Bhawana Somaaya

In the olden days film writers did not get separate credit for story, screenplay and dialogues. It was taken for granted that the one, who conceived the story, wrote the screenplay as well as the dialogues of the film.

Over the years writing of a film got divided in to three specific departments as a result one man wrote the story, the second, the screenplay and the third wrote the dialogues. Their role was to collectively translate the story idea of the filmmaker on paper and for this he was paid a small fee and often given no credit.

The writer was more often than not treated like a munshiji by the production houses. Two versatile writers who could not be patronized and who stood their ground all through their careers were Inder Raj Anand and Pt. Mukhram Sharma. Inder Raj Anand was a very knowledgeable man and Mukhram Sharma was apparently was the most dependable and systematic writer of all times.

The equations changed with the arrival of Salim- Javed who changed the dynamics of writing in Hindi cinema in the 70s. The duo rained super hit films every week in the cinema halls and the audience loved their power packed dialogues. They were the final word in casting of a film…It was on their suggestion that Prakash Mehra cast Amitabh Bachchan in Zanjeer and Ramesh Sippy in Sholay. There were times they wanted a change in the climax and they convinced director Yash Chopra that they were right. They created superstars but called the shots and it was the only time in the history of filmmaking that writers’ names appeared on the billboards.

Salim Javed were the highest paid writers in India and for the first time since inception films were identified not by the lead stars or the banner of a film but as Salim Javed films.

The magic lasted roughly over a decade. Salim Javed saw the rise and fall of Rajesh Khanna and the rise and rise of Amitabh Bachchan. When the partnership split Salim saw the rise of Sanjay Dutt in Naam and Javed was responsible for the launch of Anil Kapoor in Mashaal and Meri Jung. When the duo was together mediocre films got transformed into magic. When they split, screenplay writing went downhill. Filmmakers got back to their original role of narrating story ideas to debutant writers and guiding them into scripts.

The result was never the same. Most of the films in the coming decade suffered because of mediocre scripts. In the absence of powerful, original writing filmmakers exploited raw talent and did not pay them what they promised. Sometimes established writers rehashed old plots and sold them to new filmmakers but there was nobody to listen to their story of woes because there were no specific guidelines drafted even a Writer’s Association since decades.

In the pre-independence days a bunch of revolutionary writers got together and launched Progressive Writer’s Association comprising path breaking writers and poets like Faiz, Ismat Chugtai, Sultan Jafri, Kaifi Azmi among others. Today, this Association has a new team of gifted writers led by Anjum Rajaballi and Atul Tiwari who consistently fight for the rights of the writers in terms of fees, credit, copyright or royalty.

The Progressive Writers Group has been active and holding regular meetings and workshops to inspire young talent. A lot of them are on board with education systems like Subhash Ghai’s Whistling Woods and FTII, Pune. The Progressive Group was elected to the Executive Committee of the Film Writers Association in 2008. Since then, several over-due initiatives have been undertaken by Film Writers Association.

After long negotiations, the Model Contract is now with the Federation of Western India Cine Employees (FWICE), the parent body of all 22 trade unions for different crafts of the film industry. While producers have been delaying negotiations, FWA had to impress upon FWICE to resolve the issue at the earliest. It took a lot of persuasion but finally FWICE has agreed and meetings with producers’ bodies ought to begin soon.

A Model Contract for TV writers also has just been finalized and will be submitted to FWICE shortly.
The Copyright (Amendment) Bill 2010 was tabled in parliament in April. FWA had actively intervened and made a representation to the HRD Minister to ensure that protection of screenwriters’ copyright and royalties were included in the Bill. The Bill has incorporated these suggestions and is currently with the parliamentary Standing Committee. Film Writers Association in the meantime has in a strongly worded letter made another representation. They know they have to be vigilant until the ministry passes these representations as Law later this year.

With these initiatives, FWA’s aim is clear: Replace the helplessness of the individual writer with the collective bargaining strength of the union. It has to protect every writer’s fees, credit and copyright and the writer’s association can achieve that only if it is strong. Their motives are honourable and credibility no more in dispute. It organises regular screenwriting workshops and seminars in Mumbai and outside. Their last conference in December 2008 was a landmark event which had 600 writers sharing the same space and discussing professional and creative issues!

In two years FWA has walked many miles and conquered a few milestones but the journey isn’t over. The Model Contracts for film and TV writers, the Copyright Amendment, the educational and development activities may be in place but the goal is still far away. Unless every single aspiring writer joins this noble cause, the battle for justice isn’t going to be easy. For FWA to be able to protect all screenwriters, they have first to be established and be endorsed as one powerful body.

They have to be supported by colleagues. And they were. It was hundred percent attendance on Sunday at Time & Again when every small and big writer of merit was present to lend support to the Progressive Writers Group. Every writer who cared for their craft and dignity was there to support the moment.

Today, Shubha Mudgal and Aneesh Pradhan will come together for a unique jugal bandi of music and mathematics at Prithvi Theatre for Paanch Pachees. The monsoons promises to be a fun filled month at Prithvi Theatre combining films, music, mela and workshops. A sensational project Hive Mind which is a creative engagement with mathematics brought together school teachers and students.
Cconducted by Victoria Gould and Poppy Keeling the duo is masters of the special art. Gould trained at Manchester and Cranfield Universities and is an MSc in Mathematics. A founder member of the devised theatre company Kangaroo Club he collaborated on Shun-kin, A Disappearing Number and The Elephant Vanishes. Keeling started as Administrative Assistant before taking on the role of Education Coordinator, has performed with Theatre in Education Company First Line Theatre and worked as General Manager of Kettle of Fish Theatre Company.

The duo conducted the most extra-ordinary five-day workshop educating children that life is governed by mathematical principles and the prime example of this is the world of bees shaped by rules and systems. The participants studied the habits of honey bee and explored their learning by devising a performance on the final day of the workshop which was a theatrical spectacle.

Bhawana Somaaya
www.bhawanasomaaya.com

A few weeks ago we witnessed the retelling of Mahabharata against a political backdrop in Prakash Jha’s Rajneeti. This week the audience can feat their eyes on a retelling of Ramayana in Mani Ratnam’s cop- criminal story Raavan.

Some characters and circumstances bear similarity with the epic, some alter dramatically.

The legend has it that Ram and Sita first met in a temple before he officially won her hand in a swayamvar. Dev and Ragini are introduced as a well adjusted couple. He is a feared cop and she a classical dance teacher.

In the epic Ram is sent to exile due to family feud. In the film Dev is posted to a secluded tribal region Lalmati because he is the most courageous in the department.

Sita was lured by by Raavan sent golden deer. Ragini is attracted to a fluttering falcon sent by Beera.

Raavan declared war with Ram to avenge a personal grouse- he wanted justice for his sister Supanakha humiliated by Laksman. Beera challenges Dev to seek justice for his sister abused by Dev’s police department.

What is interesting are the innumerable revisions:

Mani Ratnam’s Lakshman does not stretch a boundary for his sister-in-law. Nor does Ragini drop her ornaments on her way to her captive for her consort to trail her. She is confident he will find her irrespectively.

Sanjevani alias Hanuman leads his hero to the devil’s gate. He visits Ragini as Dev’s messenger but this Sita does not demand a ring for evidence, she trusts him.

This Hanuman does not destroy the dense forests into flames. He recommends peace and Beera trusts him, sends his brother for negotiation with Dev. Unlike Ram who takes Vibhishan under his wing, Dev deceives his enemy and makes Beera further angry.

Dev Pratap Singh demands an agni pariksha out of Ragini as well- in this case interpreted as Polygraph Test- but Ragini refuses the trial by the fire and that is the high point of the film. She will not seek shelter in any ashram instead returns to Raavan to seek answers.

Ratnam’s Ramayan professes that there is a Ram in every Raavan and a Raavan in every Ram. It rewrites history and reinterprets justice and morality.

There are some films you watch for the story and the surprises they unfold and some for the treatment and the interpretations. Clearly Raavan falls into the latter. The film is a triumph of the entire technician team- Santosh Sivan’s breathtaking visuals, Shyam Kaushal’s dare-devil actions, unforgettable sound, Samir Chanda’s art design, actor Shobhana’s erotic choreography, Gulzar’s robust lyrics and AR Rahman’s haunting music.

Understandably the film has many flaws- the paper thin story line, the never ending climax, gruesome violence, low emotion quotient. Some out of place dialogue like when Vikram asks a battered assistant if he is okay. It’s obvious he isn’t. Some places Aishwarya looks over made up and some sequences like the wedding celebration appear exaggerated. But every frame is so beautiful that you forgive these indulgences. You forgive that there is little drama and conflict, little to cry and laugh.

Govinda as the acrobatic assistant is refreshing. Abhishek cleverly portrays the larger than life character with his booming voice and body language. Aishwarya Rai as Sita is fiery and passionate, reckless and irresistible. It is brave of the cast and the crew to weather such excruciating climate and locations. The final hero of the film is of course the director. Ratnam for combines so many talents and takes his audience uncomfortably close to the camera.

Raavan is Ratnam’s most difficult and demanding film to date and also most progressive.
Raavan rewrites history and introduces us to a new age Sita who is self reliant and fearless and just for that he deserves applause.

Bhawana Somaaya
www.bhawanasomaaya.com

Three months ago when Tarun Katial, CEO Reliance Media World asked me to review films for his radio channel BIG 92.7 FM, I was not sure what the process entailed. The first time we recorded the reviews over the telephone but the sound quality was not up to the mark so we agreed to do future recordings in their studio.

The BIG Studio is situated in the Infinity Mall, Andheri and has a separate entrance from the shopping area that takes you to the fourth floor. Two security guards stand by the two doors and entry is strictly by punching of cards. If there is a visitor, the staffer has to escort the guest and later see him off to the gate personally.

There are big banners of the channel all over the place and the office is a large circular space comprising innumerable cubicles. A narrow corridor with sparkling floor leads you to the recording studios where radio jockeys, young boys and girls in the age group of 20-25 years with head phones over their ears are engrossed in soliloquies. It is a treat to watch them laugh, sing, emote and chat behind the glass partitions. There is a long sofa outside the studios where the jockeys hold impromptu meetings.

For my second review, I was escorted into one such studio and introduced to my co-host Rani. We jointly worked out a programmer for the weekly film reviews and a new show on Sunday aptly titled Big Bollywood Chaat.

Now that I have become comfortable in my new role, I thought it was time to share my observations on the medium. I have discovered, for instance, that radio programming is a showcasing of word, thought and voice. I’m granted 40 seconds to process and articulate my thoughts on a film before the RJ moves on to the next link and song. The medium of communication is Hindi in order to reach out to a wider audience.

All conversation has to be topical and engaging because music channels are essentially about entertainment but just songs by themselves can become monotonous and that’s where the RJ comes in. Every RJ has his/her unique style of connecting with their listeners. At BIG, Brajesh is dramatic, Rani spontaneous, Ketan sincere, Nitin comic, Ruchi youthful and Lavanya is the girl with the golden voice.

While I have to solely focus on my content, the RJ, in this case Ketan/ Ruchi, balance multiple tracks like music, advertisements, slogans and teasers. It is not easy for the slightest shift in attention can ruin the links or overlap shows. What’s further commendable is that they edit it on the spot. I realized that we tend to undermine their job.

There is no written script for any show and all the chatting you hear is extempore. They work crazy hours often without a break and have no fixed time for pack up. As a result they have little or no social/private life. The executive producers of all these shows begin work at an unearthly hour. Jagmohan who is the EP of our review show is in the office every morning at 5 a.m. At times they work double and triple shifts because they are substituting for a fellow jockey or because of technical snags like machines getting hung or unavailability of recording studios. So the next time you find your favourite RJ sound exhausted, don’t complain instead empathize. I did.

It is not as if they don’t have fun, they do. In between their shows and ensuing madness, some take respite chatting with a colleague, some call up beloveds, some order a strong cup of coffee or soup…The office has a great atmosphere, informal, invigorating and vibrating with music. The air-condition temperatures are a bit high and the girls are always wrapped in shawls, but they are all the time smiling and singing. All mobiles are always on silent as they hop from studio to studio and cubicle to cubicle punching cards and checking sounds.

Somewhere at a little distance is the CEO’s plush cabin filled with artifacts and overlooking a busy street. Nobody ever gets to meet him because he is forever in a meeting either in the board room, his cabin, at a five star hotel, in a different city or out of the country. Still his presence looms large in the atmosphere as the show goes on… and the team goes about their routine, day after day and week after week, 24×7…

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Three weeks ago I was introduced to the world of web by my friend Indranil Maitra who is the Vice President, Digital Services, Lehren, Film News 24 Hours. Indranil asked me to do Hindi film reviews on their website. I said yes and I was exposed to a new world.

After the print and the radio, writing for the web was a learning experience. There were new lessons to be learnt and new observations to be made.

Unlike the radio where I processed and composed my thoughts extempore in 45 seconds in Hindi, on the web I’m allowed the luxury of one minute per review in English which is super imposed over my image on the net. I learnt that while chatting on the radio calls for expertise and communication, audio reviews on the net is about oratory skills for it is about reciting what you have written with the right pauses and punctuations.

In the end, both the mediums are about voice projection and befriending the microphone except that while the recording in the radio channel studio controls all external sounds, the telephone recording for the net done from home/office calls for self discipline. You have to remember to switch off all electrical gadgets in the room that can interfere with the live recording.

There are other precautions as well like a chirping bird on your window sill or the turning of the paper in your hand and most important, your breathing pattern. You must know when to take a pause because like the camera, the microphone is very sharp and quick to capture the smallest flaw. I would have never known these differences were I not provided the opportunities by Big 92.7 FM and Lehren.

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Enlighten Film Society is the largest film society in India and showcases quality world cinema on Sunday mornings at Cinemax, Andheri and Metro. Last month they held a retrospective of Bachchan screening four films to represent four decades. On 28 February Sunday was the grand finale felicitating Bachchan and Paa director Balki who were in conversation with me and the audience. The auditorium with a capacity of 450 seats was packed to the brim with people sitting on the steps and the aisles. The doors had to be kept open because there were about 150 people outside who could not watch the event but wanted to hear Mr. Bachchan. It was an evening to remember and for those who missed it, here are some glimpses of the evening.