A Year After Baba

One year has passed by since the time that Baba is not with us physically. He led a calm and quiet life and went away equally calmly and quietly...just as he had wished. Let us celebrate his life by recalling some of his sterling qualities.

Willingness to learn new things 

Cheerful disposition

Non-judgemental attitude

Acceptance of physical ailments and limitations without complaining

No expectations from anyone 

Being a trustworthy and reliable friend to many

Ability to communicate meaningfully with people across generations

Regular practice of Sudarshan Kriya and breathing exercises

Staying up to date with current events

Always open to trying out and appreciating different foods without prejudice

Enjoying music, films, plays...

He remained young at heart until his last breath and will continue to live on in our memory in the same way.

My earlier post on him: A Portrait Of My Father!

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!

Slow, Soothing and Soulful!

Yes, this is about The Slow Interview with Neelesh Misra. I chanced upon it recently even though it has been around for the last few years. When one encounters a tsunami of online content, this comes as a serene island where weary sailors can take a breath and relish the scenery. The metaphor could not have been more apt as these interviews are often conducted in the sprawling outdoors of Misra's home set in a village near Lucknow. Featuring celebrities from different fields, the interviews not only introduce viewers to a never-before-seen side of the interviewee, but also treat them to an alluring audio-visual delight.

The interviews are more like a conversation between friends and not in a standard question-answer format. There is no grand entry by the host and no formal introduction of the guest. Instead, the dialogue could start with "kaisa lag raha hai?" or "Kya chal raha hai mann mein?" Most of the talking is in colloquial Hindi. As the title of the series suggests, the tone of the interview is laid back. The host and the guest could be sitting on a culvert amidst lush green fields, or at a stone picnic table, or on wrought iron garden furniture or they could even be standing on the terrace. The camera lovingly lingers on squirrels, rabbits, birds, goats, cows and peacocks that are very much a part of the rural milieu. Sometimes Misra walks with his guest to Bharatiya Gramin Vidyalaya, a school founded by his parents more than fifty years ago. The casual chat between his parents and the guest is very interesting and enjoyable. Also, everything about the show makes one long for simple, basic and uncluttered life.

What makes the Slow Interviews so special is the fact that Misra is a very good listener. He asks short questions and waits. The pauses allow the guests to reflect on their thoughts. Many a guest have confessed that they have never said the kind of things about themselves anywhere else as they have in the Slow interview. The rural setting, the open air surroundings and the genial Misra lending a patient ear turn the interview into a therapeutic experience for the guests (as some of them have admitted) as well as for the viewers. Misra makes it a point to ask the guests about their parents, their lives before they became what they are now, and the kind of bringing up they had...almost tracing their personal and career path from the past to the present. Guests have talked about their fears, their insecurities, their adolescent romances, their failures, and their teachers/role models...all thanks to Misra's friendly demeanour and non-judgemental approach. His unique style brings out the best from the guests and viewers start making an emotional connect with the guests' life stories.  

I have watched several Slow Interviews and enjoyed all of them, but did not discuss any specific interview here as that will make this post very long! Instead, I will leave it to those who are interested to find for themselves who and what appeals to them in this series of interviews. Hope to see many more guests getting featured here!  

Misra has donned various hats in his illustrious career. He has been a journalist, lyricist for Hindi films, scriptwriter, radio storyteller and author. The Slow Interview series is available on Youtube.

Varanasi Vignettes 3

The afternoon is reserved for a visit to the Kashi Vishwanath Temple. We have already booked a slot for sugam darshan via online booking. One is not allowed to carry anything inside the temple premises. All the belongings need to be submitted to designated lockers outside the complex. 

It is a shorter--not short-- queue for those availing the sugam darshan. After due security clearance, we join the serpentine queue. The newly constructed corridor inaugurated over a year ago is sizeable and spacious. Throngs of devotees descend on the ancient shrine everyday that is one of the twelve jyotirlingas and is one of the holiest sites for followers of Bhagwan Shiva. The temple has seen many renovations and gone through multiple cycles of rebuilding over last several centuries. Devi Ahilyabai Holkar of Indore who was a great devotee of Shiva, rebuilt the present temple about 250 years ago. 

The queue moves reasonably fast and we get a good darshan of the glistening black shivalinga from outside the garbhagriha. One is supposed to move quickly to make way for others behind. Later, we take a stroll through the corridor and walk up to the steps that descend to the river Ganga flowing below. The corridor connects the Ganga with the shrine along with providing many facilities for the visitors. It has decongested the temple allowing easy movement of people that fill up the premises everyday. A beautiful sculpture of Devi Ahilyabai Holkar occupies a place of pride in the corridor. Just outside the corridor, one can see old houses and structures that give one an idea of what the area looked like before construction of the corridor. The corridor has expanded the temple area from 3,000 square feet to about five lakh square feet and now it can accommodate 50,000 to 75,000 visitors. 

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The visit to Varanasi has been truly fulfilling with the Kashi Vishwanath darshan, morning and evening aartis, boat ride, and visits to the ghats and the Kabir Chaura Math. It has also been satiating in some other ways! The spicy chaats, the delightfully frothy and flavourful malaiyo, crisp jalebis, rich rabdi, and melt-in-the-mouth Banarasi paans to name a few. 

As the short visit comes to an end, it becomes clear that Varanasi will leave a deep imprint on one's mind for years to come. It is only fitting that we receive His abundant blessings on our final ride in the city...perhaps there will be an opportunity to come to Varanasi again?

Photos by Lata

                                        

Varanasi Vignettes 2

Unlike the evening aarti, the morning aarti is a less crowded affair. Part of a beautiful presentation called "Subah-e-Banaras", it takes place at the Assi Ghat every morning in a pre-dawn ceremony. When we start from our hotel to go to the Assi Ghat at an unearthly hour, the road is fairly busy with early risers. People desirous of an early morning darshan of Kashi Vishwanath make way towards the temple. Others walk to the ghats. 

We take an auto rickshaw to take us to the Assi Ghat a couple of kilometres away. The stage is set for the morning do. People take their places on the neatly arranged plastic chairs, others sit on the steps that border the area like a viewing gallery. The riverfront is ready with seven platforms which will be used by the men performing aarti. The breeze is cool and refreshing.

The proceedings start with a melodious recitation of Sanskrit verses by a group of talented schoolgirls. Their pronunciations and intonations of the complex words are bang on underlining the fact that they have taken efforts and worked hard at their presentation. The girls get a deserving applause and make way for the main event of the morning. 

Seven men dressed in co-ordinated dhoti and kurta sets take to the platforms. They start the ritual to the beat of a resounding gong. The horizon is still dark. The movements of the men holding lamps are beautifully synchronised and flowing. It was as if they  

were celebrating the start of another new day, or welcoming the sun or seeking blessings for everyone as they got ready to start their day. 

What a lovely way to begin a day! After the aarti is over, sunrise is still a few minutes away. A young woman takes the stage and starts playing the flute in what is an apt finale to the aarti. A bright orange sun makes its appearance above the horizon across the Ganga. People who have enjoyed the aarti in silence, start clicking pictures of the orange-red orb before dispersing. It is time for kulhads of piping hot ginger tea, and the tea stall outside the ghat beckons one and all!

Photos by Lata

Next stop in the morning is the Kabir Chaura Math. This is where the saint poet spent most of his life. This is a tranquil and serene place, so different from the sounds and crowds around the ghats of Varanasi. The Math is tucked in a narrow alleyway, its walls adorned with beautiful drawings inspired by the saint poet's life. Inside, amidst refreshing greenery, Kabir Sahab's relics are preserved in a temple. Some episodes from his life are illustrated in life-size metallic figures, while the walls feature some of his sayings in Devnagari text. We are fortunate to meet Shri Umesh Kabir who is a spiritual teacher residing at the Math. He shows us around and talks about the saint poet in a lucid way. Feeling completely sated after starting the day at Subah-e-Banaras followed by a visit to the amazing Kabir Chaura Math, we take his leave to get on with the rest of our day. 

To be continued.

Varanasi Vignettes 1

Varanasi evokes a feeling of timelessness in you. The sights and sounds of the old part of the city overwhelm you. No matter how much you have read about the city, no matter how many pictures you have seen taken around the ghats and temples of this ancient city, when you actually see it for yourself, it gets the better of your senses. 

This is not a tourist city where one goes and looks at typical tourist spots. Each person who visits Varanasi experiences it in his or her own way. In my first ever trip, I am only able to scratch the surface of what Varanasi holds inside its myriad lanes and vast expanse of ghats along the meandering Ganga.

Thrilled to be in Varanasi, I start walking the short distance from my hotel towards the ghats. It is early afternoon and the road is packed with people. Lined on both sides with sweet shops and shops selling pooja items and souvenirs, the road is reverberating with the sounds of impatient two-wheeler riders honking shrilly at all times and the general din of the traffic. The road leads to a narrow lane and after a few steps, I find myself emerging on the Rajendra Prasad Ghat, almost next to the well-known Dashashwamedha Ghat.

The place is buzzing with activity. People sitting, standing and walking on the steps, hawkers selling their ware, stray animals roaming around, boatmen trying to lure customers for a boat ride along the ghats, sadhus with painted faces and ash-smeared bodies squatting on mats. There is no telling what you might come across on the ghats. I notice someone sprawled out on his tummy receiving a rigorous massage on his massive back! If one has time, one can walk the ghats to witness such unique scenes that describe the essence of Varanasi.

The river Ganga is gentle and somewhat quiet. Flowing since eternity. Its expanse looks slimmer than what one would imagine it to be. On the other bank is an elaborate tent city consisting of touristy tents. Boats containing excited visitors bob up and down the river that looks a dull shade of gray-green in the early evening light.

At the base of the steps several boats wait to pick up customers for a chakkar of the ghats. An enterprising boatman strikes a deal with us and soon we are on his boat making our way towards the Assi Ghat. The loud whirr of the motor makes it hard to listen to what he is saying, but I am happy with the view his boat offers. The densely packed ghats appear one after the other as the boat glides gently in the cool evening breeze. 

Each ghat is distinct in appearance with its steps touching the

Ganga on one side and a variety of structures ---temples, houses, shops---on the other side. Many of them were built by different royal families for the use of their subjects when they visited Varanasi for performing rituals for their forefathers. It is quite a treat to see ghats of different sizes and colours unfold before you from the boat, each vying for your attention. These huge public spaces define Varanasi and give it its unique identity. Two ghats--Manikarnika and Harishchandra--stand out because of the funeral pyres burning constantly at them. It is an upsetting sight at first. But it is also a lesson in accepting the realities of life and moving on.

Our leisurely ride does a turn-around at Assi Ghat and we return to the point from where we had started. The flight of newly constructed stairs leading to the Kashi Vishwanath Corridor looks impressive. The leaning temple of Ratneshwar Mahadev catches everyone's eye because of its unusual look.

Photos by Lata

Dusk is about to fall. Our boatman joins dozens of other boatmen trying to secure a vantage position for their boats so that the occupants of the boats can get a good view of the evening aarti at the Dashashwamedha Ghat. It is a daily extravaganza that finds place in every visitor's itinerary. After several attempts, our boatman secures a suitable place for his boat and we can see that the ghat is brimming with people seated in anticipation of the aarti. On the other side, boats with eager occupants station themselves waiting for the same. Loud music and announcements precede the aarti. To our dismay, we find that two adjacent ghats prepare for the aarti at the same time with music from them resulting in a disharmonious noise. The proceedings on the two ghats are not in sync with each other. Seven well-built men in traditional attire take positions and wave beautiful multi-tiered lamps at the Ganga in measured movements. It is pleasant and would have been more pleasant had it been accompanied by a single source of music instead of the discordant sounds from the neighboring ghat.

The completion of aarti brings an end to the grand spectacle. Satisfied with having ticked an item off their itinerary, people start leaving the boats and the ghats. The Ganga continues to flow quietly, as it has been doing since time immemorial. Soon, the sun will kiss its waters turning it into liquid gold and another day will dawn... the cycle will go on.

To be continued.