Shyam Benegal: A Filmmaker Of Substance
Shyam Benegal: The director who defied stereotypes!
(The article was first published in Dash Magazine, New Delhi, October, 2007)
Shyam Benegal has dared to enrich cinematic landscape by making movies loaded with radical ideas. For example, in his movie Ankur he was successful in giving the impression that it’s not impossible to to turn the tables in society dominated by feudalistic perceptions. The movie successfully portrayed that awakening among the common people would alone bring revolutionary changes. His movies mainly centered around social and political dilemmas. His movie Manthan, which went on to win National Film Award for Best Feature Film in Hindi in 1977 was based on White Revolution of India (Operation Flood). Interestingly, the story was penned by none other than Dr. Verghese Kurien, hailed as the Father of the White Revolution in India.
One can notice that Shyam Benegal was a sensitive filmmaker moved by the plight of the underprivileged. His movies dealt with the power of common man and his ability to emerge successful in society governed by anti-human tendencies. In movie Manthan we find that poor farmers in Gujarat, learn to rise above individualistic tendencies to form the Co-operative Milk Producers’ Union. The film highlights the impact of caste-politics found in Indian villages.
Smita Patil In Bhumika!
This maker of New or Alternate Cinema chose to flirt with complex themes in a masterly way. His movie Bhumika dealt with trials and tribulations of a woman in search of suitable place for herself in society dotted with so many prejudices. Smita Patil once again played her part perfectly to highlight the various shades of Usha, the movie actress in love with various men, even with a married person much older than her age! One of the best things about Shyam Benegal is that he not only explores bold themes but also at the same time keeps experimenting with the style which sometimes makes us remind of Satyajit Ray. Nishant, Mandi and Suraj Ka Satvan Ghoda (1993) prove that point quite well. Interestingly, Suraj Ka Satvan Ghoda is a novel penned by well known Hindi writer Dharmavir Bharati, who hailed from Allahabad.
As a matter of fact, he tried to force viewers to don the thinking cap by bringing to the fore various shades of problems plaguing the society. He helped many actors, including Smita Patil and Naseruddin Shah, to name a few, to carve a niche for themselves in the world of realistic cinema. However, having said that, let me state that directors of Parallel cinema are responsible for failing to interpret the mood of viewers with the changing times. Though it’s an uphill task to project complex themes in lighter vein, the art to present complex themes in a palatable way has to be learnt by the movie-makers. This has been learnt quite well by directors like Shekhar Kapoor and Kundan Shah but most of them have struggled to give way to flexibility.
It’s a harsh reality that satellite channels and Doordarshan have been held hostage to a variety of cheap entertainment- all in the name of catering to the taste of new generation. To bring a change, it’s necessary that art filmmakers learn to blend their serious themes with interesting styles. Needles to state that Shyam Benegal has the capacity to set a good precedent in this regard as well.
A Movie Based On Novel Of The Same Name Written By A Writer From Allahabad!
Suggested Reading:
Shyam Benegal: http://www.sscnet.ucla.edu/southasia/index.html
Pics Credit:
In Conversation With A Great Writer: Discussion On Impact Of Movies With Sunanda K.Datta-Ray
Sunanda K.Datta-Ray: One of the writers who impressed me!
The Indian cinema would complete 100 years of its glorious existence this year. It’s a fitting occasion to discuss the impact of movies on average cinema-goers. The Indian movies have always created deep impact in shaping the psyche of a large section of people. Sometimes back I had an interesting discussion with Sunanda K.Datta-Ray-the Editor of The Statesman (Calcutta and New Delhi) and contributor for the International Herald Tribune and Time Magazine- about the impact of movies. In fact, he was so impressed with my views that he asked me as to why I did not send it to The Telegraph ( Kolkata Edition) for publication for whom I was a regular letter contributor in those days. The discussion is of paramount importance in wake of centenary milestone achieved by the Indian cinema this year.
The discussion, which took place in year 2006, was centered around movie Lage Raho Munna Bhai, directed by Rajkumar Hirani and produced by Vidhu Vinod Chopra. The character played by Sanjay Dutt in this movie had the capability to interact with spirit of Gandhiji. The movie turned out to be a blockbuster besides restoring the faith of common people in simple gestures conveying heartfelt emotions. What an irony that the actor who taught us Gandhigiri is now about to face imprisonment after being convicted in the 1993 Mumbai blasts case!
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My Viewpoint:
This has reference to the article” Following Fashion“ published in The Telegraph (Oct.07,2006). Though Lage Raho Munnabhai, due to pompous and pretentious treatment of its theme does no justice to Gandhian ideology, it can be safely stated that such movies come to stir the hearts and minds of an average person. After all, parallel cinema with complex presentation fails to strike a chord with man on street. What’s important is that inherent message must reach to the masses.
No doubt, well made commercial movies do not respect sense of proportion yet they leave an indelible impression on inert souls. Vidhu Vinod Chopra should be complimented for defying stereotypes with interesting version of serious issue, which provoke us to do some soul-searching. Regarding Gandhism it can be safely stated that the country which has not been able to showcase Gandhi’s ideals in real perspective does not deserve the right to probe their utility in such a casual manner. It’s better that we learn to anticipate Gandhism with the right bent of mindset instead of mirroring it in our prejudices.
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I too interacted with him at the Global Village 
Viewpoint of Sunanda K. Datta-Ray:
Thank you for your message. I greatly appreciate your comment but wish you had sent it instead to The Telegraph for publication so that there could have been a wider discussion. Such examination and analysis are necessary. No one could be happier than I if the film do have the effect you mention. My fear is that while no one will actually act on the principle of the dharna outside the Lucky’s house, lots of people will repeat catch phrases and that Gandhigiri will be exploited in many commercial ways. My internet already has a pop up about Shabana Azmi practicing Gandhigiri years ago!
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About Sunanda K. Datta-Ray:
Sunanda K. Datta-Ray has been a leading Indian newspaperman and journalist for half a century. He has been Editor of The Statesman (Calcutta and New Delhi) and has also written for the International Herald Tribune and Time Magazine. He was Editor-in-Residence at the East-West Center in Honolulu. He was Editorial Consultant to Singapore’s The Straits Times newspaper. Datta-Ray also worked in Singapore in the mid-1970s with S.R. Nathan. After The Straits Times, Datta-Ray was a supernumerary fellow ofCorpus Christi College, Oxford.
Datta-Ray returned to Singapore in 2007 to work on book with Lee Kuan Yew at the Institute of Southeast Asian Studies[7] based on a series of one-on-one conversations and a host of classified documents. The book was published in 2009 as Looking East to Look West: Lee Kuan Yew’s Mission India and won that year’s Vodafone Crossword Book Award.
Source: Wikipedia
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Suggested Reading:
Sunanda K. Datta-Ray: Following Fashion- An Article Published In The Telegraph, October 07, 2006.
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The movie that introduced Gandhigiri!
Pics Credit:
दीप्ति नवल को हम हमेशा, रैकेट चलाने वाली के रूप में नही, वरन एक बेहद प्रतिभाशाली अभिनेत्री के रूप में याद रखेंगे।
हम आपको हमेशा एक बेहद प्रतिभाशाली अभिनेत्री के रूप में याद रखेंगे।
दीप्ति नवल प्रकरण से मुझे काफी झुंझलाहट हुई। ये समझ में आने लगा है कि मीडिया का स्तर ना सिर्फ रसातल में चला गया है बल्कि ये अब किसी के साफ़ सुथरे दामन में कीचड पोतने का सबसे कारगर तरीका बन गया है। नहीं तो मीडिया को क्या जरुरत थी कि इस बात को प्रचारित करने कि दीप्ति को आख़िरकार “प्रोष्टिट्यूशन डेन” से मुक्ति मिली। जबकि मामला सिर्फ ये था कि उसने अपना पुराना घर कालोनी की सोसिएटी के कर्ता-धर्ता लोगो की बदसलूकी की वजह से छोड़ा जो उसकी निजता का सम्मान नहीं कर रहे थें।
दीप्ति नवल ने शायद बातो ही बातो में अपना दुखड़ा किसी पत्रकार सें क्या शेयर किया कि उसकी बाते तोड़ मरोड़कर मीडिया की सुर्खियाँ बन गयी। आप कह सकते है कि ऐसी बात चश्मे-बद्दूर के दौरान होने का सीधा सा मतलब ये है कि फ़िल्म को प्रमोट करने का ये स्टंट भर था। इस सरलीकरण के पीछे तर्क सिर्फ ये हो सकता है कि पब्लिसिटी कैसी भी हो फलदायी होती है। तो क्या एक समर्थ अदाकारा के इतने बुरे दिन आ गए कि चाहे सही में या झूठ में उसे अपने अस्तित्व के लिए ऐसे खबरों के दम पर निर्भर रहना पड़े?
माना कि ये भी एक कडवी सच्चाई है कि फ़िल्म एक्ट्रेस या एक्टर्स को बुरे दिनों में हर तरह के समझौते करने पड़ते है लेकिन ये स्वीकारने में बेहद तकलीफ है कि नियति ने दीप्ति को भी गलत राहो पर धकेल दिया। दीप्ति की कठोर प्रतिक्रिया मिलने के बाद ये समझ में आ रहा है कि ऐसा कुछ भी नहीं जैसा मीडिया दर्शा रहा है। ये मीडिया का सुर्खिया बटोरने की कला का नमूना भर था। दीप्ति नवल हमेशा साफ़ सुथरी फिल्मो में बहुत शशक्त अभिनय के लिए ही याद रखी जायेंगी। ये वाकई कलियुग है कि कोई किसी के उजले चरित्र से कुछ सीखता तो नहीं लेकिन उसके उजले दामन में कालिख पॊतने के सौ बहाने ढूंढ लेता है। ऐसे पत्रकार जो दूसरों की बदनामी पर पलते है ऐसे लोगो को पत्रकारिता जगत से बाहर कर देना चाहिए। इनसे पत्रकार नाम से उपजने वाले समस्त सरोकारों से कोई सम्बन्ध ना रखने दिया जाए। अगर मार्कंडेय काटजू कि बात माने तो ऐसे लोगो से उनके पत्रकार सम्बन्धी लाइसेंस को खारिज कर देना चहिये। बहरहाल पत्रकारिता के नाम पर जो तमाशे हो रहे है वो दुखद है।
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Kundal Lal Saigal: A Singer Who Sang Like A Divine Being
K.L. Saigal: Invoking Sound Of Heaven
Some souls are reflection of divinity. The great singer Kundal Lal Saigal was one such soul, who manifested divinity in a great way. In fact, true artists are never devoid of divine touch. Creativity cannot emerge from mental landscape not submerged in ocean of divinity. I belong to a generation, which believes in worshiping new icons of modernity. For them these legendary creative artists of yesteryear might not seem that appealing but anyone who have had glimpse of their creativity would certainly stand amazed.
The noticeable thing about K. L. Saigal was that he managed to sing straight from the heart. This phrase seems so commonplace but not many realize that how difficult it is to demonstrate it in practical terms. That’s because shades of ego block our ability to exhibit true colour of simplicity. The complex persona creates blockade. One reason why K. L. Saigal could stir the emotions was that deeper emotions were so naturally rendered by him without compromising with the raga and raginis.
It’s really surprising that at a time when Indian film music was still in its nascent stage of growth, it traced such a sensational singer, which set high standards in world of popular music, hard to emulate by future singers. The influence of his voice can be understood by the fact that even likes of Amitabh Bachchan came to praise him. The singers like Lata, Rafi and Kishore, all treated him like demigod. Mukesh, was, in fact, very sincere follower of his style of singing, who found it difficult to develop his own style. After mesmerizing everybody with his “Dil jalta hai to jalne de”, sung in Saigal style, Mukesh went on to develop his own style of singing.
His impact can also be felt in crude way in modern times when someone made caricature of his voice to sell a particular brand of toothpaste! Of late, I found one singer paying tribute to him in infamous movie Delhi Belly! Not many remember that Kishore Kumar treated K L Saigal as his Guru (The Master). He always practiced singing his songs and when he first met Saigal, he was asked by the legendary Saigal to sing a song. He sang one of his songs ” Man moorakh kyo deewana hai, aaj rahe kal jaana hai”. Saigal was very impressed by his singing but he suggested him that he should remove “Anga Dosha” (defects associated with body). Kishore used to sing with vigorous body movements also in action! Though Kishore Kumar did not strictly followed his advise but he managed to keep his body still while singing songs of Saigal in later days!
Coming to myself, I have nearly heard all his popular numbers. His songs instill deep peace within me. His amazing range and soulful rendering enabled me to get above the harsh episodes of life in effortless manner. His song sung during the fag end of his career, “Gham Diye Mustaqil” (Shahjahaan, 1946), always brings tears in the eyes. The superb rendering, which also reflected his own personal sufferings, makes one attain trance like state. Another song, which left an everlasting influence on me is from movie Tansen (1943): Kahe Guman Kare. Every time I hear it, the simplistic approach adopted by Saigal in this song makes me smile. After all, the singer is trying hard to convince a beautiful woman not to take pride in her beauty!
I still remember the day when I found a very rare album of Saigal in one lesser heard music shop of my city. That shop was not frequently visited by the buyers since the shopkeeper was not customer-friendly, who always had heated argument over the price of cassettes. The fight also started with me when he priced this cassette three times the original price on a pretext that it was a rare album. Though I had not sufficient money, I still managed to buy this album! After all, it had a soothing devotional song associated with Lord Krishna: Suno Suno Hey Krishan Kala ( Chandidas, 1934). One can notice in this song that Saigal has sung high notes in effortless manner, without compromising with the depth of the emotions.
It’s a peculiar phenomenon that souls, governed by divine instincts, often leave the earthly plane of existence in an young age. K L Saigal also proved to be no exception when he died at the age of 42. The lesser souls speak about his habit of heavy drinking but that’s the way how worldly people treat exceptional souls. For me and others, he shall always be remembered for making songs a mean to invoke divinity.
Reference:
Pics Credit:
Yash Chopra: A Filmmaker In Love With Illicit Relationships And Flawed Romance
Yash Chopra: The Filmmaker Interested In Flawed Romance
I have never been die hard fan of Yash Chopra’s movies. His romantic angles mired in illicit relationship always left me appalled. He was a noted filmmaker having Midas touch for conceiving interesting themes, hinging around three people in one single relationship, either due to providence or chance. His penchant for such complex relationships, on par with illicit love affairs, could be gauged from the fact that barring his early years of film making when he made gems like Waqt, Dharamputra, Ittefaq, Mashaal, Trishul, Deewar and Kala Patthar, nearly all his movies in later years depicted adultery in one or other form. It can be safely opined that his movies, both explicitly and implicitly, promoted illegal relationships. That’s pretty unfortunate as filmmaker of his caliber should have been more sensible in application of his mind.
He had the brilliant ability to present romance with all its elements in grand style. The grandeur and colourful imagery noticeable in his movies takes away our breath. It’s true that average cine-goer likes to flirt with unfulfilled dreams and wishes as he/she enters inside the theater, and tries to dissolve the harsh realities in the silken world appearing and disappearing on the silver screen. Any average filmmaker is not very much interested in exposing his viewers to shades of realism. Yash Chopra understood this well and so in his movies we have characters, borrowed straight from Mills and Boon novels, flirting with their ladies against scenic backdrop. No wonder Swiss government honoured Yash Chopra for promoting tourism in Switzerland!
To make his romance stories gain some substance, he was but compelled to fall in the arms of “illicit relationship” so as to provide some shock value to his films. However, he lacked the ability to seriously contemplate over any issue, which demanded deep attention, but in the same genre his brother B R Chopra exhibited the art of serious presentation in an effortless manner. That’s why B R Chopra’s “Gumrah”, having adultery as central theme, depicted the conflict emanating out of such relationship quite well. Yash Chopra’s movies based on the same plot stand nowhere to pathos exhibited in Gumrah. Yash was more governed by the desire to emerge as a successful director in the genre of popular cinema despite being person of immense capabilities. He was a pure entertainer, who used “arrival of third person” as perfect masala element to make his movies mint money. That’s why we cannot contrast him with likes of Raj Kapoor. He failed to attain the stature of Raj Kapoor, who was also governed by the desire to emerge as great entertainer but with a difference: Raj’s sensitivity always managed to find a suitable cause, which under his brilliant directorial treatment ripped apart our emotions. In fact, lot is said about depiction of grandeur/ style in his movies but Gulshan Rai and Feroz Khan stand miles ahead of him even in this department.
Now That’s Called Candyfloss Romance!
Let’s take into cognizance “illicit relationship” – a dominant feature of his movies. He should not have roped in this angle unless he had enough reasons to substantiate his viewpoint. For instance, let’s take “Darr” promoted as a violent love story. What was Yash Chopra trying to demonstrate? That Sunny Deol (husband) has to be equally cunning, powerful and mad like Shah Rukh Khan (lover) to save his wife from the shrewd moves. The greatest irony is that evil gets checkmated by good doesn’t sound convincing in the end when evil enjoys the upper hand, dancing with some else’s beloved for most of the time. One of the salient features of movies made by Yash Raj Films has been that one has to be shrewd and street smart to emerge as a winner. Idealism is of little use in world dominated by market-oriented world, wherein end justifies the means. That’s the guiding principle of protagonists appearing in “Trishul” and “Deewar”. Aditya Chopra’s “Dilwale Dulhania Le Jayenge” highlights the same trait. The protagonist even as he is reluctant to run away with his beloved, enters into ridiculousness and pathetic gestures to woo his would be wife. The success of this movie is remark on the declining standards of a viewer’s approach towards cinema.
That’s the aberration which marred the movies churned out by Yash Raj Films. The movies having candyfloss flavour, embedded in synthetic sentiments, depicted a section of society, which barely depicted the real face of India. For instance, Salaam Namaste was entirely shot in Australia, talked about reunion of two lovers, caught in problems born out of “laid-back lifestyle”. Hum Tum, Mohabbatein, Dil To Pagal Hai and etc. turned out be old wine in new bottle. Even patriotic perceptions were effectively used in ”Chak De India” to keep the cash box ringing. The point is that Yash Chopra and his successors have realized this pretty well that market forces and not the theme of the movie, which ensures success or failure. The global world, which made the boundaries meaningless, opened new markets, and, therefore, themes also got focused on people who sustained these markets. Both Bollywood and Hollywood rely on stereotyped emotions to make their movies emerge as blockbuster. So scenic landscape, stunning faces, big cars and pulsating music became the essential ingredients of romantic movies be its made by Yash Chopra or anyone else from Hollywood.
Some might find it unpalatable, and unbearable as well, to treat his movies as promoter of illegal relationships. However, it’s not a misplaced belief when one becomes aware of the fact that cinema, life and society are intimately linked to each other. Chandni, Dhool Ka Phool, Kabhi Kabhi, Silsila, Doosra Aadmi, Darr, Faasle, Lamhe, Daag, Aaina, Yeh Dillagi and Mere Brother Ki Dulhan to name a few, more or less, had controversial themes, wherein secret lover or illicit relationship added a complex twist to the story line. It’s a cliche to state that cinema borrows its concept from society. The ultimate truth is that it borrows the clues from society, exaggerates them, turning them into saleable scripts and, in the process, creates scope for more distorted themes. In a combined research conducted by the ” American Medical Association, the American Psychological Association, the American Academy of Pediatrics, the American Academy of Child and Adolescent Psychiatry and the National Institute of Mental Health” to establish the negative impact of movies on youths in USA, it was clearly established that “just as every cigarette increases the chance that someday you will get lung cancer, every exposure to violence increases the chances that some day a child will behave more violently than they otherwise would.”
The point is when you are genuinely depicting the harsh realities of life, be it centered on illegal relationship, it adds a new dimension in your understanding but when you use such themes to carve unrealistic presentation, merely to ensure commercial success, it’s altogether a different story. Yash Chopra was more conscious of commercial success then ensuring a perfect treatment to a substantial story line. Ironically, Mahesh Bhatt also used illicit relationship as effective plot but he ensured that he remained close to the real life. Anyway, Yash Chopra makes me realize that attaining success is different thing than doing good work which makes difference in lives of people. He got success by promoting flawed romance, which served no greater cause other than ensuring flow of money.
Illicit Relationship Looked More Charming In His Movies
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शैलेन्द्र: मायावी जगत को अर्थ देने वाला एक बेहतरीन गीतकार
सिगरेट का कश लेते शैलेन्द्र अपने मीत राजकपूर के साथ!
फ़िल्म का चलना या ना चलना एक अलग मसला होता है. मूल बात ये थी कि फ़िल्म वास्तव में कैसी बनी थी. तो तीसरी कसम वाकई अच्छी बनी थी. लेकिन ये बात जरूर है कि इस फ़िल्म ने शैलेन्द्र को ये बता दिया कि फ़िल्म जगत उन जैसे सीधे अच्छे लोगो के लिए कभी नहीं बना था. इस फ़िल्म ने उनके करीब के लोगो के चेहरे से मुखौटे को हटा दिया. शैलेन्द्र के नजदीकी लोगो की बात पढ़िए आपको पता चलेगा कि किसी ने शैलेन्द्र के लिए मुफ्त काम नहीं किया. सब ने पैसे लिए. दूसरी बात मै इस बात से इत्तेफाक नहीं रखता कि राजकपूर ने हीरामन के किरदार के साथ न्याय किया. वो इस वजह से कि राजकपूर जिस परिवेश में ढले थें, उनकी अरबन इंस्टिंकट्स (urban instincts) बहुत बड़ी बाधक थी इस किरदार की जरूरतों के साथ. ये शैलेन्द्र की सबसे बड़ी गलती थी राजकपूर को इस रोल के लिए चुनना.
ये अलग बात थी राजकपूर एक अच्छे अभिनेता थे. सो उन्होंने भरसक कोशिश कि अपना सर्वोत्तम देने कि लेकिन आप इतने बड़े मिसमैच को कैसे पाट सकते थे. सो आप ध्यान से देखे राजकपूर को इस फ़िल्म में आपको उनके अभिनय में नाटकीयता जरूर दिखेगी. तो मेरी नजरो में ये एक बड़ी गलती थी शैलेन्द्र कि जो राजकपूर को उन्होंने लिया. इस बात पे गौर करना आवश्यक है कि मुम्बईया सिने जगत में ग्रामीण जगत को या भारत के गाँवों को कभी भी यथार्थ स्वरूप में परदे पे लाने की कोशिश नहीं की गयी. सब में गाँव के नाम पर मसाला तत्त्व डाला गया. जैसा मिसमैच राजकपूर का तीसरी कसम में था वैसे ही नर्गिस का मदर इंडिया में था. ये अलग बात है दोनों अच्छे कलाकारों ने जान डाला अपने अभिनय से पर वास्तविकता से तो दूर ही था ना.
तीसरी कसम: भारतीय फ़िल्म इतिहास में मील का पत्थर
खैर बात तीसरी कसम की हो रही है. तीसरी कसम और साहब बीवी और गुलाम दोनों फिल्मे साहित्यिक कृतियों पर बनी है. तीसरी कसम फणीश्वरनाथ रेणु की कहानी “मारे गए गुलफाम” और साहब बीवी और ग़ुलाम बिमल मित्र के इसी नाम के उपन्यास पर बनी थी. एक तो हमारे हिंदी फ़िल्म जगत में साहित्यिक कृतियों पर फिल्मे बनाने का चलन नहीं और बनती भी है तो मूल कृति के साथ न्याय नहीं करती. सो दोनों फिल्मो का कृति के साथ लगभग पूरा सा न्याय करना बहुत संतोष प्रदान करते है. हा मेरे जैसे जाहिल जो मूल कृति को पढ़ कर फ़िल्म देखने की भूल कर बैठते है वो ये हमेशा जानते रहते है कि पढने में कृति के बहुत से पक्ष उभर कर आते है. परदे पर मामला बहुत सीमित हो जाता है. पर तीसरी कसम, गाइड, साहब बीवी और ग़ुलाम, परिणीता, काबुलीवाला कुछ एक ऐसी फिल्मे रही जिन्होंने मूल कृति के साथ बहुत अत्याचार नहीं किया.
चलते चलते शैलेन्द्र के बारे में कुछ कहना बहुत जरूरी है. शैलेन्द्र जैसा बेहतरीन इंसान फिल्मो की दुनिया में आने की गलती कर बैठा पर इनकी इसी गलती की वजह से हमे इतने अच्छे गीत सुनने को मिले. मेरे ये सबसे पसंदीदा गीतकार है और इनका कोई भी गीत चाहे वो “टूटे हुए ख्वाबो नें” या “दुनिया बनाने वाले क्या तेरे मन में समाई” या “तेरे मेरे सपने अब एक रंग है” आपको एक दूसरी दुनिया में ले जाता है. पर रूहानी ख़ूबसूरती से लैस इस बेहद नाजुक मिजाज इंसान को तीसरी कसम के बनने के दौरान पैदा हुई कडुवी सच्चाइयो ने आखिरकार इनको विशाल अजगर की तरह नील लिया. पैसा ही खुदा है या पैसा ही ईश्वर है इस दुनिया का इनके नाजुक ह्रदय पर गहरा आघात कर गया. फिर भी दुनिया शैलेन्द्र जैसे सुंदर आत्माओ की वजह से अस्तित्व में रहती है, दुनिया रहने के काबिल बनी रह पाती है. श्वेत श्याम सी जिंदगी में रंग भरने वाले शैलेन्द्र ( August 30, 1923 – December 14, 1966 ) को मेरी तरफ से विनम्र श्रद्धांजलि.
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वर्तमान हिंदी फिल्मी गीत यूँ कि जैसे ढेला खाए कुत्ते की चीख पुकार
मुकेश: आत्मा से उठती आवाज
कल सत्ताईस अगस्त को महान गायक मुकेश और ऋषिकेश मुखर्जी दोनों की पुण्यतिथि थी. दोनों ही उस सादगी का प्रतिनिधित्व करते है जो आजकल के दौर में लुप्तप्राय सी हो चली है. मुकेश आत्मा में डूबकर गीत गाते थे तो ऋषिकेश दा आत्मा में डूबकर फिल्मे बनाते थे. जाहिर है इन दोनों के संगम के बाद आनंद की उत्पत्ति होनी ही थी. इस गहरी सोच को जन्म लेना ही था कि जिंदगी कैसी है पहेली. जब ऐसे लोगो कि याद रखकर हम आज के दौर में नज़र डालते है तो आनंद दुःख के सागर में विलीन हो जाता है. आज के गीतों को आप सुनिए तो लगता है जैसे किसी ने कुत्ते को ईंट का ढेला खीच कर मार दिया हो. या कोई कुत्ते का गला दबा रहा हो. या सूअर के बच्चे को बोरी में बंद कर के कही ले जा रहे हो! अजीब सी ध्वनियाँ की बोर्ड और ड्रम बीट्स के मिलन से पैदा की जा रही है जिनका कोई मतलब नहीं सिवाय इसके कि युवा कदमो को नाईट क्लब में झूमने में आसानी हो.
आश्चर्य इस बात पर है कि ये सब तमाशा प्रयोगवाद के नाम पर स्पांसर हो रहा है. इस में बहुत से मूढ़ लोगो को आधुनिकता का सम्मान सा होता दिख रहा है. आप इन गीतों की आलोचना कर के देखिये तो आपको समझाया जाएगा, आप के अन्दर इस बात को जबरदस्ती ठूंसा जायगा कि वक्त बदलता है और बदलते वक्त के साथ कदम मिला के चलना ही अक्लमंदी है. तो बदलते वक्त कि मेहरबानी क्या है देखे तो? ऐसी वाहियात बोल और धुन कि आप लाख सर पटक ले आप बहुत बार सुनने के बाद भी सही सही ना समझ पायेंगे कि गीत में आखिर है क्या. पहले जहां गीत सर दर्द की दवा की आवश्यकता को कम करते थे आज इन दवाओं की बिक्री में सहायक है. एक बात तो तय है कि आज के गीत मार्केट के हिसाब से बन रहे है और मार्केट पे युवा हावी है तो गीत भी इनके टेस्ट के हिसाब से भड़भड़िया हथौड़ाछाप हो गए है. फिर गीत मार्केट में आये नए म्यूजिक सिस्टम के हिसाब से बन रहे है.
ऋषिकेश मुखर्जी: सादगी की अनमोल विरासत
अब ये बताये जब गीत इस प्रकार से जन्म लेंगे तो इनमे आत्मा को छूने की ताकत क्या ख़ाक पैदा होगी? इक्का दुक्का अपवाद गिना देने से कि साहब ये देखिये फला ने कितना बढ़िया काम किया है से काम नहीं चलने वाला. ये बात सही है कि हर युग का अपना अलग रंग ढंग होता है, एक अलग मिजाज़ होता है, अपने प्रतीक होते है इसके बावजूद भी ये साबित नहीं किया जा सकता या ये महसूस करने के बहुत कारण नहीं है कि आज के हिंदी फिल्मी गीत उत्कृष्ट कोटि के है. भाई जस्टिफाय करने वाले तो गालीनुमा शब्दों के समूह को भी गीत साबित कर देंगे तो क्या साबित कर देने से गीत एक अच्छे गीत या सिर्फ गीत की श्रेणि में आ जाएगा? आज के गीतों को सुन के ही समझ में आ जाएगा कि गीत पूंजीवादी संस्कृति के संरक्षक है और मुंबई के मंडी में बैठे दलालनुमा दिमागों की उपज है. तो ऐसे गीतों से तौबा जिनसे दिमाग का दही बनने में जरा भी देर ना लगे.
शाम के धुंधलके में बैठे हुए मुझे तो आनंद का ये गीत “कहीं दूर जब दिन ढल जाए” याद आ रहा है जो मै मुकेश और ऋषिकेश मुखर्जी को श्रद्धांजलि स्वरूप भेंट कर रहा हूँ और ये महसूस कर रहा हूँ कि हम ये कहा आ गए है.
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Not failing to remember a mad singer Kishore Kumar
Miss You Always
The lovers of this singer, like always, would pay customary tribute to this multifaceted singer Kishore Kumar on his birth anniversary, which falls on August 4. It’s really strange that people ignored in their own life times or, for that matter, people who get subjected to humiliation of all sorts while they are alive, attain exalted position after death. It’s pretty hard to analyze the behaviour of worldly souls. Kishore Kumar, attained legendary status during his life time. Nothing strange, after all, he was actor, singer, producer and director par excellence. He did full justice to the various roles he came to play. Let me state that I am not much impressed by folks working in world of cinema but then how can I ignore some real good souls, who provided this fascinating medium a great height? Above all, I feel it’s need of the hour to resurrect the images of people grossly misunderstood in their own life times. That’s the most ideal way to pay tribute to these great souls.
Kishore Kumar was fully aware of nuisance created in his name. That’s why he openly confessed that “world hails me as mad but I feel that world has gone mad. I wish to make it clear that I am not that mad as assumed by some sections of the society.” He was really hurt by the gossip stories, shared by the pervert minds behind his back. He always wondered what made people enter in falsehood and cheap stories about a person whom they knew nothing much other than that he was a good singer? Anyway, I must say that such gossips and stories tell less about him but revealed lot about the mindset of persons involved in them. “When you judge another, you do not define them, you define yourself.” (Wayne Dyer)
This theory that he was mad was circulated by one lady journalist, who had come to take his interview, living alone at that time. To prove his point that he was not all alone, Kishore introduced this lady journalist to trees and flowers, whom he treated as best friends. This lady presented this gesture in all wrong way suggesting that he spent long evenings with his arms entwined around them! One can imagine how simple facts get twisted to create bizarre stories about this very simple and honest person, trapped in the deceptive world of cinema. He always cursed himself that he became part of this medium, which survived on cosmetic gestures. It’s amazing that many know him as money crazy soul, forgetting the cruel gestures of producers who made him sing the song but never bothered to pay in time. When he introduced tough measures to ensure timely payment he was declared money crazy. That’s so nasty, isn’t it?
He was in many circles accused of not taking enough care of Madhubala. Well, very few knew that he was not only fully aware of her fatal disease when he came to marry Madhubala but also spent 9 long years with a bed ridden wife, taking her care in all the ways possible. All this he did amid many professional obligations, which in crazy world of movies, had to be fulfilled in time. Talking about cause of his separation with one of his wives, actor Shammi Kapoor, revealed that Kishore was not entirely wrong in divorcing his wife. After all, if the wife remained away all the time, on one pretext or another, is there any point in staying with that wife?
Let’s acknowledge his singing abilities. He was so humble could be gauged from the fact that he had no shame in accepting that he knew nothing about singing and thing like classical singing was beyond his singing ability! Contrast this remark with remark of R D Burman who said that “Kishore’s voice was the best voice for songs having classical touch”. When he was asked to sing “Mere Naina Sawan Bhado” he had refused to sing it, stating that it was a very tough song not on par with his vocal chords. Anyway, he made Lata to sing it first and then came to sing it just the way sung by Lata after rehearsing her version for many days. The famous Ghazal Singer Pankaj Udhas, throwing light on Kishore’s sense and sensibility, said,” We know Kishore as man capable of singing fun-filled songs in great style. However, Kishore also sang some very serious numbers. That’s ample proof of the fact that inside his child like heart, there were traces of deep seated sadness.” The celebrated Bhajan singer Anoop Jalota feels that such a great singer appear once every 500 years. According to him, a singer should be a good actor to do full justice to any movie song. That’s the reason why Kishore not only sang well songs picturized on him but also sang to such perfection songs picturized on other actors that it appeared as if actor himself was singing the song. The unusual range of his vocal chords could be known from the very fact that on one hand, he sang “Ek Chatur Naar“; on the other hand, we find him singing “Koi humdum na raha” with such sadness that it fills our heart with deep pain.
In the end, it would not be out of tune to say that let’s stop judging the worth of creative souls via our limited perceptions. These creative souls are often very sensitive souls, who reside on higher plane of thoughts. Our limited understanding of them and their works often leaves such soul in great pain. Instead of highlighting our ignorance, it’s better we truly honour them by taking care of their great works in a genuine way. I can hear Kishor Da singing “Hum Laut Aaayenge Tum Yun Hi Bulate Rahana” (I would surely return..Just keep on calling me back). So do you hear my calls, Kishore Da?
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Rajesh Khanna: The Earthly Superstar Who Now Became A Star In The Sky
Anand Never Dies!
The passing away of Rajesh Khanna makes all sensitive souls very sad. He should have lived for some more years on this planet. In India, they say people used to live for more than 100 years in ancient times. The people are dying at a very young age nowadays. We have been witnessing the passing away of creative souls at frequent intervals since last year- Jagjit Singh, Shahryar, Ravi, Shri Lal Shukla, Shammi Kapoor, Hanuman of modern times Dara Singh and now Rajesh Khanna. It appears that heaven badly needs creative artists to entertain its own residents, and thus, be it a singer, writer or actor, all are slowly getting placed in heaven one by one. Anyway, the death of Rajesh Khanna makes me realize that death is really the great leveler. It leaves none. It cares a damn for stature.
Rajesh Khanna provided death a new meaning in his timeless classic movie “Anand”. The movie highlighted the theme that death is an insignificant drama. However, today when he has passed away, it’s pretty hard to keep emotions in check. The Hindi movie landscape’s first superstar has now become a sweet memory as the presence now gets limited to magazines, books and movies. I really don’t know what are the elements involved in the making of a superstar but I am aware of the fact that his charishma in 70s left both young and old spellbound. Male newborns got named Rajesh, a new hair style came into existence and the frenziness found in every woman’s heart attained new height. The arrival of angry young man Amitabh Bachchan soon eclipsed the magic of Rajesh Khanna, but by then Rajesh Khanna image has attained some sort of immortality.
The early phase of all great actors had been a roller coaster ride. Rajesh Khanna proved to be no exception. The leading actresses of those days refused to work with him and well known directors failed to take note of him. His early movies did not create a desired effect. When Shakti Samanta narrated him the story of Aradhana, he noticed that Rajesh Khanna did not seem to be much impressed. After all, it was a female oriented movie, in which the hero died during the middle of the movie. It was no less a herculean task for Shakit Da to make Rajesh Khanna see light at the end of the tunnel. However, very few can predict the course of destiny. The movie, which in eyes of Rajesh Khanna, offered no better prospects not only proved to be a milestone in history of Indian movies but also gave Hindi movie world its first superstar. That’s the only logic which governs Bollywood- success appears like appearance of cascade in barren land. It defies all established rules. A female oriented movie gave Indian movie landscape its first male superstar!
Interestingly, the other dominant trend which defines Bollywood is that superstars rarely know real acting or, for that matter, are rarely offered roles that involve some real shades of acting. That’s so evident if one has witnessed acting skills of present “Khan Brigade”. They develop some lovable styles but they rarely come to act. The only superstar that can act a bit, Amitabh Bachchan, too feels that he never got an opportunity to reveal interesting shades of acting. All the time he remained engaged in “dhishum dhishum” (fight scenes)! Anyway, destiny smiled on Rajesh Khanna once again when he got opportunity to show his acting skills in some movies having substantial plots. It’s really curious coincidence that it was Hrishikesh Mukherjee, known for his simplistic take on serious issues, who came to provide both Rajesh Khanna and Amitabh Bachchan some good opportunities to strike a bonhomie with various shades of acting. In fact, they both came to work together under his direction in Anand and Namak Haraam. Anand turned out to be a huge success. In fact, the character played by Amitabh, Babu Moshay, became a household name. The plot of Anand revolved around the philosophy found in the Upanishads that there is no such thing as death. Death is not an end but a new beginning. In other words, it taught the art of living, reminding us that laughter is the best medicine. After all, we rarely come to live life in a proper way. The movie made it clear that death is final drama, which paves the way for soul’s fresh journey with new set of cloth in form of a new body! Rajesh Khanna depicted this art of living in an unforgettable way.
Anand: Now Offering Solace To People In Heaven
However, let’s not forget the role which Kishore Kumar, Mukesh, R D Burman, Salil Choudhary, Majrooh Sultanpuri, Anand Bakshi, Laxmikant Pyarelaal, Hemant Kumar, Sahir and Khaiyyam played in shaping the course of success for Rajesh Khanna. It’s an undisputed fact that Kishore Kumar played the most significant role in making Rajesh Khanna and Amitabh Bachchan careers attain starry heights. It’s also a proven fact that both of them lost their star appeal, when Kishore Kumar stopped singing for them in last stage of his singing career, due to health reasons. The romanticism demonstrated by Rajesh Khanna and machoism exhibited by Amitabh were heavily dependent on voice of Kishore Kumar! His voice acted as most suitable medium for them, which earlier provided new heights to Dev Anand. I am sure had Kishore been missing, Rajesh Khann would have failed to locate “Mere sapno ki Rani“. Tanuja would have maintained safe distance from Rajesh Khanna had Kishore not turned out to be “Dil ke Chain“. This song “Ye Jo Public Hai Ye Sab Jaanti Hai” became the most popular idiom to make a remark on the shady affairs in the world of politics and business. Another song from the same movie Roti “Gore Range Pe Na Itna Gumaan Kar” transcended generations to influence the fate of every fair skinned Indian girl.
May his soul rest in peace. The people who have moved ahead in this eternal journey, never travel backwards. They simply live inside our heart and minds as sweet memories. This line which forms the part of song picturized on him expresses this sentiment so well: “Kuch Log Jo Ek Roj Bichud Jaate Hai Wo Hazaro Ke Aane Se Milte Nahi“. Anand never dies. He always manages to be back on earth’s playground to play the game of life with a new face.That realization is bound to make one smile even as the eyes remained moist with tears. It makes reunion with Rajesh Khanna-a good soul-a great possibility. By the way, let’s not forget Rajesh Khanna’s words said to Pushpa In Amar Prem: ” Pushpa, I hate tears”.
1. Mere Naina Saawan Bhado ( Mehbooba )
2. Kuch To Log Kahenge (Amar Prem)
3. Zindagi Pyar Ka Geet Hai (Souten)
4. Hazaar Rahe Mud Ke Dekhi (Thodi Se Bewafai)
5. Vada Tera Vada (Dushman)
6.Sajna Saath Nibhana (Doli)
7. Pyaar Deewana Hota Hai (Kati Patang)
8. Ye Reshmi Zulfein (Do Raastein)
9. Jeevan Se Bhari Teri Aankhein (Safar)
10. Zubaan Pe Dard Bhari Daastan( Maryaada)
11. Wo Shaam Kuch Ajeeb Thi (Khamoshi)
12. Yun Hi Tum Mujhse Baat Karti Ho (Sachha Jhootha)
13. Mere Dil Me Aaaj Kya Hai (Daag)
14. Kahin Door Jab Din Dhal Jaayein (Anand)
15. Zindagi Ek Safar Hai Suhana (Andaaz)
A lot depends on how the song is picturized. I love this song not only for beautiful verses by Majrooh Sultanpuri, excellent composition by R D Burman, terrific singing by Kishore Kumar, but also for its mesmeric picturization. Absolutely stunning romantic song picturized in a perfect setting. A meaningful one as well. The verses are not only talking about romance in some absurd way like “Tum mujhko chand laake do” (get the moon for me) but they are having a take on it in a balanced way. The movie was full of typical Bollywood elements ( and that’s why I don’t like this movie) but the songs stand apart.
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राजेश खन्ना: सबके नैनो को सावन भादो करके चले गए तुम
राजेश खन्ना : अब क्षितिज के उस पार
राजेश खन्ना का यूँ ही अचानक क्षितिज के उस पार चले जाना दुखी करता है. अभी उनकी उम्र ही क्या हुई थी लेकिन कलाकारों की मौत का जो सिलसिला पिछले साल से शुरू हुआ है वो अब तक बना हुआ है. जगजीत सिंह, शहरयार, मशहूर संगीतकार रविजी, हिंदी के लेखक श्रीलाल शुक्ल, शम्मी कपूर, फिर हमारे चहेते हनुमान दारा सिंह और अब राजेश खन्ना. ऐसा लगता है कि देवलोक का माहौल बहुत ग़मगीन हो गया है तभी पृथ्वी के सभी बड़े कलाकार एक के बाद ऊपर के लोको में चले जा रहे है. खैर राजेश खन्ना की मौत के बाद ये एहसास मुझे हो चला है कि मौत भी कोई चीज़ होती है जो “आनंद” को भी शोक में परिवर्तित कर सकता है. हिंदी फ़िल्म जगत को पहला सुपरस्टार देने वाला अब यादो का हिस्सा बन गया है. ये सुपरस्टार क्या चीज़ होती है मुझे ज्यादा नहीं पता पर राजेश खन्ना का जादू सत्तर के दशक में यूँ चढ़ा कि माएं अपने बच्चो का नाम राजेश रखने लगी, युवतियों के अन्दर का पागलपन थोडा और बढ़ चला और नाई के दुकान पे एक और हेयर स्टाइल का उदय हो गया. बुरा हो एंग्री यंगमैन अमिताभ के अवतार का जिसने राजेश की आभा को ग्रहण लगा दिया बहुत जल्द ही पर तब तक राजेश का जादू एक अमरता को प्राप्त कर चला था.
जैसा सब अच्छे कलाकारों के साथ होता है राजेश को भी आरंभिक दिनों में सब ने नकार दिया. चोटी की अभिनेत्रियों ने काम करने से मना कर दिया. शुरुआती फिल्मे पिट गयी बाक्स ऑफिस पे. फिर जाके आराधना मिली जिसको लेके राजेश खन्ना खुद ही सशंकित थे क्योकि नायिका प्रधान फ़िल्म में इनके लिए कुछ ख़ास नहीं था. पर जब सफलता मिलनी होती है तो मिल के रहती है यूँ ही जैसे रेगिस्तान में झरने का फूट पड़ना. कम से कम बालीवुड में सफलता का सिलसिला ऐसे ही शुरू हो जाता है सब तर्कों को धता बता के. तो एक नायिका प्रधान फ़िल्म ने भारतीय रजत पटल को उसका पहला सुपरस्टार दिया.
बालीवुड में वैसे सुपरस्टार को कुछ ख़ास एक्टिंग नहीं करनी पड़ती. कम से कम आज कल के तथाकथित “खान” सुपरस्टारों को देख तो यही समझ में आता है. अमिताभ का भी यही दुखड़ा रहा है कि उनसे किसी ने ढंग की एक्टिंग नहीं करवाई सिवाय ढिशुम ढिशुम के. खैर राजेश खन्ना के हाथ कुछ अच्छी फिल्मे आई जिनमे उन्हें एक्टिंग के अपने कुछ ख़ास शेड्स दिखाने का मौका मिला. ये एक महज सयोंग ही है कि ऋषिकेश मुखर्जी ने ही राजेश खन्ना और अमिताभ दोनों को कुछ फिल्मे प्रदान कि जिनमे उन्हें वास्तविक अभिनय से दो चार होना पड़ा. ये भी क्या अद्भुत संयोग है कि इन दो फिल्मो “आनंद” और “नमक हराम” में दोनों ने साथ काम किया. आनंद एक कालजयी फ़िल्म बन के उभरी. आनंद तो अमर हुआ ही पर बाबु मोशाय भी कभी ना मरने वाली लोकप्रियता को प्राप्त हो चला. आनंद उपनिषद् के इस सत्य को प्रतिपादित करता था कि इंसान कभी नहीं मरता है. मौत एक तमाशा है जिसमे आत्मा को नए कपडे लत्ते मिल जाते है. इस भाव को राजेश खन्ना ने अद्भुत तरीके से परदे पे प्रस्तुत किया.
राजेश खन्ना के एक्टिंग में एक ख़ास तरीकें की नाटकीयता थी मगर जब कभी सधा हुआ अभिनय करने का मौका मिला उन्होंने कर दिखाया. शुरुआती दौर में नंदा के साथ आई यश चोपड़ा की “इत्तेफाक” इस बात की पुष्टि करती है. खैर अमर प्रेम, कटी पतंग, कुदरत, सौतन, थोड़ी सी बेवफाई, अवतार, डोली, रोटी और आन मिलो सजना इनकी कुछ उल्लेखनीय फिल्मे है. इनकी सफलता के बारे में बात करना और किशोर कुमार, आर डी बर्मन, मजरूह, आनंद बक्षी, एस डी बर्मन, लक्ष्मीकांत प्यारेलाल, कल्यानजी आनंदजी, हेमंत कुमार और खैय्याम इत्यादि का जिक्र ना करना मतलब दाल में से नमक का गायब कर देना है. किशोर कुमार ने ही रूमानियत के सुपरस्टार राजेश खन्ना और यंग्री यंग मैन अमिताभ को वो दर्जा दिलवाया जो किसी के लिए दुर्लभ होता है. किशोर कुमार के चले जाने के बाद ये दोनों धडाम से नीचे आ गिरे. सोचिये अगर किशोर ना होते तो “मेरे सपनो की रानी” कहा से आती इस शानदार तरीके सें ? सोचिये अगर ”ओ मेरे दिल के चैन” के चैन किशोर ना होते तो क्या राजेश तनूजा को इम्प्रेस कभी कर पाते! और रोटी में गाया ये गीत “ये जो पब्लिक है ये सब जानती है” तो एक कालजयी मुहावरा ही बन गया. और इस फ़िल्म में किशोर कुमार का गोरे रंग पे कटाक्ष ” गोरे रंग पे ना इतना गुमान कर” सिर्फ मुमताज़ पर ही नहीं सिमट के रह गया वरन इस गीत के बाद भारत में पैदा हुई हर गोरी लड़की के व्यक्तित्व को बेधता चला गया.
खैर ईश्वर इनकी आत्मा को शांति प्रदान करे. कहते है जाने वाले कभी लौट के नहीं आते. सिर्फ इनकी याद रह जाती है. सही बात है ” कुछ लोग जो बिछुड़ जाते है वो हजारो के आने से मिलते नहीं“. पर “आनंद” कभी मरते नहीं बस इसी रंगमंच पर रूप बदल के आ जाते है और ये बोध इस दुःख में एक मुस्कान की लहर तो पैदा ही कर देता है. पुनर्मिलन की उम्मीद तो बंधा ही देता है.
मेरे कुछ पसंदीदा गीत राजेश खन्ना पे फिल्माए हुए:
१. मेरे नैना सावन भादो ( मेहबूबा)
२. कुछ तो लोग कहेंगे (अमर प्रेम)
३. जिंदगी प्यार का गीत है (सौतन)
४. हज़ार राहे मुड़ के देखी (थोड़ी से बेवफाई)
५. वादा तेरा वादा (दुश्मन)
६. सजना साथ निभाना (डोली)
७. प्यार दीवाना होता है ( कटी पतंग)
८. ये रेशमी जुल्फे ( दो रास्ते)
९. जीवन से भरी तेरी आँखें (सफ़र)
१०. जुबान पे दर्द भरी दास्ताँ( मर्यादा)
११. वो शाम कुछ अजीब थी (खामोशी)
१२. यूँ ही तुम मुझसे बात करती हो (सच्चा झूठा)
१३. मेरे दिल में आज क्या है (दाग)
१४. कही दूर जब दिन ढल जाए (आनंद)
१५. जिंदगी एक सफ़र है सुहाना (अंदाज़)
आनंद मरा नहीं करते!!!
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