Entertainment!! Entertainment!! Entertainment!!

सिल्क (Dirty Picture ki naayika) कहती है की फिल्मो में सिर्फ तीन चीज़े चलती है -Entertainment!!Entertainment!!Entertainment!! और इंडस्ट्री मानती भी है! मै भी मानता हूँ. लेकिन मानने के पहले मै ये समझना चाहूँगा की वाकई में entertainment है क्या?

सिल्क (यहाँ सिल्क का मतलब उन लोगो से है जो सिल्क की विचारधारा से इत्तेफाक रखते है) की माने तो Entertainment का मतलब है ‘मसाला’.बदन उघाडू कुछ दृश्य और द्वि-अर्थी संवाद (जहा दूसरा अर्थ वाकई में पहला अर्थ बन गया है.) एक आईटम सांग, कम कपड़ो में औरत. इन्हें ही ‘फार्मूला’ का नाम दिया गया है. क्या ये फार्मूला ही Entertainment है?

उसपे से ये कहा जाता है की ऐसी फिल्मे हम ‘नीचे’ वालो के लिए बनाते है. क्या गरीबो का Entertainment यही है?? क्या उनके पास सोचने समझने की शक्ति नहीं?? जिस तरह से Entertainment को परिभाषाये रची गयी है उसमे तो ‘नीचे’ वाले बिना दिलो-दिमाग के है जो बस वो ही देखने आते है. इस तरह से तो उनका मजाक बनाया जा रहा है और बिचारे पैसे खर्च कर तालिया बजा के चले जाते है!!

मेरे लिए Entertainment का अर्थ इससे अलग है. सिनेमा एक आर्ट है. और आर्ट को जब सहज भाव में प्रस्तुत किया जाए बिना उसकी आत्मा से खिलवाड़ किये तो वो हमें Entertain जरुर करता है. क्या ऋषिकेश मुखेर्जी के आम आदमी में Entertainment नहीं था?? क्या बिना अश्लीलता दिखाए राज कुमार हिरानी ने तीन फिल्मे बनायीं और तीनो ही ब्लाकबस्टर नहीं हुई??क्या उसे ‘नीचे’ वालो ने नहीं देखा??

अब बात करके है सिनेमा के कंटेंट की. सेक्स दिखाना गलत नहीं है. जो सिल्क कहती है वो राजकपूर बहुत पहले ही कर चुके है. उनकी फिल्मो का कंटेंट ऐसा होता था की ‘ऊपर’ वाले और ‘नीचे’ वाले दोनों ही अपने ‘काम की चीज़े’ ढूँढ लेते थे. लेकिन उन्होंने हमेशा फिल्मो में दूसरे कंटेंट हो हावी नहीं होने दिया. बिलकुल सहादत हसन मंटो की कहानियो की तरह. जो जब शुरू होती है तो दिमाग में सेक्स ही रहता है और जब खत्म होती है तो कुछ अगर नहीं होता है तो वो सेक्स. राज कपूर साब की फिल्मे भी देख कर जब लोग निकलते थे तो उनके पास सोचने के लिए समाज की कोई रुढिवादी परम्परा होती थी.

मै ये कहता हू की Entertainment किसी कंटेंट का मोहताज नहीं होता. ऐसा कोई फोर्मुला नहीं है जो ये कहे की सिर्फ वही Entertainment देगा. यहाँ कुछ उदहारण है जिनके कंटेंट बिलकुल ऐसे नहीं है जिन्हें ‘फार्मूला’ समझा जा सकता है. फ़िर भी इन फिल्मो ने इतिहास रचा है. कमाई की बात ही छोड़ दे!

१. आनंद – इस कालजयी फिल्म ने जिंदगी के कबसे कठोर सत्य को कितनी सहजता से दिखाया ये सब जानते है. कोई सोच भी नहीं सकता थे की ऐसे कंटेंट पे भी फिल्म इस तरह से बनायीं जा सकती थी. इस फिल्म ने हमें सिखाया की जीवन के सत्य को समझना भी एक प्रकार का मनोरंजन है.

२. गोल-माल , नरम-गरम, रंग-बिरंगी, चुपके-चुपके और ऐसी अनगिनत फिल्मे जिसमे मुख्य किरदार एक आम आदमी होता था. ऐसी फिल्मो में औरत का जो स्वरुप और रिश्तों के जो खट्टे-मीठे अनुभव दिखाए, क्या उसे ‘निचे’ वालो ने पसंद नहीं किया?

३. मुन्नाभाई और 3 idiot - 3 idiot आज तक की सबसे ज्यादे कमाई करने वाली फिल्म है. ये ऐसी फिल्मे है जिन्होंने दिखा दिया है की मनोरंजन के साथ-साथ सन्देश कैसे दिए जाते है. आप पुरे ३ घंटे मनोरंजन में होते है और घर एक बढ़िया सी बात लेकर जाते है.

४. आरक्षण, गंगाजल, राजनीति, अपहरण, शूल - ये वो फिल्मे है जो अपने संवेदनशील मुद्दों के लिए जानी जाती है. क्या इन फिल्मो में हम मनोरंजन नहीं पाते?? क्या इन्हें देख हमें अच्छा नहीं लगता?? क्या सोचना-समझना, इन मुद्दों पे बात करना, कुछ रास्ते निकालना मनोरंजन नहीं है??

५. रंग दे बसंती- इतिहास रचने वाली ये फिल्म आज की कई क्रांतियो के लिए प्रेरणा-स्रोत रही है. और कहाँ मनोरंजन कम था इसमें??

६. ख़ामोशी (The musical), ब्लैक, पा, तारे जमीन पे, इकबाल, स्पर्श – Differently abled लोगो को केंद्र में रख कर गढ़ी गयी इनकी कहानियाँ इस तरह से दिखाई गयी की लोगो ने एक पल भी नहीं सोचा की इन फिल्मो में item number क्यों नहीं है???

७. . मदर इंडिया, लगान, स्वदेश, नदिया के पार, पिपली लाइव, नया दौर – इन फिल्मो ने उन सारी रुढियो को तोड दिया जो ये कहती थी की गाव की पृष्ठभूमि पे बनायीं गयी फिल्मे नहीं चलती.

८. देव डी, उड़ान, दो दुनी चार, भेजा फ्राई, तेरे बिन लादेन, इश्किया, अतिथि तुम कब आओगे, लाइफ इन मेट्रो, मकड़ी, खोसला का घोसला इत्यादि -छोटे बजट में बनी ये फिल्मो ने एक नया ट्रेन्ड चलाया जिसमे ये बताया गया की पैसे खर्च करना मनोरंजन या सफल होने का कोई मानक नहीं होता है. जरुरी होती है पटकथा, संवाद और दिग्दर्शन!

ऐसे ही कितनी ही फिल्मे है जो Entertainment के किसी set formule से हट कर है और वो सारे मिथक तोड़ते है जैसा की कुछ लोगो ने अपने बचाव में set करके रखे है. जी हां!! मै इसे बचाव ही कहूँगा. जो भी फोर्मुला बनाये जाते है वो उन लोगो के द्वारा जो सिनेमा का मर्म नहीं जानते. उनके लिए कला एक माध्यम है पैसा कमाने का, नाम कमाने का. उन्होंने अपनी कमी छुपाने के लिए ये सब इजाद किया है की फिल्मे ‘फार्मूले’ पे चलती है और मुनाफा कमाने के लिए बनायीं जाती है. जबकि ऐसा बिलकुल भी नहीं है.

एक सिनेमा में कुछ चीज़े बहुत जरुरी होती जिसके बिना सिनेमा, सिनेमा नहीं होता. “Its an art of story telling”. तो इसमें एक अदद कहानी का होना बहुत जरुरी है.और उस कहानी को कहने में कुछ ऐसी चीज़े न हो जिससे वो कहानी खुद अपनी राह भटक जाए. आप चाहे जितना भी पैसा लगा ले, कितनी भी उच्च तकनीक का प्रयोग कर ले, अगर कहानी ने अपनी आत्मा खो दी तो फिल्म भी अपनी आत्मा खो देगी. ये पैसे और तकनीक कहानी को राह दिखाने के लिए होने चाहिए न की भटकाने के लिए. इसपे माथापची करने की दर्शक क्या चाहते है, इस बात पे सोचा जाना चाहिए की कहानी क्या चाहती है??

मै ये नहीं कहता की आप बहुत ही संवेदनशील कहानी पे ही फिल्म बनाये. मै बस इतना कहना चाहता हू की जो भी विषय हो, जो भी कहानी हो, उसके साथ न्याय होना चाहिए.

आज bollywood सबसे बड़ी industry है. सिर्फ इसलिए की यहाँ सबसे ज्यादे फिल्मे बनती है. (और फ्लाप होती है.) आज जब दुनिया हमारी तरफ देख रही है तो हमें सोचना चाहिए की हमारे पास दुनिया को देने के लिए क्या है?? साउथ की रीमेक?? या राज-रानी, large-family-melo-drama?? या बी ग्रेड मसाला फिल्मे??? हमें अच्छी स्क्रिप्ट पे काम करना पड़ेगा. मनोरंजन के बदले स्वरुप को नए सिरे से समझना होगा. सिनेमा के मूल अर्थ समझना होगा. बॉलीवुड को कुछ लोगो के, जिनकी monopoly चल रही है, के चंगुल से निकालना होगा, स्टार के बच्चों के आलावा भी लोग है जिनके अंदर सामर्थ्य है कुछ कर दिखाने का, उनको मौका देना होगा. अच्छी पटकथा के रूप में अपने साहित्य को खगालना होगा. और..........bolllyood को ‘industry’ कहना बंद करना होगा!!!

Remember raju hirani’s word: “Chase exellence, success will follow”

ROCKSTAR ON 11-11-11 !!!!

Finally the much awaited film is arrived. Our expectations were very much high because of Ranbir Kapoor and because of the previous records of the director Imtiaz Ali (Socha na tha, Jab we met and Love aaj kal). And with the promos our expectations shaped in to opinion about the story-line. I too had formed. But though Rockstar is not like that but its just differently good.

This is journey from the not-so-smart passionate Janardan jhakhar to Jardan the Rockstar. Imtiaz Ali crafted a superb character and Ranbir Kapoor did full justice to it. He never comes out from the character. Janardan Jakhad transcend himself gradually (what Satre says, "existence precedes essence ) and finally become Jardon. But the gradual flow is missing. we know Janardan Jakhad and we know Jardon, but we miss the gradual transition of the character. Its not that Imtial Ali did not show that but he showed it in patches, in a scattered form. Therefore we find it loose and out-gripped!

Now coming to the part of the love story that is the source of the development of the character. Love scenes are fresh and innocent. Some intimate scenes are actually much expressive then the content. They justify the depth of emotion what Heer (Nergis Fakri) has and passion of Jordan. But in some scenes Nargis Fakri became weak in expression. Her dialogue delivery lacks feeling sometimes. But Ranbir Kapoor saves her.

The best part of the movie is it's song. Rahman- Mohit-Irshad (kamil) combo has done magic. And above all the picturization of songs is enigmatic. Songs like "Sadda Haq"and "jo bhi mai kahna chahu" are so energetic that they rationalize the oomph and inner soreness of Jordan. And then comes "Kun faya". This is the song where Janardan Jakhad realises his inner cords of music. This song binds audience to the soul. and again Ranbir kapoor did justice here. especially the scene when he sees the sky. All together Irshad Kamil penned beautiful words in to the songs. All songs are good and relevant to the story.

The artistic vision of Imtiaz Ali can be understood by the picturesque scenes. especially in two scenes. One where Jardon is in bath tub and Guitar is flamed side by side of shower stream.

And another in the song "nadan parindey" where Heer enters to the stage and a beam of light follows her. and in the whole stadium only Jardon and hir were visible due to back-light.

Altogether movie is worth to spend time and money. It has got some different flavor with witty dialogues and good direction. And nonetheless the youthful energy. Watch it for Ranbir Kapoor. Watch it for Imtiaz Ali. And watch it to add one more count in the list of "movie for the movie sake"!!!

FORREST GUMP: "Stupid Is As Stupid Does"

Watching this movie is like running with Forest Gump to experience shades of life in drawing room!! The Very first frame of the movie proves it to be a worthy of 6 Oscar. but nevertheless Oscar is only an award! In the first frame a feather was going with the flow. And finally it rests at the feet of the Forest Gump. Various interpretations have been suggested fr the feather present at the opening and conclusion of the movie. Tom Hanks interpreted The Feather as "Our destiny is only defined by how we deal with chance elements to our life and that's kind of the embodiment of the feather as it comes in. Here is this thing that can land anywhere and that it lands at your feet."

This movie is about the journey of a below average IQ Forest Gump and how he takes life ordinarily and things get happened extraordinary! the only thing he doesn't want to listen is that he is not stupid. To just prove this he went all the way and did the things we could only imagine. He takes decision firmly without thinking even a single (future) step. He 'Runs'without knowing the path and discovers new course for others to follow!

He runs but never escapes! He runs aimlessly and gives aim to path itself.

He is not a dreamer, neither visionary nor extraordinary. he is just simple! (What principle(society) call as below average IQ student and took Forest's mother's dignity as bribe for his admission in the school). He is just so simple as things themselves get simple to him.

Forest believes in Mother, God and Jenny. He does not believe in himself as he never thoughts of it. His world has five persons- Mother, Jenny, Lieutenant Dan, Bubba and later his son. Though his world is so small, this world itself is proved small to him!

He never knew what is love. What he knows is Jenny!

He never knew what is life. What he knows is scattered events!!

As a part of knowledge he knows very few things in his life. And that too from his mother. As "Mama always had a way of explaining things so he could understand things." And what he understood are- "Density is what he has to find out", "death is not a big thing but simply a part of life","his first pair of shoes could take him anywhere ", "life is a box of chocolate, you never know what you are going to get " and "Stupid is as stupid does"!! And he learns them so well that he becomes a football star, war hero, national celebrity, shrimping boat captain and a college graduate!!

Its true that ,"The world will never be the same once you have seen it through the eyes of Forest Gump"

So many things to say. but its better to watch it and make your own perception. this movie has tremendous aspects. lets catch each and every. Go and Experience a journey with Forest!

SIMPLICITY !!!!

http://www.youtube.com/watch?v=hdsbw_bQjSs

Society in cinematic context!!

Many thanks to Prakash Jha for dealing such a contentious issue (in a balanced way, thanks for telling us question like “do you believe in reservation?” is a silly question, thanks for scrutinizing our education system through a most popular medium (ie cinema) and thanks for giving a deserving and worthy role to Amitabh Bachan (unlikely to movies like budhha hoga tera baapwherein his talent is insulted)

Prakash Jha has not dealt Aarakshan rather our education system as a whole. Reservation is not a contentious issue. Its corporatization of education that has made it an “issue”. Education has become “no-guarantee business” and therefore the most ‘profitable’ one. Its lack of value education that makes reservation a divider between “two Indias”.

Reservation is an issue over which discussion heads nowhere. No one reaches to conclusion. It starts with polite discussion and ends with heavy mind and loud voices. Here Prakash Jha attempted to convey why we don’t reach to conclusion. Because solution lies not within but outside it. In India ‘Siksha’ is a culture. We respect our teachers even today. But what if they start considering us a customer??? What if they are concerned with their balance sheet instead of the result of their students??? What if they start analyzing ‘market trend’ for their business loss rather pondering over the ‘why factor’ due to which ‘his’ student got less marks?? And after this we should expect the respect?? And therefore education has been deprived with its soul.

As a result reservation is not a concerned matter. It’s our education system that has made reservation a fretful issue. we are misattributing resevation as the cause of hurdle in our career. But in actuality it’s the changed notion of education that deceives us.

Due to this changed notion various questions come up - how many of us want to be a teacher??Why not there should be largest allocation of budget on education that is the basis of the human resource?? Why corporatization of education is not proscribed?? Why some jobs (like IAS, IPS, Engineering etc) have been glamorized and being teacher or scientist is marginalized. Why not there be a service like ITS (Indian Teaching Services as suggested in the movie)???

Prakash Jha has raised the alarm. Society should ponder over this.

In cinematic context role of Amitabh Bachhan is commendable. Saif Ali khan has done great in spite of looking over aged. Prateek babbar and depika padunkod are replaceable characters. They would have no justification why ‘only’ they should be given chance. Tanvi aazmi (played Amitabh’s wife) has got the opportunity to portray a very powerful character without much words and she done it well. Manoj bajpai is at his best.

Mukesh Tiwari, Manoj Tiwari, Yashpal Sharma, Darshan Jariwala and Saurabh Shukla are as usual perfect. You will like Yashpal Sharma in positive character for a change.

Songs are good (Prasoon Joshi after all). I could not understand why song “mauka” made a narrow escape from editor’s desk. In “kaun si dor” you will get an opportunity to listen chhunilaal mishra a renowned vocalist of Kirana Gharana.

“Roshnii” is a motivation background song that connect us with the character’s state of mind.

In crux…if you like thought provoking stuff in cinema then its .. Recommended.:)

SCHOOLS OF BOLLYWOOD

Its just my understanding of cinematic attitude of different directors. every film maker(or banner) has his/her own particular art of movie making. Just a scrutiny from my point of view.

YASH CHOPRA CAMP

GROUP- Yash Chopra, Aditya Chopra, Karan johar and Yashraj banner

CHARACTERISTIC FEATURE – ‘beautiful’ movies. Movies are about high class society. Melodious songs. Central theme is love in all its form (if there is struggle its for love.)

USP-

1.melodious songs (mostly based on ragas)(almost every song is hit and soothing. no matter film is hit or not but song would hit the chart. At times they seem alike but still this banner score high in songs category.)

2. Outstanding cinematography. Very rare movies (like Sathiya and that too have it in songs) their cinematography is superb. That’s why if, in any case, movies’ content is useless or repetitive, it ‘looks’ beautiful at least.

3. Compactness in direction. They work on minute details and never let any scene go out of the context.

4. Catchy and trendy dialogues.

They have a kind of monopoly on the Bollywood. A secured position. Nothing constructive cinema is expected from this group. They make cinema for entertainment only.

VISHESH FILMS

GROUP- (Mahesh+ Mukesh+ vikram) Bhatt. New comer directors like anurag basu, Mohit Suri,etc

CHARACTERISTIC FEATURE-

Sex and grey shade character as lead form. Deals with low strata of socity that is diverted to anti-social mind setup as deeds and pro-social mind setup as thought and ‘ready-to-do-anything’ attitude for love.

USP-

1.Sex in its wildest to purest form. (Wildest to fetch crowd and purest to justify their portrayal )

2.lovely songs. ‘Irsaad kamil + Sayeed Qadri + K K/ kunal ganjawala’s trio give their best at this platform.

3. Stunning cinematography. They usually catch scene according to their theme that add extra impact to their scenes. You will not be disappointed with the appeal of the movie.

Both Yash raj and Vishesh production specially focus on songs and cinematography, they differ in treatment. Where Yashraj use catchy tunes, Vishesh Films’ songs are like Gajhals and use deep meaning words. In case of cinematography Yashraj mostly use Nature in its raw beauty, Vishesh Films particularly mind the color and camera angle for the particular scene. That is no doubt more appealing.

There are three kinds of twirls of movie making I see in this banner.

1.When Mahesh Bhatt proved his mettle and impated the whole movie making of that time by making films like Saransh, Daddy, Arth, Zakhm ,Sangharsh etc( kind of movies through Mahesh Bhatt, in a way, diminished the demarcated line between art and commercial cinema)

2. Time when movies like Dil hai ki manta nahi, Sadak, Aashiqi, hum hai rahi pyar ke etc –mellow drama type of cinema

3. the present time that list Murder, Jannat, Raaz, Gangster, Who Lamhe etc that originated from Kasoor. Kasoor was the first movies of this kind and its success paved way for other’s.(fortunately or unfortunately)

4. like songs, dialogues are also very profound meaning and intelligently emotional.

Whatever the social or moral consequences would be there, this camp has outstanding understanding of cinema.(technical as well as nontechnical). It is said Mahesh Bhatt has finest understanding of music.

Vidhu Vinod Chopra Production

Group- Vidhu vinod chopra and Raj kumar hirani.

Characteristic – versatile issues.Parinda, 1942 a love story, Mission Kashmir, khamosh, Eklavya, Kareeb, Parinita

USP-

1.both Directors are craftsmen in their own sense. Two different kinds of movie making.

2. swanand kirkire+ shantanu moitra+ vidhu vinod chopara trio

I would like to say something about my ideal, most respected and adorable director of this generation separately. ie. Raj Kumar Hirani. I believe a good cinema is that contain message and entertainment in balanced proportion without affecting the subject. (or according to need of the subject). And Raju hirani proved it. No violence, no skin show (refined portrayal of woman lead), and still 3 blockblusters. I always find the potential of Hrishikesh Mukherji in his cinematic attitude that I like most. His main emphasis is always been on script, the soul of the cinema. He always work hard with his script more than technical aspects. that in no means undermine that technical aspects. no doubt songs of movie are not outstanding.His movies look simple entertaining but leave deep effect. We always carry ‘something’ as widening factors for our thoughts. What is characterized as creativity is seen in his work today. So many things to say about him that’s why I would share it separately in one of my posts.

VISHAL BHARWAJ PRODUCTION

Characteristics – script based on literature. Dark movies. terrific songs and dialogegs

USP

1.’Gulzar+vishal+literature’ magic

2. In case of songs and dialogues, vishal bhardwaj movies are much ahead of Vishesh Films in terms of meaning and dealing, that directly connect (attack) ‘intellectual’ audience. (Gulzar saab’s personification is in no-mention land )

3. the most distinguish feature about Vishal sir’s is his connection with literature. If you go by Hollywood cinema, you will find their more than 70% movies are based either on books or inspired by actual events. That contributes thoroughly in the growth of their literature. Moreover that makes directors more purists. Vishal sir’s direction is phenomenal. He himself is a school. The main areas where he concentrate his work more are characters, cinematic demand (color and texture of scene) and story.

I find his type of movie making as most difficult act.

RAJ KUMAR SANTOSHI

Characteristic –

Movies like Ghayal, Damini, Ghatak,Lajja, Bhagat singh China Gate etc comedy like Andaj apna apna and Ajab prem ki gajab kahani, make him a wonderful director. He rarely fail to convey his intention in form of cinema. And Box office has always been supportive to him. His central character is always is a social issue. That makes him respectable in my eyes.

USP-

compact direction, movie with message, and commercial touch without hurting the soul of the film.

RAM GOPAL VERMA PRODUCTION

No one can make movies based on criminals better than Ram Gopal Verma. Movies based on crimes are most haphazard in terms of its subject and screenplay but Ram Gopal Verma convert it in most compactable form of presentation. ‘Shiva’ was the prelude of this kind of cinema. And Satya gave it to high acceleration. And then Company, Sarkar, D etc. character artists are same in almost all movies.

PRIYADARSHAN

Comedy- he made Hera Pheri. And set a new dimension of comedy- mindful contextual comedy. (Unlike David Dhavan who believe in heart more than mind). His movies dialogues are streamline, connected to each other, giving steadfastness to movie. No word is spoken irrelevant, out of context. This is the beauty of Priyadarshan.

Drama/ Action – Gardish, Aakrosh, Kanchivaram (National Award), Viraasat, Kala Pani, Thalavattam ( Adaptation of One Flew over the Cuckoo's Nest), Muskurahat and various Malayalam movies. The art of making is same as his comedy movies. Same contextual appeal and firm dialogues.

The most distinguish feature is his character’s outfits. All white.

ANURAG KASHYAP –

Nothing much I have to say about him. I find him very diversifying director as his subject of movies are totally different from each other. Take a look- Paanch, DevD, Black Friday, Return Of Hanuman,, NO Smoking, Gulal, Satya (as script writer). Very much skilled and potential director.

My Respected Directors