Sahir was the only songwriter and lyricist for whom the songs succeeded on the merit of his words alone, on the power of his poetry. His words had a ‘persona of their own.’ The tune and the melody followed in what was quite unprecedented, and his name appeared ahead of the composers, in the posters.
Hindi poetry was somehow missing, and the gap was so admirably filled by the great Shailendra, followed later by Kavi Pradeep and Neeraj.
Regardless of who wins the Academy Award for Best Foreign Language Film on Sunday, we refuse to think in terms of borders. We believe there is no best country, best gender, best religion or best color. We want this award to stand as a symbol of the unity between nations and the freedom of the arts.
The Hindi belt exists in twin extremes- there is a Hindi high culture represented by what is known as Hindi literature and there is Hindi pulp. In a largely semi-literate context, Meerut publishers filled the gap with their embrace of the popular/filmy/Bazaar language.
पलायन, अकेलेपन और बिना किसी सांस्कृतिक चेतना के भटकती आबादी को फूहड़ फंतासी परोसकर पैसा कमाने की होड़ मची हुई है. फिल्मों और म्यूजिक एल्बमों में कोई फर्क नहीं रह गया है. बदलते दौर की भौतिक चमक-दमक को तो भोजपुरी सिनेमा खूब दिखाता है, पर सामाजिक-सांस्कृतिक मूल्यों की जड़ता से नहीं भिड़ता. वह एक बड़े विभ्रम का शिकार है. इसी विभ्रम में वह सतही फिल्मों को ‘लिट्टी-चोखा’ और ‘माई की बोली’ के आवरण में परोसता है.
La La Land already plays like an awards show, before it’s won any Academy Awards – it’s a tribute reel, like one of those clever end-of-ceremony acts where Neil Patrick Harris does a song and dance and brings the house down. It’s a white male American dream, a story where the alternate version of what happened to the characters is just as persuasive and powerful, and a lot more glamorous, than what we just saw happening. It’s La La Land.
When I read your speech, I thought that you should have given some more examples of bullying, particularly by those who are/were in power, and they have abused or continuously abusing that status. Let me add some to that. You may not like those examples because they are related to some of the powerful who you love, like and have campaigned for.
The serious police officer of Ardh Satya can play the menacing villain of Narsimha and the comic Ahuja of Jaane Bhi Do Yaaron with ease. Some of the best works of Indian Television, Bharat Ek Khoj, Tamas, Kakkaji Kahin etc. have his footprints. His talent was duly rewarded in the forms of many national and international awards as well as with enduring respects of audience. Om Puri’s deep voice accompanied by the intensity of his acting left a lasting impact. His distinct tone has been employed in numerous commentaries and voice-overs.
There has been an attempt in the movie to display the emotions of love and friendship from a gender perspective. Although this is not effectively portrayed in the movie, the actor has done a decent job in conveying the message of a patriarchal mindset.
Begum Akhtar was no ordinary singer. Sarojini Naidu praised her that she was brilliant; the legendary Gauhar Jaan predicted she would be a great ghazal singer. And much later, as she became a household name with her sublime voice and mellifluous singing, she remained humble, though moody and unpredictable.
All you need is love, he cried and the troops ardently responded ‘She loves you; yeah yeah and with a love like that you know it can’t be bad’. However the tremendous motivation of love was no match for the might of the Mughal army and ultimately it came down to a one on one match up between the father and the son.