटी शाल ओढे, कोहरे मे खुद को लपेटे, कालिख का काजल लगाय अपनी मस्त चाल मे आगे ही आगे बढा जा रहा था | पंछियो के साथ साथ , लोग भी अपने घरौन्दो की ओर तेज़ी से लौट रहे थे | उन मे से एक मै भी था | दिन भर की थकन से चूर्, एक लंबे भीड वाली दिल्ली यातायात की बस के सफर के बाद्, मन मे यही इच्छा थी के जल्दी से घर पहुंचुँ | ऊपर से सर्द हवा की गति भी बढ रही थी |

बस कलोनी के भीतर दाखिल हुई, मेरा स्टाप आने वाला था, दरवाज़े की तरफ जाकर मै खड़ा हुआ और अपनी जैकट को ज़ोर से कसा | यहाँ पर काफी एकल था क्योंकि यह वाला स्टौप कलोनी के भीतर था | रास्ते की सरकारी बत्ती की हल्की रोशनी मे धुन्ध लहराती हुई साफ दिखई पड रही थी | हाथ सुन्न हो रहे थे | लेकिन मेरा दिल जानता था के सर्दी केवल बाहर नही थी | मन के भीतर भी सब कुछ् जमा हुआ था ; वहाँ भी एक गहरा अन्धकार रोशनी को हरा रहा था | उसका कारण मै जानता था, लेकिन पह्चानता नही था |

An Old Post

Jealous?

I guess I am today plain grumpy or infinitely jealous or both. You can choose to ignore this post.

The phrase, ‘nothing succeeds like success’ hasn’t hit me hard for a long time the way it has done today! I read this report where Abhijeet Sawant has published his autobiography. I have nothing against Abhijeet; on the contrary, I am mighty impressed by his talent, especially his stage performance which I had a chance of seeing in Kathmandu last year.

But a book on his life, at this stage, is way too early by any yardstick. He has had only one album release and a couple of film songs. His real struggle in the tough entertainment business has not even started. One hit album doesn’t make a career. Hindi pop industry hasn’t really seen a sustained artiste till date. Even Alisha Chinai and Daler Mehndi, with quite consistently regular releases, couldn’t measure upto their earlier hits. It’s the film songs that are now nourishing their careers. Others like Suneeta Rao, Sweta Shetty, Peenaz Mesani and Sharon Prabhakar are forgotten entities!

Curfew Again

When I woke up today the curfew was on; and it will last till late evening. Yesterday, an aquaintance had called in to inform about it, but I had not paid any heed to his warning. Rumors are as much in abundance here as there are bandhs and agitations. As stated on my main blog a few days back, curfew does not affect me as such, except that the shops are closed.

Half awake, I had trudged to the neighborhood shop to buy milk, and that is where I got the news. Being in a by-lane, the shop was open; it is basically a 'dhaba' but keeps stock of milk, water, cigarettes and a few other daily use stuff. Thankfully, I have some basic cooking ingredients, so will manage the food part for today!

De Taali Badi Zor Se O Baby

When a friend told me about this song, I nearly reprimanded him: This can’t be a Lata Mangeshkar number, certainly not with these lyrics! But voila, what a surpise when I heard it! Most certainly, it was LM, and at her exuberant best!

This dance-with-me-rhythm is from an obscure film called Gehri Chaal, music by Laxmikant Pyarelal. After SJ, the duo have a distinction for providing the diva with some most challenging numbers – challenging with respect to her ‘known forte’ of songs viz the sad and love ones. If you recall, Hindi film’s finest cabaret is not by Asha Bhonsle (the undisputed queen of such songs) but by Lata Mangeshkar swinging her voice to a melodious tree painstakingly nurtured by LP in Inteqaam. Whether Helen does a concert, or any other star pays a tribute, or whether LM does her show, invariably ‘Aa jaane jaan’ gets a prime feature. But more on this bumper hit number later.

Spring 2006

Spring 2006

Originally uploaded by Deejay2005.

My New Story Promo

This story will be available on my main RANDOM EXPRESSIONS blog from Wednesday  19th April 2006 onwards!

Fanaa

Music Review

It’s after listening to the film’s music I realised how much I missed Jatin-Lalit’s music. Sadly, this will be their swan song as a team, with both partners splitting up officially – quite a first in music industry; even though Shankar and Jaikishan were composing and interacting with producers separately some five-six years prior to Jaikishan’s untimely death, still they held to “S-J brand” very closely, so much so that Shankar did not allow the hyphen to go even when he was left alone by destiny’s chilling hand!

In mid-nineties JL were there right at the top – with two back-to-back musical bumper hits (DDLJ and Kuch Kuch Hota Hai) and several other hits (Pyar To Hona Hi Tha, Jab Pyar Kisise Hota Hai etc), they were sitting primly at the peak – till differences arose. Their last notable release was Hum Tum, from the same team as Fanaa.

Fanaa is a good farewell gift from the duo.

The most interesting point is to see Sunidhi Chauhan shedding off her ‘item girl’ image, an avatar she

Bandh and Curfew

That pretty much summarises the last four days. It’s not that I had some huge work to do by roaming in the city; but, the curfews have resulted in shortages in essentials like vegetables and milk. Plus, of course the immense loss in business with most establishments, including restaurants, closed is a separate problem. 

Personally, the biggest hit has been food and entertainment. With the maid’s arrival erratic, one day of cooking means utensils piling up. Plus, as I said earlier, what to cook is the biggest question? The quality of basic stuff like tomatoes and onions is quite off-putting. Restaurants are closed, so I have to rely on a single near-by hotel for dinners once the curfew is lifted in the evening!

Entertainment was primarily watching films – and that is impossible now! Songs continue, however! 

Anyways, I will try to put up some thing better and more positive soon. Right now, the overall melancholic mood has permeated within. Meanwhile, the story progresses slowly; two last episodes are left, so that should be done during this week!

Chingaari

I admit I am not too well versed in Kalpana Lajmi’s cinema, and haven’t watched any of her films barring the refreshingly honest Ek Pal. My association with her is restricted to Lata Mangeshkar’s extremely eloquent ‘Dil Hoom Hoom Kare’ from Rudaali. Hence, I approached Chingaari with an open mind, and to say it left me cold is a major understatement. 

Chingaari is one of those B-and-C-grade films masquerading as an art film. It is a puerile and pathetic piece of cinema that has neither the content nor flow to captivate audiences. It seems Lajmi’s intention was to shock and sensationalise the audience without any care for aesthetics or form. 

Updates

Ever since my holidays started, 24-hour seem too less for me. The ‘deafening silence’ I mentioned here was short-lived. Overall, taking stock of the first quarter 2006, it has gone by in a blur of frenzied activities leaving behind small islands of quietitude. 

Well, coming back to my trip – it was, to summarize it in two words: sheer fun! I have developed a new-found crush for Delhi. So I roamed its wide roads like a smitten lover marveling at its infrastructural advancements and beauties. One reason is that since I didn’t have to go to office, I naturally avoided rush-hour traffic, which is the city’s biggest bane. 

My parents had to go to Punjab for a cousin’s wedding. So, for most parts I was again alone there. But there was a difference – living alone in spartan bachelor’s accommodation in Kathmandu is a far cry from staying in a full-fledged furnished house! 

Meeting friends was the key highlight. From the bloggers met Anz. Ashish was leaving the day I reached there, hence couldn’t meet him, but had a word with him over telephone. Other than this, there was some personal work to be done, which took up considerable amount of time. I have set a few things rolling – do await a major announcement here soon. 

Malamaal Weekly

Two things for which director Priyadarshan deserves standing ovation – a) he makes a film entirely around a village, that too a comedy and over that a very entertaining one b)he rejects standard ‘hero-heroine’ concept and allows so-called ‘character artistes’ to hold stage. In this, spotlight is on Paresh Rawal, Om Puri and Asrani, and all three assure that they do not loosen the film’s tight grip ever! For the ‘glamour’ part there is Riteish (this boy excels in such frothy roles!) and Reemma (seen earlier in a bland appearance in Hum Ho Gaye Aapke). But both are mere cogs in the wheel, wherein the steering is decisively with Rawal, Puri and Asrani! 

The story is pretty straightforward – a village that hasn’t seen much happiness, suddenly finds a Rs 1 crore-lottery winner amongst them, albeit a dead one! As claimants to money clamor in, so do the guffaws pile up, with some occasional sentimental moments, but overall pretty hilarious. 

The movie begins with some idyllic rustic shots replete with a ‘boatman’type background song. But once the characters are introduced (in Naseeruddin Shah’s booming baritone),it settles to a cozy humdrum – much like the village life – a bit of camaraderie, a bit of competition; a sliver of happiness, a slice of sorrow; and, a pinch of optimism, a dose of fatalism! 

Performances are A-class: it’s tough to decide who is better – Rawal or Puri; both are there in all scenes, and both make a formidable acting pair. To this, there is Asrani added. And of course, not to forget Rajpal Yadav, who is clearly in his full elements under the baton of his regular director! Arbaaz Khan in a brief appearance is good. But, Sudha Chandran (as the vile spinster ‘thakurain’) seems to have walked in from any of her K-serials- even the hideously loud make-up is the same!Riteish Deshmukh gets a small role, but I would still lay my bets on him as someone to watch out for. Reemaa (in back-less cholis) is adequate. 

Two more things for which Priyadarshan needs special attention – a full-on outlandish but nonetheless outstanding climax, much like his previous films Hungama and Hulchul. Not to be missed – Rajpal Yadav’s cycle ride in it – if that hasn’t have you falling off your chair laughing, then you seriously need medical help! 

Next is, Priyadarshan’s filming of rural ‘item songs’. Though the tune doesn’t live upto Hulchul’s ‘Lutgayi lut gayi Lanka Raavan Ki’, still the picturisation is similar – complete with jalebis getting fried and puris puffing up while a dusky lady in the most tantalizing ghagra-choli does her act!

Uttank Vohra’s music is barely there – only two songs within the film, and one during the end-credits. Needlessly to say, songs are not missed. 

The dialogues are delightful.

The negatives? Not many really, except that some might find the ‘glamour’ too lacking, and a pace a bit slow in today’s jet-age. But I enjoyed that. It’s tiring to see only the upside-city-life-slickness all time!  Perhaps, a defter editing could have made it pacier and slicker. But, then I guess Priyadarshan wanted it to be a langrous one that can be enjoyed on a lazy dull Sunday. In that respect, I think he is bang on target! 

Overall – Enjoyable!

Water

Music That Entices!

While the nation looses control over Rahman’s frothy Rang De Basanti score, his quiet and serene Water languishes away in oblivion. I am not a Rahman fan, but his few scores have really made an impact with me. Dil Se, Zubeidaa, Pukar, One Two Ka Four, Bombay and Lagaan are my favorites. A point to note – all the above are prior to his current phase where the stress seems to be more on beats, rhythms and sounds than tunes. So, listening to Water came as a very pleasant surprise; till the time I read somewhere that Rahman’s music for Water was scored way back in 2000. 

Anyways, whenever Rahman recorded these songs, they are beautiful! 

The music is very delicate, like a dew drop; as if touching it would soil its purity. At other times, it’s like a soft drizzle which sends a thrilling shiver down the spine. Instruments are used minimally. You can switch off the light, put on Water’s music, and soak yourself in sheer melodies – extremely relaxing, that’s what Water is! 

My favorite number – and I heard it five times on repeat mode after the first hearing – is ‘Piya Ho’ sung by Sadhna Sargam and Sukhwinder. There is this subtle rhythm which keeps flowing in the background, and a tune which cascades in its own curves in an unhurried pace; and over this Rahman places some riveting flute pieces so softly as if he is placing an expensive crystal over rich velvet – but then, that’s what this song is – bright as a crystal, soft as velvet! And it’s the tune which holds attention and not just sounds; a strong harkback to the old era of music. Oh yes, I have to mention the chorus which trails after the mukhda; it’s like a soft breeze which ripples over the tranquil river waters! If I am allowed to make one wish on this score, I would have loved to hear Lata Mangeshkar in this number!

Continuing the same mode, but switching theme to Meera’s unfulfilled love, is ‘Naina Neer Bahaye Mujh Birhan Ka Dil Saajan Sang Jhoom Jhoom Gaaye’ – quite similar to ‘Piya Ho’ but has a distinct rhythm and melody. Once again the able Sadhna Sargam at the mic, but this time she is solo. ‘Prem toh hai gangaajal jisme vish amrit bann jaaye’ writes new lyricist Raqeeb Alam. The song encapstulates unadulterated love, alongwith it’s underlying pathos. 

Sukhwinder returns, but with a trifle increased tempo in ‘Aayo re sajan sakhi’ – earlier I felt it resembled Sukhwinder’s own Kisna title song. But as the song progresses the difference is stark. In this number Sadhna Sargam joins Sukhwinder from mid-way. A lovely use of Indian instruments like santoor embellishes the song . The song is like the royal sea's tide washing over an expansive beach.

With these three songs itself, the album can be called a dizzying exponent of high-quality sweet music. But there are three more tracks remaining – like the silver vark on tasteful barfi! 

This album is definitely Sukhwinder’s crowning glory. Listen to him in yet another Lord Krishna-theme-based semi-classical song Bangri marori saiyan ne meri. I love the way the tune takes a sharp upward curve at the line ‘Radha ke gal-dori’

The next exquisite track is ‘MoheShaam rang de’ – a Holi number. This is a full-fledged masti song and the heart dances as the singers throw up a vocal flourish with ‘bajale zaraa dhol zor se’. The rang-bhang ka mausam is right at our doorstep now, and this number should be right up there – and it is such a relief after Rahman’s own horrible Holi number in Mangal Pande. This time the singers are Richa Sharma, Naqeeb Alam and Surjo Bhattacharya – and they create an ocean of riotous merry making with their voices. 

The last track is the famous Gandhian bhajan- Vaishnav Jan To sung by Kaushaki Chakraborty. This is a bhajan immortalized by Lata Mangeshkar’s rendition in the bumper hit album Ram Rattan Dhan Paayo. Rahman moves away a bit from the basic framework, and manages quite well overall. My bias will remain for Lataji’s version! 

Yes, this is not the score that will be played at parties and discos. But the difference lies exactly there – it does not set your foot tapping, but your head swaying in its lyrical rhythm. And it makes a place permanently in the heart. This is A R Rahman’s very best in recent times. 

Do grab it as soon as possible – and while you go to buy it, I will return to have another hear of ‘Piya ho’! 

Overall: Not to be missed; A Must Buy

Teesri Aankh

Years back Dharmendra acted in a film with same name. It had a ludicrous song that went ‘Superman superman’ with him and Zeenat Aman flying all across the screen, wearing capes et al; had the original Superman seen the number he would have hurtled back to Krypton that very instant in embarrassment. For good measure, that film also had a Lata–Kishore duet ‘O Babu humne toh pyaar kiya hai’. Now it’s the turn of his son to act in Teesri Aankh. But wait! Sunny Deol claims he is not the ‘hero’ of the film. Indeed, he is billed as ‘Guest Appearance’. Yet, he is the only person who is present in nearly every reel! Quite an ‘extended’ guest appearance, must say! 

Now, what to say about a film in which the hero has so categorically disassociated himself from? More than the film per se, Teesri Aankh is a perfect case study of how the mighty fall. A few years back Sunny Deol-Amisha Patel starrer would have been a hot property at the box-office – after all, Gadar-Ek Prem Katha was a bumper hit! Director Harry Baweja himself has had a pretty good innings – Dilwale, Diljale and Imtihaan were quite popular. And admittedly, Qayamat was a slick thriller. 

This film is yet another take on the pornography industry. However, it falls way short from Kalyug, despite having more recognizable faces. 

The story – Sapna (Neha Dhupia) is engaged to ACP Arjun Singh (Sunny Deol) and has her own amibitions. She aims to be a beauty queen and packs off to
London for the same. However, hidden cameras in her make-up room capture her nude photographs. The perpretator is Sudama Panday (Mukesh Tiwari). His own aides Dinesh and Dinesh are keen to oust him from the porn empire. They make a deal with Sapna to bring back all proofs against Sudama in return for her compromising CD’s and negatives. She does so, but Dinesh and Dinesh change stance and murder her. A speech-impaired production assistant Amu (Amisha Patel) witnesses the murder, who was inadvertently locked in the same studio where the crime takes place. Meanwhile, Arjun Singh has reached
London in search of his girlfriend, and to end the racket. Desperatly running for her life, Amu meets Arjun Singh and together they go about finishing off the villains! 

Oh yes, just in case you are wondering that if Sunny is in ‘guest’ appearance, who is the hero? Well, there is Ashish Choudhary playing a flirtatious film director, fiancée of Amu’s sister (Aarti Chhabria). That he has nothing to do with the main plot perhaps did not cross either the director or Sunny’s mind when they were putting up the ‘guest appearance’ billing for the latter! 

In between, the film is littered with references to some real life incidents like the Pune-landlord-case. And yeah yeah, Sunny gets to roar and howl a long speech on women, dignity, honor and Bharat Mata! 

There is nothing that can uphold the film. The director simply meanders away the story in jumps and jerks, fitting in flashbacks and songs at his whims and fancies without caring for flow or continuity. The latter aspect is particularly lacking – just see the way Ashish Choudhary’s stubble appears and vanishes within a span of few seconds! However, credit to Baweja for a very edge-of-the-seat studio sequence after Neha’s murder (when Amisha is on the run and the murderers are following her). Sadly, this is just a fraction of the film. In the rest, there are endless and mindless action sequences – where we have Sunny Deol pushing back a van with one single kick! Well, he has stopped a full train (Gadar), so a van is perhaps peanuts for him! 

About the title – as far as I understand, it implies 'the hidden camera' (as the extended title tells us); but if I am not too mistaken, 'The Third Eye' is always referred to in context with Lord Shiva and has positive connotations. Seriously, I refuse to believe it is used for voyeuristic purposes! Baweja seems to have got his mythology all wrong.

Last week, before airing Taxi 9211, the cinema hall was playing some atrocious numbers with corny lyrics that went – ‘Kudiyan nu parr lag gaye, mundaya nu darr lag gaye’ and ‘Assi tere gal karni, gal karni hai daddy naal’! How would I have known that they would be from this film! And all of them simply come on without context or utility. I was a bit surprised to hear Asha Bhonsle in this third-grade venture in the item number ‘Sharaabiyon’. 

The worst song placement is Jazzy B’s number – it comes bang in the middle of a chase sequence. Probably, it was at Amisha’s insistence, since being a speech impaired girl she could have had no other regular number, and in this song  – please don’t jump from your seats – Jazzy B imagines that Amisha is singing with him!!!!! 

Sunny Deol looks old with a prominently visible paunch and puffed eyes. Plus, that hideous wig (or hair weaving) hardly helps. His performance is tired. 

It’s a bit too much to expect from Neha Dhupia to act. But, sadly she doesn’t even get to do what she is best at – yeah, despite the theme, there is absolutely no skin show! In one scene, when Mukesh Tiwari shows her ‘her pictures’, the camera concentrates on Neha’s shocked expression instead of playing voyeur. It might be a unique experiment. But please, Baweja Saab, you really didn’t believe Neha’s contorted face would be audience’s interest, did you?

Ashish Choudhary, Aarti Chhabria and Ayub Khan hardly have any roles to speak of. So, it remains for the petite Amisha Patel to hold the balance show precariously. She manages quite well. And looks fresher than what she did in some of her recent flicks! 

Oh yes, I have to mention this – I saw this film in the theater! In the entire hall there were barely fifteen viewers – even though Nepali cinema hall crowd is not the exact barometer for a film's success, still it speaks volumes about its box-office fate!

Overall: Ha Ha Ha Ho Ho Ho!

Taxi No. 9211

A day in the lives of Mr. Wood and Mr. Grumpy (with Ms. Hefty thrown in) is what sums up this short but fairly interesting film. Milan Luthria moves several notches upwards from Deewar and Chori Chori, but does not still encompass the flourish exhibited in his debut Kachhe Dhaage.  In principle Taxi 9211 is much like that film- two men from extreme strata of society meet, and their destines intertwine making them realize about some harsh realities of life. 

The story is quite nice, and I won’t reveal it here leaving the viewers to discover it – that’s the fun of watching the film. 

As a film, it is not a spectacular work – neither ostentiously esoteric nor overtly compelling. Much of the film is left back in the theaters like the thrown away pop-corn packet. There is nothing urging enough to go back to stand in ticket queues to have another look. Yet, there is nothing wrong with the film while it unspools its content on screen. In fact, time passes pretty fast in theater. 

Milan Luthria is competent in building up tension – especially the chase/run sequences. The thrill is evident in majority scenes. Plus, keeping the length close to two hours was his major USP – he makes it beefy enough cutting out loose fat. Also, the script works hard on the two protagonists – character delianation, in, what is primarily an action film, is strong, yet subtle and seething. 

Performances are good – and Sonali Kulkarni, playing a typical Maharashtrian housewife, is the best, followed very closely by Nana Patekar. Scenes between the two are the most interesting ones. Though Patekar retains his grumpiness, yet he manages to put in such subtle facial expressions that only a seasoned actor can portray. A small example – do watch the scene carefully when John is pushing him to drive the taxi faster. Just a small twitch on the face conveys Patekar’s fear of fast speed excellently! 

John Abraham and Sameera Reddy are quite ok. But what in good heavens has Reddy done to herself – she looked stocky and overweight! 

There is a small surprise packet in the end. After Sameera’s ‘heavy’ presence, this surprise comes as a breeze of fresh air.

Production is extremely slick; dialogues are pithy; music fits into the narrative (though that scream in background score jars the ears); and cinematography is A-class – shot entirely in Mumbai, it gives a remarkable collage of the city. Sanjay Dutt’s voice-over in the intial scenes gels well. 

Overall: Good Timepass

Rang De Basanti

This review was written the same day I saw the film, which was on 4^th February. But seeing the overwhelmingly positive reactions for the film didn’t have heart to publish it. Till the time I told Anubha about its existence. She reprimanded me for not putting it up and reminded me that on my blog I had complete right to write whatever I felt. True, perhaps I have been playing to the gallery quite a lot, and taking ‘the popular’ tag a bit too seriously than warranted. Thanks Anubha for the reality check! 

Blame it on the huge expectation – but fact is I found Rang De Basanti just about ok, a different film, but just about that. Somehow it couldn’t involve me into its narration. There were too many incoherent details which left me cold – some were minor quibbles regarding Delhi’s depiction: why the hell did Sonia (Soha Ali) take Sue via Red Fort if they were going to University from Delhi Airport?  There is a much shorter and convenient route! And then, that was clearly not anywhere close to Delhi University for sure! It was India Habitat Center passed off as DU! 

Even though Rakeysh Mehra struggles to deploy a conventional story telling format, he is unable to fully discard the now-standard jump-cuts and fast-track editing styles; at few crucial points these neo-modern techniques crop up horrifyingly. The post-interval lathi charge scene is one prime example. Instead of gripping the audience in a tight-fist and knocking a solid punch, he shows a collage alternating between slow-motion and hazy movements with a dull song in the background. The entire sequence’s steam, whose build-up begins with Ajay Rathod’s death, dissipates away like a pressure cooker rudely taken off the burner! 

Cochin Capers – Part Two

Conference Day Two – Deepak Rao

Second day conference was similar to the first one except the number of people nodding off increased! The only time I was fully awake and terse was when Nepalese agent’s presentation was on. It went off well without any hitch – thank God! We had been editing it till the last coffee break. 

Roshan Abbas’ stewardship was excellent. He liberally peppered it with jokes and anecdotes. At one heavy point, he made everyone do a few basic ‘bhangra’ steps to the tune of ‘mohe mohe tu rang de basanti’. It was a sight to see ungainly firangis go through the motions! He even managed to keep the proceedings on time, cropping off coffee/lunch breaks wherever needed.

The highlight that day was ESP and mind-reading show by Deepak Rao (reportedly, actor Amrita Rao’s father). After the announcement was made, just before lunch break, every one mused on what it was going out to be. During the break, we were asked to write our name and one personality we loved/idolized on a piece of paper and drop in a designated box. (I joked to a few close friends: no one really needs to be a mind reader to know the personality I will choose).