Cutting Chai with Vhawana Somaaya - Day 21

Mahadev questions, Kartike answers

21.1.2013, Mumbai

Mahadev’s older son Kartike is a tormented soul and there is a reason for it.  He has killed the fondest devotee of his father and he will be anguished till he makes penance. Lord Vasudev explains to Kartike that the oly way to conquer his karma is to create Shivling and lay the foundation of a new shrine with his own hands.

Ganesha has made a promise to his mother Parvati that he will not return to Kailash without his brother so accompanies Kartike on his mission.The brothers walk miles and finally find  an appropriate rock that Kartike transforms it into a perfect Shivling.

Ganesha is happy because they can return home but their father Mahadev will not make it easy for his children. Mahadev says that he will test everybody who woorships him and his son Kartike is no exception. He  encounters Kartike in the disguise of an ageing man eager to possess a Shivling for his Lord and distressed that he is  incapable of accomplishing this.

Kartike feels sad for him and offers him his Shivling so he can pay to his lord.

Ganesha is supportive of his brother’s noble decision and keeps up his spirit as  they go searching for another rock. They are challanged by the emperror of a mountain who will not allow Kartike to touch a stone  unless he proves himself a warrior. Kartike declines him for violence is not his goal. The emperror offers another option. Kartike must answer his questions and if he fails he will be cursed to transform into a stone himself. Kartike agrees.

Mahadev in the avtaar of emperror asks: Who is your best companion in journey of life? 

Kartike: Patience. If I’m patient I’m able to endure everything. 

Mahadev: What is that color that cannot be robbed but can be lost? 

Kartike: Knowledge, nobody can rob my wisdom but if I’m not careful arrogance can cloud it. 

Mahadev : What is that you sacrifice and feel peaceful? Kartike: Pride, dropping it makes me lighter.

Mahadev : What is in your possesion that you lose and rejoice? 

Kartike: Anger is a destructive emotion and we are better without it. 

Mahadev: What defines you as a superior existence – genes or genius? 

Kartike: Compassion because without empathy all is futile. 

Mahadev: Final question, of all the virtues which is the most superior? 

Kartike: For me it is my bonding with my family.

The emperror is impressed and invites Kartike to borrow a rock from his mountain but Kartike’s struggle is far from over.

Bhawana Somaaya/ www.bhawanasomaaya.com

Cutting Chai with Bhawana Somaaya - Day 20

Woman: Product or endangered Part II

20.1.2013, Mumbai

She had done it in the past too but she was more educated now, more aware and more experienced. A free India had given her an identity, a confidence to be herself and this inadvertently made her more attractive to herself and to others. For the first time probably men and society started viewing her as an individual rather than as the role she played and she was not complaining!

It has been proved that when circumstances change so do relationships and 80s was the decade of shifting equations between man and woman and family and society. Everybody talked about the emerging new woman but nobody was able to clearly define her. Was she the working woman contributing to the income? Was she the centre stage image in all the print/ TV advertisements or was she the bold and the beautiful gyrating heroine/ vamp/ dancer in films? The answer was none and probably all.

As the intellectuals and the activists furiously debated over the rapidly shifting gender equations among Indians an entire decade passed by! In the 90s the intrusive camera traveled all over the woman’s anatomy depriving her of any autonomy of her own body. Both cinema and the various ad campaigns were unabashed and unapologetic about treating woman as a product and strangely, she was not complaining.

In 2000 the exploitation continued except that the ads were more aesthetic and combined with sometimes a social message and the films were 100 crores ventures and top heroines willingly offered to do sizzling numbers which were now coined as item numbers. The item numbers not only got them instant success but became a passport to hike their fees. They danced to the same item number again and again at various shows throughout the year.

The thinking woman protested against the objectification of woman but the man had stopped caring. The item girl on the big screen and the product on the small screen had turned him into a legitimate voyeuristic and now he was not going to be apologetic!! He relished and cherished every opportunity and his fantasy took on wings. The more sensible of the breed stayed within limits, the more uncontrollable took to the streets.

The woman they once revered and fiercely protected as a mother, sister, beloved and wife was openly eve teased, assaulted and molested and in worse cases raped and murdered. Most crimes were operated by the youth and when interrogated they confessed that the temptations were too many and it was difficult to exercise restraint.

So who is responsible for all this? The woman, must she say no to gyrate to Sheila, Munni and Chikni Chameli and be more responsible to the message she is giving to society and men at large? Women working in the advertisements have to say no to the camera caressing her slender waist and inviting cleavage. They must ask how come the camera never wants to travel over the man’s body it is because it does not view the man as a product!

What about the men, all those filmmakers, investors and copy writers of campaigns who conceive these images and songs? Do they have any social responsibility of not misleading the audience? The argument does not end at show business – is that a guarantee that all crime will end when women stop being portrayed as products.

The answer is no again. Crime against women will end only when we change our mind set. Women don’t attack men at isolated places and physically abuse them then why do men turn into beasts and attack women?  Surely there are other ways and places to find sexual gratification so why attack minors and unsuspecting victims?

Until men change their perspective about women, until they stop objectifying her, she will continue to be in danger at home, work place and street or anywhere irrespective of her age, class, colour or status.

Bhawana Somaaya/ www.bhawanasomaaya.com

Cutting Chai with Bhawana Somaaya - Day 19

Woman: Product or Endangered

19.1.2013, Mumbai

In the olden days woman was never a product and never in danger. She was the conscience of the family, the backbone of society and the pride of the nation. Nature defined her as the procreator and religion as a deity.

For a long time she was reverential and fiercely protected both by the family and society. This did not any way mean that she was either weak or inferior. She participated in the national movement and marched shoulder to shoulder with her man.

When the country was free she was as much a support to her man at home as outside. It was because she carried food for her spouse to the fields in the villages that the farmer was able to raise a healthy crop. She minded the shops in between her house work while her small town husband took a break and she was an asset contributing ideas to her city born business spouse who knew how to earn crores but was clueless in how to save rupees.

Life was fairly uncomplicated in the 60s as well when the country was celebrating independence. India so far ruled by outsiders had never known to fend for itself and therefore this was a slippery phase of trial and errors in every possible way. The country was in a happy confused state and this was reflecting in all the performing mediums. There were alarming highs and startling lows in every sphere combined with an amazing confidence that one would be able to turn the wheel when one desired.

The nation was going through shifting equations and this reflected in society and consequently family systems as well. This was the decade when the joint family began crumbling. Having tasted freedom everybody desired a carefree lifestyle, free of responsibility and accountability. Most of them did manage to break free and those who didn’t felt oppressed.

The 70s was a turbulent time. The country had achieved freedom but without adequate preparation. The common man was frustrated without opportunities and society at large was repressed. It has been noticed that when circumstances downslide relationships change drastically. Unemployment was a growing problem and the youth was anti establishment and angry. It was time for the woman to get out of the house and share into the family kitty. She did.

(Feature for Kolkata’s Bengali magazine Samayer Kolaj. To be continued tomorrow)

Bhawana Somaaya/ www.bhawanasomaaya.com

Cutting Chai with Bhawana Somaaya - Day 18

Bandook surprises Inkaar introspects

18. 1.2013, Mumbai

Aditya Om ki Bandook ye sabit karti hain ki kissi bhi film ko poster se nahi parkha ja sakta.

Bandook Uttar Pradesh ke police, panchayat aur raajneeti ke atyachar ki kahani hain.

Gaon ka ek sadharan ladke Bhola ka sabne apne fayde ke liye istimaal kiya. Inn saare atyacharon ke bawajood Bhola victim nahi hain.

Bhola taqatwar logon se daav pech samajhkar khud taqatwar banta hain. Kehta hai jab kalam pakadne ka samay tha tab kalam pakdi nahi isliye ab bandook uthata hai.

Film ki likhawat – dialogues – action aur khas taurpe Nikhil Kamath ka sangit bahtareen hai.

Aditya Om film ke producer director aur writer ke saath saath film ke hero bhi hain aur ye saari bhumikayein bakhubi se nibhate hain.

Film ki heroine Manish Kalekar ka role chotta magar prabhavshali hain. Kalekar sundar hai aur achi adakara bhi.

Aditya Om teen filmmakers’ se prabhavit hain – Ram Gopal Verma- Anurag Kashyap aur Prakash Jha aur Bandook ye teenon ki style of filmmaking ka mishran hai.

Aditya ki ye pehli parakrami peshgi ke liye Bandook ko Big Entertainment Ratings milte hai 3 stars.

******************************************************************

Sudhir Mishra ki Inkaar ek rishta ki kahani hai. Kaise rishta banta hai – palta hai – badalta hai aur tootta hai.

Aur kyon ki zyadatar rishte hamare sirf kaam ke dauran bante hain hume ye bhi sochna hai kya hamara rishta vyavsay ka hai…? Zimmedari ka…? Dosti ka…ya phir fayde ka…?

Aaj hum jis samaj mein jeete hai wahan dus mese ek vyakti apne kaam ke dauran atyachar ka shikar hai. 

Iske bawajood sexual harassment ke vishay par ab tak sirf ek film bani hai – Aitraaz.

Aitraaz mein female boss Priyanka Chopra apne male colleague Akshay Kumar se zyati taurpe bohat kuch chahti hai aur use sabak sikhane ke liye Akshay ki biwi Kareena Kapoor uspar muqadama chalati hai.

Inkaar mein Arjun Rampal aur Chitrangda Singh equals hain. Rampal Ad Agency ka Ceo hai aur Chitrangda Singh group ki National Creative Director.

Singh Rampal par sexual harassment ka dava karti hai aur ad agency ko majbooran Complain Committee bithani padti hain.

Dhai din ke lagatar sawal jawab ke baad- Committee Officer Deepti Naval koi nateeje par nahi pohachti.

Audience ka haal bhi kuch aisa hi hai – hum aakhir tak ye tayy nahi kar paate ki kaun sacha aur kaun jootha hai.

2012 mein lagoo kiya gaya Section 14 aise mamlo mein ek eklauta Gender Neutral law hai – jo aurat mard ka bhed bhav na karte hue sachai ko parakhta hai. Inkaar ka issi saal release hona ek nayi soch aur badlav ka pratik hai.

Director Sudhir Mishra ki zyadatar filmein samajik samasyaon par hot hai aur Inkaar inmein se ek hai.

Ek campaign ke peeche kitne sapne palte aur bikharte hain…ek promotion ke peeche kitne dil jalte aur tootte hain…

Inkaar ko sirf achi ya burri kehkar kharij karna film ke saath zyaati hogi kyon bohat saari khamiyon ke bawajood film Cinema ke itihaas ka ek naya panna palatti hai.

Aur sirf iss baat ke liye Inkaar ko Big Entertainment Ratings milte hai 3.5 stars.

Bhawana Somaaya/ www.bhawanasomaaya.com

Cutting Chai with Bhawana Somaaya - Day 17

Writer & an Actor

17 .1.2013, Mumbai

Writing a book is in many ways like working on a film. When an author works on his manuscript he/ she are engrossed in it and write from morning to night.

She lives the characters and is consumed with the content. Every day, every page and every chapter is a challenge to rise to the occasion and deliver the best just like every shot and every scene in a film is a challenge is for the actor.

The film takes approximately a year to complete and most of the time the actor is disconnected from the post production except for his dubbing and time allotted for the promotion of the film.  The author is in a similar situation. If he is a journalist he edits his own copy but there are many writers who hire professionals to over view their manuscripts for them.

The editing of the manuscript - like the dubbing for an actor is a time for the creator to review and reflect on what is created. Professional journalists don't need that much editing and most films are shot in sync sound these days as a result the next step for both is the post production.

The actor, unless he is also the producer of the film gets periodic feedback on the progress of the film. Technicians involved at different phases, share, opine and contribute their insights on the product and thus begin a quiet, gradual process of the film going public.

By the time the author completes her manuscript and gets the first feedback - usually a line mail from the editor 12 months have gone by and much against her wishes the author has disconnected and moved on to another book. The adrenaline rushes when she is sent the cover design of the book by the publisher and asked to proof read the final corrections.

This is the moment for excitement and self doubt. The moment of truth when the author wonders if the manuscript lives up to the promises of the seductive cover? Will the reader be interested in the content? Is the book engaging enough to be printed, published and put on the stands? Is the author not over estimating her creativity?

Perhaps the actor goes through similar emotions when shown the first promotion or poster of their film but I wonder if he is ever filled with self doubt. The producer may have invested the crores but the actor is expected to make or break the film. He has to sell the tickets and please the critics with his performance.  In the same way the publisher hopes that the author/book will generate good sales and good reviews.

Both go through the grind of aggressive promotions. Just like a premier attended with superstars generates awareness, authors invite celebrities to read passages to lure the crowd.

Finally, it is a battle of nerves but there is another important lesson to learn and that is no matter what the pressures an artiste must always put her best foot forward and take accountability for what he does - in my case - what I write!!

Bhawana Somaaya/ www.bhawanasomaaya.com

Cutting Chai with Bhawana Somaaya - Day 16

All about preview shows
16-01-2013, Mumbai

Have you ever wondered what happens at a film screening for film
reviewers? Well, the production house whose film is closer to release
usually appoints a PR company who gets in touch with citics and
invites them for a preview show which is usually held on Wednesday or
Thursday and incase of YRFilms on Friday morning.

The shows begin usually 20 minutes to half hour later than the time
given and the interval is long enough for everybody to visit the
washroom and collect their popcorn packets.

Some media members take notes in their diaries with their mobile phone
lights. Most of them prefer to just enjoy the film.

In the olden days till the late 70s all press screenings were held in
South Bombay closer to media offices at a  preview theatre in Colaba
called Blaze. The theatre had lights attached to the handle of the
seats to facilitate critics incase they wished to make notes.
Only a few preview shows has this facility today and they are usually
booked for the censor committees.

Back to Blaze , a handful of senior critics from leading English and
regional papers were invited for the press show and the reviews those
days appeared not on Friday but Sunday.

This was a boon for the producers who enjoyed three full days to
recover investment before the media panned their film on Sunday. Still
thye filmmaker was always tense because the reviews affected the
advance booking of the following week.

In the 80s the venue for the preview shifted to midtown Famous at
Worli. This was a bigger theatre than Blaze and now bigger crowd
comprising budding newpapers and film magazines who devoted a special
section to cinema also attended the press shows.

The 90s brought the itelevision, the intenet and the 200 the
multimedia as a result the press shows became as big as a premier and
shifted to multiplexes. Producers with small budgets preferred the
cosy theatres and invited only a small crowd iseriously nclined to
review.

This week there are 3 releases of different genres and budgets and
preview shows held in different surroundings. We saw Bandook at a cosy
theatre in a bylane of suburbs. Inkaar in a multiplex and Mumbai
Mirror has done away with the press show to  directly invite all to a
premier in a cheerful multiplex.

Bhawana Somaaya/ www.bhawanasomaaya.com

Cutting Chai with Bhawana Somaaya - Day 15

Scent of a poet

15. 1. 2013, Mumbai

Yesterday was poet Kaifi Azmi’s birthday. So many years after he wrote the unforgettable ‘Waqt ne kiya kya haseen situm…’ for Guru Dutt’s Kagaz ke Phool Azmi is remembered as a prolific lyricist whose contribution to cinema cannot be undermined.

On his birthday I choose my 10 favourite Kaifi Azmi songs and explain why.

On top of the list is the poignant ‘Dekhi zamane ki yaari bichde sabhi baari baari…’ in Kaagaz Ke Phool for the extra-ordinary poetry and the song picturisation.

‘Ye nayan darre darre…’ from Kohrra where a husband is full of praise for his new bride. In the same film ‘O beqarar dil…’ is about contradictory emotions and the haunting ‘Jhoom jhoom dhalti raat…’ about state of heart and unexpressed emotions.

‘Saara mora kajra chuddaya tunne …’ from Do Dil for the obvious flirtation. ‘Baharo mera jeevan bhi sawaron…’ from Akhri Khat for hope.

‘Dheere dheere machal…’from Anupama for pending happiness and ‘Kuch dil ne kaha…’ from the same film for self expression which can unfold in this case only amidst nature.

‘Chalte chalte…’ from Pakeezah for the rhythm and the playfulness and ‘Aaj soch toh aansoon bhar aaye …’for the lingering pain that refuses to abate.

‘Jhukki jhukki ye nazar…’ from Arth for the unexpressed attraction and ‘Jalta hai badan…’ from Razia Sultan for physical longing and desire.

Kaifi Azmi is a rare poet who had a song for every mood and every occasion maybe that is why he continues to be a part of our life after so many years.

Bhawana Somaaya/www. www.bhawanasomaaya.com