Bhawana Somaaya

It is said that three kinds of people come into our lives. The first who come for reasons…The second who come for seasons… And the third, to be with you for a lifetime…And all these people have something to impart to you and you to them, for that is the law of the universe.

As children we learn life’s biggest lessons from our parents, then teachers and finally colleagues and friends we encounter in our journey of life. Some out of these transform into precious relationships and some become impressions to nurture and nourish. I have always been superstitious about writing about my loved ones, so will refrain from commenting on the former except that I’m privileged to have their enlightened presence in my life.

The latter comprises encounters with innumerable strangers and acquaintances and even though these interactions were not always permanent, they were meaningful as long as they lasted. It was as if they were destined to lend a fragrance in my life and when they did, they mysteriously disappeared, some lingered on and some reappeared to deliver a different message in a different way.

Today, when I look back images come gushing to me and I remember. Almost 30 years ago when I became a film journalist an elderly relative in the family asked, ‘How can a profession delving on the lives of other people enrich anyone?’ Too young to understand the enormity of the question, I had no answer but so many years later, I do.

My profession demands me to comment on the dangerous living of dream merchants. For most of them show business is a world of scandal but there is another side to stardom, the better side— of creativity and compassion, of warmth and wisdom— that an outsider will never know. Inaccessibility prevents identification. Insecurity is an overwhelming emotion in any creative profession. In the film industry it is more so. Film stars are peddlers of emotion and, therefore there are more emotional wrecks in the film world than in any other place. There is shame and scandal, exhibitionism and eccentricity, but there is also energy, a fatal attraction about the world of cinema that is obsessive and enriching.

I know I have spent all my growing up years here. The dream merchants are vibrant, wholesome, sensitive, artistic people and I have learnt some valuable lessons of life from them.

I was introduced to late Nargis Dutt at a trial show in their preview theatre Ajanta Arts in Bandra in the early 80s. It was an extremely boring film and young as I was, I was contemplating leaving the show in the interval. Nargis must have overheard my conversation with a colleague and even though we were meeting for the first time she took me aside to explain that I must never walk out of any film— no matter how boring because it is extremely rude and insulting to the filmmaker. I have remembered that.

Shashi Kapoor taught me professionalism and regard for veterans. He taught me that it was my duty as a junior reporter to introduce myself to the elders on the set rather than wait to be introduced to them. He taught me to address everyone with-‘ ji’-to do namaste and constantly supervised my Hindi pronunciations, said it was ‘phaansi’ not ‘faansi’ and finally disciplined me and all of Bombay on theatre manners where late comers are not permitted.

Rishi Kapoor taught me that one who barks does not bite, that it is easier to deal with short tempered people than those who don’t reveal their anger. Naseerudin Shah taught me that a healthy actor devotes as much time to his craft as to recreation. He taught me how a good actor is always prepared with his lines on the sets.

Late Nutan made me aware that it is the journalist’s duty to prepare on her subject before arriving for an interview. So many of them come unprepared and ask veteran actors like her how she came into films. She said visitors to dubbings and shootings ought to be tutored so as not to disturb the artistes because it’s not easy building up for an emotional scene.

Anil Kapoor taught me how hard work always pays and how important passion is for ambition. He said the bigger you dream the higher you fly and his career is an example of many such rags to riches stories. Anil taught me that whenever at turning points, one must leap without fear because testing times are another name for opportunities and I have done that and never regretted.

Some like Lalita Pawar revealed to me that being selective is being special. She said she was extremely choosy not just about her roles but also people she interacted. She said she kept away from gossip mongers and considered it a waste of time talking to unqualified professionals, particularly the media. ‘They come to us for nostalgic features but listen to us distractedly. It is evident while we are talking to them that they are not interested, in which case is it worth making an effort?’

Aamir Khan taught me that conviction is paramount. If you are convinced about what you do then everything falls into place and if you are not, the biggest and the best projects will be shadowed by self doubt and never shine. He said it is better to take long over your decisions rather than make them in a hurry and curse yourself.

Asha Parekh taught me that one should always be ready for challenges, to experiment with new roles like she did as a producer, director, censor chief and it doesn’t matter that you may win some and lose some. Ranbir Kapoor taught me that passion is all and if you follow your heart, do the kind of work you love there is no way you can go wrong. He did that and broke all the hearts and rules.

My grooming lessons predictably came from the diva herself–Rekha. She led me to say goodbye to oil and sugar to remain slim forever, to say goodbye to pillows to retain a neck without wrinkles. She advised me to walk five miles a day, drink gallons of water, exercise, sleep and wake up early. Eat five almonds and two fruits a day good for healthy skin and hair. I have not followed that and it is showing.

Waheeda Rehman taught me how to be poised and graceful, how to dress and look your age, how to accept life and smile through troubles. Ajay Devgan taught me the importance of professionalism. It takes a lot to provoke Ajay and this reflects confidence. Devgan is perhaps the least controversial actors.

Salman Khan is just the opposite but has extraordinary qualities as an actor and as a person. He taught me generosity; Salman will do anything for his friends. He taught me endurance; he has been through a lot in life but never complained. Today he is the most misunderstood guy in filmdom but he never cares to explain himself.

Hema Malini taught me that there is a time and place for every thing and sometimes it is best to surrender to destiny. Her mother forced her to learn dance as a little girl and even though there were times she hated it she continued trusting that her mother knew what was better for her and today she is reaping harvest of those efforts. At a time when her acting assignments have reduced considerably Hema Malini keeps herself busy with her dance tours and performances.

Shahid Kapoor taught me how to evolve despite a bad beginning, how never to say die and keep trying till the tide turns for you. Kareena Kapoor taught me how to reinvent yourself, how to rewrite your destiny and how to live without fear or baggage. Saif Ali Khan taught me to value one’s worth. He had the courage to refuse second leads. It was difficult initially to convince his filmmakers but slowly and gradually he paved a path for himself and today he negotiates what he deserves and perhaps a little more.

Jaya Bhaduri was already Bachchan by the time I became a journalist and those were the days Amitabh was not talking to the media. During his peak war with the press I bumped into Jaya on a staircase and said ‘Hi’ spontaneously to which she responded just as naturally. In the coming years, I bumped into Jaya at the oddest places- a musical concert, airport, Prithvi Theatre, hospital when Smita Patil died and always, Jaya remained her own person. I learnt from her that loyalty to partner does not mean curbing natural responses.

In the 90s Amitabh Bachchan in a surprise move lifted the ban on the media and made truce. Ever since I have done several interviews and books with the actor and observing him have imbibed many virtues like patience, perseverance and discipline. He is the finest example of the proverb- Silence is Golden – Despite innumerable provocation and attacks from the media for 15 long years Bachchan did not retaliate and continued to remain silent. His life has been a roller coaster ride and he taught me how to rise after every fall, how to fly higher and higher and remain grounded.

And finally Shabana Azmi, she remains a strong source of influence in my life. I have imbibed the most precious lessons of life just being around her and observing her. Her reactions to films, theatre, acting, poetry or just philosophy of life have been inspiring. I have sought her wisdom in conflict and she has never let me down. Her contribution in my growth as a journalist is significant; in fact it would not be an exaggeration to say that in the jungle world called films, Shabana is my only anchor.

This week has two releases. The much talked about Peepli Live and Bobby Deol starrer Helpline. I dislike horror films so I will only talk about the first.

Aamir Khan Productions Peepli Live is the story of two brothers and farmers Natha and Budhia who unable to pay a government loan have lost their land. They seek the help of a local politician who suggests that the only way to recover their losses is if one of them commits suicide because a newly established government scheme aids the families of indebted farmers who have killed themselves. The brothers are tempted by the idea and elder brother Budhia inspires younger brother Natha to end his life for the good of the large family.

Their drunken conversation in a bar is overheard by a journalist and makes morning headlines. The news story sparks a chain of events and challenges India’s political machinery. What makes Peepli Live special is that it takes a burning issue and turns it into a political satire sprinkled with drama, wit and humour. It is not just a deliciously written story by Anusha Rizvi or an unusual format but reflects a consumerist, callous society made up of ambitious politicians, indifferent citizens and unethical journalists. It is about a changing rural and sinking urban India.

Made on a shoe string budget already recovered via music and satellite rights the film is shot on real locations. Full marks to cinematographer/ Shankar Raman, production design/ Suman Ray Mahapata, costumes/ Maxima Basu, music/ Mathias Duplessy and pungent, peppy dialogues/ Anusha- Faroqui. This is easily the most perfectly cast film of the year by Sudhir Chohey comprising mostly newcomers-Omkar Das Manikpuri, Nawazuddin Siddiqui, Shalini Vatsa, Farrukh Jaffer, Malaika Shenoy with the exception of Raghuvir Yadav and Nasseruddin Shah in a cameo.

The actors dissolve into their characters and surroundings and it is often difficult to determine whether it is a feature film or a docudrama.Usually such realistic portrayals tend to get pedantic and boring but Peepli Live proves to be thoroughly entertaining. Usually films with tongue lashing dialogues and abusive language tend to become offensive, Peepli Live makes you crack up particularly when the old woman rises from her bed to lash out at the family. Usually films profiling professionals become didatic but Peepli Live makes us- the media look into ourselves and do some serious soul searching!

This film could only have been directed by a media member- Anusha Rizvi and backed by a courageous producer- Aamir Khan. Go for it- it is more than worth it for the spectacular ensemble performances, the lively songs, an absolutely original soundtrack but most important for a new vision and a new tradition in Hindi cinema.

Bhawana Somaaya
blog.bhawanasomaaya.com

Dust has settled on Aamir Khan v/s Javed Akhtar or rather the star power v/s word power controversy as well. To recap details for those who don’t know the entire story: For sometime now the writers have been meeting over amendment in copyright issue. A press conference was called sometime ago in Delhi and Bombay to announce the progress on the subject. A joint committee was formed to discuss the film industry’s concerns about the amendment to the Copyright Act 1957 and on December 24 the Union Cabinet approved changes that will entitle authors of musical, cinematographic and literary works to royalty if their work is used for commercial purposes like ring tones, internet down loads or aired on radio channels which is not so at present. Music directors and a lyricists are paid on a one time basis and don’t earn anything from reruns or multimedia.

In the very first meeting of producers and writers committee, Aamir Khan representing producers had a row with Akhtar on the importance of the writer to a film and resigned from the committee after writing a letter to HRD Minister Kapil Sibal. Later Aamir was under pressure to reconsider his decision by the minister and the committee and Aamir accepted to resume his seat. According to me there is no conflict in anyone on the importance of the writer to a film. In my mind there is no confusion that the writer is entitled to copyright to his creation but the issue is not as simple as it seems.

There is a section that believes that while the amendment is for the betterment of the fraternity, it will in all practical purposes benefit nobody. There is a possibility that if the bill is passed it will harm both the producers and the writer’s community. So far the producer has not been paying for any reruns of any multi media to the writer. Once he does he will have little or no savings. There are strong chances that to stay away from the problem, he will become writer himself or hire debut writers who will not ask for copyrights as a result a lot of existing writers may go out of work.

**

I attended a spectacular music and dance extravaganza at Iskcon titled Shri Krishna Sharnamama on the love story of Radha Krishna. Produced and presented by Hiren Parpani the maker of Sathvaro Radhe Shyamno the concert is a feast to the eye comprising over a dozen expert dancers in lavish costumes gyrating energetically to vibrant music. The play has been shrouded in controversies for sometime after the choreographer parted ways with the troupe and launched an identical show with a similar title to confuse the audience which is not only unprofessional but also unethical.

It is an issue of copyright and Hiren Parpani could have broken down after the betrayal. Instead he fights a moral battle and has comes up with a revived show in Hindi which is more contemporary and packaged with better production values. The commentary in between the dances is still lengthy but unavoidable because the dancers need that much time to change into varied costumes. Barring that little snag Shri Krishna Sharnamama is a modern concept devoid of traditional trappings like an elaborate set or live music. Six magnificent statues of deities stand ahead of a peacock backdrop which much later you discover are not statues but real people! The anchor explains that the artistes are able to accomplish it after years of spiritual discipline and meditation.

The stage sparkles with twinkling lights and transports you into another planet. There is a heavenly feeling as the songs travel you to Mathura and Vrindavan in the world of Radha and Meera. The climax is simply unforgettable because while most Krishna ballets conclude on a maharaas, Pirani’s finale portrays the dasha avtaar which is to be seen to be believed..! Shri Krishna Sharnamama is not to be missed by all Krishna lovers and even those who don’t believe in Krishna but want to enjoy a colorful entertaining evening. As audience we must support the deserving and that’s what even Krishna says in the Bhagvat Gita.