Once Upon A Time In Bollywood: The Story Of A Celluloid Dream!

 " A tribute to the legendary film director, K. Asif " (14th June 1922 - 9th March 1971), the handsome book opens with this dedication accompanied by a striking photograph of K. Asif standing against the backdrop of a mural depicting a war scene with spirited soldiers and a magnificent elephant. The visual sets the tone for what is to follow in the next 284 pages. Author Sunil Salgia, a renowned personality associated with several films and television shows in various capacities, has penned a scintillating account of the extra-ordinary life of K. Asif and the passion with which he made "Mughal e Azam", one of the biggest films ever made in India. Salgia chose to tell the story in the form of fiction that incorporates facts and reality generously. His efforts have resulted in a fast-paced and gripping tale of a man's perseverance --or madness-- in following his dream and emerging victorious against all odds.

Salgia has been actively involved with the making of successful television shows like Rajani, Udaan, Dekh Bhai Dekh, Indradhanush and many others as writer, director and editor. He edited the colour version of "Mughal e Azam" in 2004. During the process, he came across the enchanting story of its maker K. Asif. His fascination with the legendary filmmaker resulted in "Once Upon A Time In Bollywood", his maiden book.

The book traces the journey of K. Asif--Adil in the fictional narrative--from his humble beginnings as an assistant at his uncle's tailoring shop to the celebrated maker of an epic film. Salgia has woven a beautiful love story featuring Adil and Shama, enriching it with many political and historical details that are relevant to those times. So, while Gandhi and Jinnah are referred to in the narration of events taking place in Bombay in pre-independence times, Saadat Hasan Manto and Zulfikar Ali Bhutto appear briefly as characters in the main story. Veiled references to Lata Mangeshkar, Naushad, Bade Ghulam Ali Khan along with other personalities from the film industry make for interesting reading.

Salgia manages to engage the reader with his crisp writing and brisk pace. Short chapters keep the story moving. The filmmaker's resolve to make a grand film, his wit and subtle manipulations to achieve his goals in terms of the high benchmarks he had set for himself, the numerous obstacles that came his way, the long and treacherous road towards realising his dream, all make for compelling reading. 

The book is peppered with amusing anecdotes related with the making of "Mughal e Azam" in particular and the Hindi film industry in general. While reading the book, some incidents that I was not aware of stroked my interest and I checked them out immediately. The 1944 explosion of S S Fort Stikine at Bombay Dockyard, the interaction between Manto and Adil, the presence of Bhutto on the sets of "Mughal e Azam" ("Salim Anarkali" in the book!), the release of the film in Pakistan in 2006, the telecast of the film on Amritsar Doordarshan in 1976 being lapped up by people in Lahore are some of them. 

That the author is associated with cinema and television is evident from the way he has written several "scenes" in the book, especially the ones between Adil and Shama in the early part of the story. Thanks to his adept writing, the visual comes alive in one's mind while reading the book. Also, the mention of technical details while writing about shooting adds authenticity and weight to the narrative.

The book contains many heartwarming stories of sound and light technicians, carpenters and painters, people from the makeup and dress departments, choreographers, camerapersons and many others who work behind the camera to put together a film. An actor walking barefoot in the hot sands of a desert, an actress working hard in the last stages of her pregnancy, another actress facing the camera with heavy iron chains on her shoulders, and lightmen walking on planks that hang precariously from the ceiling are just some instances to name a few. Surely these people are driven by a passion that makes them undertake such arduous tasks. These stories underline the contribution of scores of nameless and faceless people who put in incredible efforts towards making a film.  All in all, a very enjoyable read for lovers of Hindi cinema! That would amount to a very large number given the hold cinema has over the sub-continent's psyche.

Last but not the least, a big shout-out to the designer of the cover for the alluring image of a group of dancers performing for the emperor in his court while the film director is watching the proceedings. The resemblance of the lead dancer with the bewitchingly beautiful Madhubala is hard to miss!

Bajrangi Bhaijaan: Brotherhood On The Border

According to the box office figures, "Bajrangi Bhaijaan" (BB) has been a very successful film, a blockbuster. Loved by audiences in India and Pakistan alike, this film has managed to walk the tightrope of winning viewers over on both sides of the border. Full of cliches, stereotypes and naivete, how does BB manage to do that? Easy. By pulling on the viewers' heartstrings at the correct places. Often, when addressing people's emotions, one runs the risk of being overly sentimental and weepy. BB's magic lies in the fact that it serves the potpourri in the right proportion. So, what you get is a delicious mix of emotion, humour, drama and patriotism; all rolled into a very palatable dish, ready to be savoured by one and all.

Another feather in BB's cap is that it does not claim to be arty or intellectual. It is a mainstream film with all the baggage that comes with a commercial motion picture. So, it does not shy away from a long and at times rambling first half, having a leading lady when none is required and the ubiquitous song and dance. But this masala goes hand in hand with the tale of the speech-impaired little girl Shahida/Munni from Pakistan who is separated from her parents, and her magnanimous saviour: the affable Pawan Kumar Chaturvedi aka Bajrangi (Salman Khan in a softer role, a clear departure from his image).

This Hanuman devotee is polite, truthful, honest and belongs to the category of people who listen to their heart, not mind. Our little visitor from across the border is fortunate to be in his company. She is in the safest of safe hands. In spite of not knowing how to go about it, and not having any resources; he takes it upon himself to reunite the child with her parents across the border.

From then on, it is a sequence of several situations that the mind may question, but the heart gives a thumping go-ahead to. We meet many lovable characters along the way: the blunt and practical Boo Ali who knows the border inside out (pun intended!), the affectionate Maulana (Om Puri in a special appearance) who is an important link in the whole operation, the bumbling TV news reporter Chand Nawab (Nawazuddin Siddiqui in another memorable role) who joins Bajrangi's cause, and many others representing the army and the police in Pakistan. 

I particularly enjoyed some lines that came out of the blue, said little, but meant a lot. For instance Chand Nawab says, "nafrat bechna aasaan hai par mohabbat..." when TV channels refuse to air his story on Bajrangi, the person playing Kareena's dad says, " doosron ki madad karne se pahle apna mask theek se pehno" when Bajrangi brings home the lost Shahida, and the Maulana says, "Kashmir...thodasa hamaare paas bhi hai" when Bajrangi thinks he has to go back to India in order to visit Kashmir.

The climax at the border, though a bit long-drawn, has been shot quite well. You kind of "know" that such a situation involving so many people on either side of the border is not possible in real life, but you "wish" it happened! At that point in the story, it does not matter which side of the border you are standing on. You become a part of the collective euphoria and exult in the happenings unfolding on the screen in front of you. Certainly a "winning" moment for the director and his team!

The Kashmir landscape has been captured beautifully. Equally stunning are the desert views. Purani Dilli is colourful, chaotic and charming. The shots of the Samjhauta Express that runs between Delhi and Lahore are magnificent. Cricket, the favourite game in both the neighbouring countries has been woven meaningfully in the story. And Harshaali Malhotra as little Shahida is a great find. She emotes with her lovely face and large eyes, without saying a word. Kareena Kapoor Khan has nothing much to do, other than dancing to a mediocre "chicken" song, looking pretty in exquisite stoles and huge earrings, and handing a mosquito repellent coil to Bajrangi saying "yahan machchhar bahut hain". Wonder if she was plugging any particular brand!

This is the first Kabir Khan film I saw, his earlier ones being "Kabul Express" (2006), "New York" (2009) and "Ek Tha Tiger" (2012). Will be looking forward to seeing more of his work.

On Akshaya Tritiya, A look At Child Brides and "Rehaai"!

"Rajasthan gears up to prevent child marriages on Akshaya Tritiya*", screams a headline in one of the papers I was reading the other day. The accompanying report goes on: The Annual Health Survey for 2012-2013 says that over 14 per cent of the girls in the state were married when they were below the legal age of 18. According to Health Minister Rajendra Rathore, Accredited Social Health Activists and Auxiliary Nurse Midwives, paramedical staff, health workers and NGOs have been asked to prevent child marriages in their areas. A massive campaign in the state is making people aware of the fact that not only parents and guests, but all those involved in child marriages like priests, tent-house owners, caterers and band-owners could be booked under the Child Marriage Restraint Act, 2006.

With these measures, hope the figures for child marriages are much lower in the current Annual Health Survey. No doubt, the issue of child marriages is a serious one; but what made me realize its gravity is a Pakistani drama "Rehaai" that I watched recently. Just 15 episodes of intense drama drive home a social message so effectively that no other medium could possibly have. A child bride is not merely a statistic here, but a living breathing adolescent who undergoes the trials and tribulations of this social evil. And we, as viewers are left red-faced looking in the mirror it holds to the after-effects of this custom that thrives in parts of India and Pakistan alike.

Photo: UNFPA/Stephanie Sinclair

The story of "Rehaai" deals primarily with child marriage, but several other issues are woven beautifully into it. Like the desire for male offspring, pregnancy at a young age, polygyny and the insecurity it brings with it for women, confining women to home and hearth under the notion that it is against a man's pride to send his woman out for earning money, and domestic violence. But in spite of all this, it is not a weepy, depressing tale. It is a superb portrayal of grit and resilience shown by a bunch of women who are ill-prepared to handle situations that they find themselves in. If seeing them as targets of atrocities makes your blood boil,  looking at the way they face and fight the difficulties warms the cockles of your heart.

Kudos to the team of this wonderful drama. This is meaningful television at its best. The more I see of Samina Peerzada, the more I like her. She is brilliant as the troubled matriarch of this family, struggling to deal with the ways of her wayward son. Her talent is matched in equal measure by Noman Ijaz, who plays her headstrong son. Another significant feature of this drama is that it is played out in a lower/lower-middle class neighbourhood. The language, the dress sense of the characters and the whole ambience reflects their class with a blunt honesty. No opulent mansions, no flowery language, no fancy cars and definitely no designer clothes or jewellery. There is a certain "rawness" about the way it is presented, lending it its authenticity and credibility. Farhat Ishtiaq's story is accentuated by Mehreen Jabbar's nuanced direction. Watch out for her attention to detail. It brings the location alive on your screen.

Tailpiece: I watched this drama when Deepika Padukone's "My Choice" was doing the rounds on social and news media. The glossy women appearing in that video and the lines they were mouthing sounded inane, and paled in comparison with what the women did and said in "Rehaai" in terms of women empowerment. And no, being in that situation was not their choice!

*Akshaya Tritiya falls on April 21 this year.

Watching "Durr-e-Shahwar", A Social Drama From Pakistan!

This post contains some spoilers!

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A kitchen lined with dark cupboards in a lower middle class house in Jhelum, Pakistan. The demure daughter-in-law spending long hours there kneading dough, washing dishes, cooking or making tea. Her head properly covered, her eyes always lowered, her voice soft, and her demeanour pleasing.

Four decades later, a modern apartment in Lahore. An ambitious career woman, her husband and their daughter at the breakfast table. They are irritable, grumpy and stressed out, snapping at each other for nothing.

Wait, this is not a case of a homemaker versus a working woman. These are scenes from a Pakistani teleplay "Durr-e-Shahwar" (I googled to learn the meaning of this and found that it is: Pearls worthy of kings) that was aired recently in India as "Dhoop Chhaon". Just 15 episodes of excellent storytelling, superb acting, touching dialogue and impeccable direction. Each episode stays with you long after you have finished watching it. Writer Umera Ahmad, director Haissam Hussain and rest of the cast have all done their job very well.

To be fair, there is nothing new in this story. It is the story (at least in parts!) of almost every home, every family and every couple in our part of the world. Its magic lies in the way it has been presented to the viewers. Beautifully shot, the frames are aesthetically pleasing, while the content candidly depicts what all it takes to hold a family together. The events unfold as if they were mirroring our lives, our relationships, and our surroundings. Maybe that is why they appeal to us.

Shandana and Haider. Durr-e-Shahwar and Mansoor. Two couples, a generation apart from each other. Shandana leads a fast-paced, hectic life with her husband Haider and young daughter Sophie. Their marriage is marred by their egos, impatience and immaturity. When she comes to the scenic Murree to spend a holiday with her ageing parents, she is struck by the gentle lifestyle of the older couple, filled with love and care for each other. But what she does not know is how much water has flown under the bridge before things came to such an idyllic setting. While Shandana adores her dad, she always thought that life has been a bed of roses for her mother, being married to such a thoughtful and considerate man as Mansoor. It is only after Durr-e-Shahwar decides to reveal her story to her daughter in order to help the latter deal with the crises in her life,  that we get a peek at the turbulent time she spent in the early years of her marriage.

And it is this part of the story that has been dealt with in a masterly manner. The flashbacks showing the claustrophobic environs of the young bride in her marital home leave you gasping for a breath of fresh air. Unable to find her feet there, she seeks relief in her father's letters. They come to her regularly, each and every word dripping with wisdom, love and encouragement.  Umera Ahmad excels in writing the dialogue for this play. Sample this letter to get an idea of her craft:

उम्मीद को ढूँढा नहीं जाता, उम्मीद को रखा जाता है अपने अंदर, अपने दिल में, अपने ज़ेहन में. ये नन्हे बीज की तरह होती है. चंद दिनों में बीज ज़मीन की मिटटी से बाहर तो आ जाता है मगर उसे दरख़्त बनने में बहुत देर लगती है. लेकिन वो दरख़्त बनता ज़रूर है, अगर उसको पानी दिया जाता रहे, अगर मिट्टी को नरम रखा जाये.

सिफ़र की ज़रुरत हर अदद को होती है कुछ बनने के लिए. सिफ़र जिस अदद के साथ लगे, उसकी कद्र-ओ-क़ीमत कई गुना बढ़ा देता है. तो अगर तुम अपने आपको सिफ़र समझती हो, तब भी क़ीमती हो, तब भी तुम बेकार नहीं हो, तब भी तुम हर गिनती से पहले आओगी. हर गिनती का आग़ाज़ तुम्हींसे होगा. और हर नौ अदद के बाद एक दफ़ा तुम्हारी ज़रुरत पड़ेगी. अगले मोड़ पर जाने के लिए तब्दीली जब भी आएगी, तुम से आएगी, सिफ़र से आएगी.

The language is as gentle as Durr-e-Shahwar's father is. It oozes with affection for his daughter. In fact, there are three father-daughter pairs in this play. Durr-e-Shahwar, Shandana and Sophie, all three have the highest regard and love for their fathers that shines wonderfully well through the narration.

The play is not dark and depressing. It is warm, honest and captivating. All the actors fit like a glove in their roles. Did I hear someone say that the story was old-fashioned, regressive? Well, it might be true for some situations or dialogue if one came across them in some other context. But here, they do not seem to be out of place. And even if they do, the play should still be watched to see what a neat package it is. Perfectly suited for the television medium, it can connect with people across generations. Wish we got to watch such short, tight and time-bound presentations on our channels instead of the long, loud and inane fare being dished out there in the name of entertainment!

एक टिप्पणी "ज़िन्दगी गुलज़ार है" पर

हाल ही में ज़िंदगी चैनल पर पाकिस्तानी धारावाहिक "ज़िंदगी गुलज़ार है" देखने का मौका मिला. बेहतरीन अदाकारी, दिल को छू लेने वाले संवाद, उम्दा कहानी और कसे हुए निर्देशन से सजा यह धारावाहिक केवल २६ भागों में अपनी बात कहता है. हमारे हिंदी और मराठी धारावाहिकों की तरह नहीं, जिनकी कहानी शैतान की आँत की तरह खिंचती ही चली जाती है और कभी ख़त्म होती-सी नहीं लगती. यह एक ऐसी औरत, राफ़िया की कहानी है जिसके पति ने उससे मुँह मोड़ कर सिर्फ़ इसलिए दूसरी शादी कर ली कि उसने तीन बेटियों को जन्म दिया, एक भी बेटे को नहीं. धारावाहिक के शुरूआती भागों में से किसी एक में यह दृश्य है--तेज़-तेज़ चलती हुई राफ़िया अपनी बड़ी बेटी कशफ़ के साथ जा रही है कि अचानक उसके पैर की चप्पल टूट जाती है. कशफ़ का युनिवर्सिटी जाने का पहला दिन है और उसे पहले ही देर हो चुकी है. वह चाहकर भी अपनी माँ के लिए रुक नहीं सकती. टूटी हुई चप्पल हाथ में लिए राफ़िया उसी रफ़्तार से अपनी बेटी के साथ चलती है, ताकि उसे बस तक छोड़ सके. और कशफ़ बेबस होकर बस में चढ़ जाती है. यह सोचती हुई कि इतनी सुबह इस हाल में उसकी माँ अपने स्कूल तक कैसे पहुँचेगी. यह दृश्य राफ़िया के अपनी बेटियों को ज़िंदगी में आगे बढ़ाने के जज़्बे, पति के सहारे के बिना मध्यवर्गीय परिवेश के संकुचित माहौल में तीन बेटियों को पालने-पोसने की जद्दोज़हद, और इस मुश्किल राह पर चलते हुए आनेवाली अनगिनत कठिनाइयों का बेहद खूबसूरत प्रतीक है.

कराची के मध्यवर्गीय और उच्चवर्गीय माहौल को पर्त-दर-पर्त खोलती हुई यह कहानी पति-पत्नी सम्बन्धों, समाज में आदमी और औरत के भिन्न स्थान, और उनके बीच होनेवाले भेदभाव को बहुत ही सुलझे हुए तरीके से दिखाती है, किसी पाठ्यपुस्तक की तरह उपदेश देते हुए नहीं. कहानी के बारे में और कुछ नहीं कहूँगी ताकि जो इसे देखना चाहें (यह यू ट्यूब पर उपलब्ध है), उनकी दिलचस्पी बनी रहे.

पाकिस्तानी युवा लेखिका उमैरा अहमद के "ज़िंदगी गुलज़ार है" नामक पुस्तक पर आधारित इस धारावाहिक का निर्देशन सुलताना सिद्दिकी ने किया है. कई धारावाही प्रस्तुतियों का निर्माण और निर्देशन तो उन्होंने किया ही है, साथ ही वह एक सफल व्यवसायी भी हैं. २०१२ में जिस टेलीविजन चैनल पर यह धारावाहिक दिखाया गया था, उस हम नेटवर्क लिमिटेड की वह संस्थापक और अध्यक्ष हैं. उनके निर्देशन की एक ख़ासियत मुझे यह लगी कि उन्होंने नाटकीयता को बहुत दूर रखा है. उनके सारे पात्र एकदम खरे और जीवंत लगते हैं. छोटे-छोटे दृश्यों के माध्यम से उन्होंने कहानी बुनी है. इसलिए उसे देखना कहीं भी बोझिल और ऊबाऊ नहीं लगता. कहीं-कहीं तो जटिल मानवीय संवेदनाओं को बहुत नाज़ुक तरीके से पेश किया गया है. अतिरंजित हावभावों से भरपूर धारावाहिक देखने के आदी दर्शकों के लिए इतनी सुगढ़ प्रस्तुति देखना निश्चित ही एक सुखद अनुभव है. इसके संवाद भी सारे माहौल के साथ मेल खाते हुए और बहुत सहज हैं. कई उर्दू शब्द तो हमारे परिचित हैं, जो नहीं भी हैं, वे सुनने में मीठे लगते हैं और संदर्भ पर ग़ौर करें तो आसानी से समझ में आ जाते हैं. राफ़िया की महत्वपूर्ण भूमिका को समीना पीरज़ादा ने बड़ी शिद्दत के साथ निभाया है. और कशफ़ को साकार किया है  ब्रिटिश-पाकिस्तानी अदाकारा सनम सईद ने. ज़ारून बने हैं जाने-माने मॉडेल, गायक और अभिनेता फवाद अफज़ल ख़ान जो जल्द ही अनिल कपूर की "खूबसूरत" में सोनम कपूर के साथ बड़े परदे पर दिखाई देंगे. अन्य सभी कलाकार अपनी-अपनी भूमिका में एकदम सटीक हैं.

एक और बात. इसमें कहीं भी किसी सेट का इस्तेमाल होता हुआ नहीं दिखा. कराची के आलिशान बंगलों से लेकर छोटे मध्यवर्गीय घरों तक कैमरा हमें सीधे-सीधे ले जाता है. सभी कलाकारों की वेशभूषा पर भी खासी मेहनत की गई है. अपने क़िरदार के माकूल लिबास पहने कलाकार बहुत विश्वसनीय लगते हैं. सरहद पार का यह धारावाहिक न सिर्फ़ अच्छा लगा, बहुत अपना भी लगा.