Bhawana Somaaya

Many years ago, I had seen a film at a festival that predicted water shortage due to global warming. It was a story of three families and how they cope with water shortage. So many years later, the problem has become a reality for all of us.
Building residents are being served circulars from society cautioning about water shortage due to failure of monsoons. My building has prohibited usage of water by tub or jocose and advised immediate repair of leaking taps or flush to members.
The media has been highlighting the issue in the papers for a while now and reported on civic body sending officials to supervise each and every locality.
The Municipal Commissioner had taken even a tougher stand. Acting on the BMC’s complaints on use of booster pumps, police has registered 300 cases and will apply the Maharashtra Prevention of Dangerous Activities (MPPA) Act against anyone guilty. Not only that the BMC has initiated a patrolling of the 24 wards in the city during water supply hours and disconnected the connections of housing societies guilty of indiscriminate wastage.
The awareness campaign is helping. Yesterday my maid commented that Mumbai taps are to go dry every Friday. When I looked surprised at her revelation, she said, “Don’t tell me you don’t know about it. It is in the papers.” Then after a moment added, “Didi I think it is time for you to make some sacrifice too, it is time for you to give up your bed time bath…”
Perhaps she is right.

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Five years ago I purchased my present flat -Raheja Crest at Oshiwara Link Rod because I fell in love with the view outside my window. It is rare to find a vast expanse of green outside your balcony and I considered myself fortunate.
I got used to guests entering my house and exclaiming ‘wow’ looking out of my living room window. I was practical enough to know that the view would not last forever but since the property belonged to Kamath Club I believed that incase of demolition, it would be replaced by a recreation property.
I was wrong. A year ago the Kamath Club went on a rampage chopping off unruly trees surrounding the building compound. I thought they were getting organised, probably planning a promenade. A few weeks later they began clearing the grass and then the inevitable happened. Suddenly our peace was destroyed by the trucks and the bulldozers.
Our building secretary spoke to the Raheja office and we were advised to direct our queries to state Public Information Officer. He did. Next, our building manager appealed for obtaining information under the Right to Information Act 2005 of Annexure A on 18/11/2009. There was no response for one month.
On 30/12/2009 we made another appeal-under section 19 (1) on grounds of no information received.
Finally on 14/12/2009 the Municipal Corporation of Greater Mumbai sent a one paragraph letter stating that this being very old record, the file is not traceable on taking diligent search by the concerned staff of their office. In view of above, the desired information sought by us cannot be furnished at present.
The letter further stated that if we are not satisfied, we may apply to Appellate Authority by Deputy Chief Engineer (Building Proposal) W.S.-I situated on RK Patkar Marg, Bandra. The last line said that this disposes off our application under Right to Information Act 2000.
I stared at the letter unbelievingly. It is all so simple. There is obviously no accountability from any quarter. Perhaps I ought to send my maid to the Municipal Corporation Office. She will do a good job of giving a few tips to them as well.

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It was a tension filled week but there were some sparkling moments too.
I had the privilege of accompanying Amitabh Bachchan visiting Narendra Modi for a screening of Paa to request Gujarat government to grant tax exemption for the film.
We arrived by the morning flight in Ahmadabad and it was a task for the mega star to get into his car despite his personal body guards and state security. There were people lined up inside and outside the airport, spilling over on the street, some running behind his car all the way to the hotel.
At the hotel he is welcomed with a tilak and escorted to his room. Some meetings, some phone calls, a quiet lunch and a nap later, Bachchan is ready to drive to Chief Minister’s bungalow in Gandhinagar.
About half an hour later Chief Minister and Bachchan arrive at the venue-City Pulse Theatre and together address the media collected outside the cinema hall. A special area has been cordoned for the cameramen to facilitate communication and to ensure that nothing goes amiss AB Corp Ceo Ramesh Pulapak has personally supervised all arrangements.
It is a perfect evening. Modi and Bachchan are in good spirit and it is evident in their body language. The media is delighted to chat up with the two superstars and sensing them in good mood asks the most bizarre questions. A journo asks if Bachchan will consider becoming the brand ambassador of Ahmadabad to which Bachchan responds that he was willing to return to the city whenever Modi called him and would happily offer his face and voice to promote state tourism. The actor clarifies that he is in the city primarily to promote his film and admits to being impressed with the development of the state under the leadership of the Chief Minister.
Modi emphasized that cinema is a sensitive medium and Hindi films a major influence on Indian psyche. He said that Amitabh Bachchan is the most powerful actor of the Indian screen and as a viewer he has been influenced by the mega actor. “After all I’m a common man too” joked Modi.
The invitees for the screening include the Chief Minister and his entire cabinet. During the interval, the official’s joke that CM should hold such previews more often. Modi says he would love to provided actors invited them. During dinner I ask Modi what he thought of the film, “I have to like it as since this is the first time a film has portrayed a politician positively.”
He is right. Hindi cinema has seldom portrayed politicians in a positive perspective. That evening watching the film a second time I had new insights into the film. Paa not only makes us aware of a genetic disease called Progeria, but takes up a whole lot of causes like sensitizing the viewer to parenting and child identity. It promotes use of condom, applauds single mother, pulls up the media and most important celebrates human spirit. Paa salutes a special child who could have so easily been isolated and diffident; instead filmmaker Balki portrays Auro as a spunky, imaginative, independent, thoughtful and determined adolescent. It is easily Bachchan’s most difficult role in his 40 year-old career as an actor.
Screening over, the media is still waiting in freezing cold to grab an extra bite from the superstars but this time Modi and Bachchan are whisked away by their security into their vehicles. By now large crowds have gathered on the street outside and they run behind the two cars waving cheerfully.
Back to the hotel more public waits in the lobby for a glimpse of the superstar but it is too late in the night to indulge in photographs and the actor disappears into his room. Next morning he is to address a press conference and the hotel lobby is overflowing with cameramen. Bachchan has a flight to Bombay in an hour’s time but he makes certain that the media gets answers to their queries.
The drive to the airport is as frenzied as his arrival into the city. A pilot car leads his vehicle and two security vans follow them but even then it is impossible to control the overflowing crowds rushing in his direction. You expect some privacy in the VIP lounge but even here the airport staff and friends urge him for autographs and photographs.
At last it is time for boarding and Bachchan is escorted to his seat. He spreads his paraphernalia on the adjoining seat, wears his spectacles and begins to read his stack of newspapers. He stops only when the flight lands in Mumbai.

Bhawana Somaaya
blog.bhawanasomaaya.com

In 1990 Amitabh Bachchan for the first time changed his voice for Agneepath. It was a performance he was proud of but the audience rejected the experiment. Trade pundits summarized that his fans found it difficult to associate their favourite actor without his baritone.

Result, Bachchan was coerced to dub the film all over again in his original voice but he was not happy with the decision. He said it was an artistic compromise and went against his conviction as an actor. He was not wrong.

In weeks to come where ever Bachchan traveled, for his films and his stage shows, the audience urged him to address them in his Agneepath voice. Their response revealed that they had not rejected his experiment but were unprepared for the surprise and therefore stumped.

There is a possibility that had Bachchan shared this information in the promotion of Agneepath, the audience would have applauded his efforts the way they have supported his prosthetic makeup for Paa. Today, technology facilitates communication and Bachchan comprehends that. Paa is an intelligently marketed film and leaves no room for surprises. The audience is well prepared for the subject and the message of the film.

It is an important film for Amitabh Bachchan as an actor as well as a producer all out to re-establish his banner AB Corp.

Not surprising that it was the most dazzling premier at Imax theatre with full attendance from the film fraternity. The long driveway to the cinema hall blossomed like a bride with lollipop lights. At the entrance Bachchan senior, junior, Vidya Balan and all the children starring in the film stood to receive the guests personally. Everybody wore a special badge which read- I love Paa. The invitees were divided among four screens renamed for the special day as Classroom I, II, III and IV.

For four decades we have seen Bachchan sparkle on the big screen in different roles and characters. He has played angry, romantic, comic and negative hero and we are convinced we are familiar with his every nuance, expression and gesture but Paa is a deconstruction of the superstar. Director Balki carefully and intentionally demolishes all his well known attributes- height, voice, power and presence- and introduces you to the most lovable twelve-year-old of Hindi cinema, Auro.

Auro suffers from Progeria but is far from sad or defeated and that is the beauty of the film. He is confident, witty, spirited, stubborn and mature beyond years. What makes the film special is that Balki refrains from melodrama and sermons. He treats Auro as a well adjusted individual accepted by his peer group. Of course there is anguish and turbulence and it is reflected in the mother-son relationship but there is no wallowing. Auro is self respecting and his mother Vidya, a courageous single mother and that’s what lends dignity to the film.

Paa sensitizes you to the problem of Progeria. It is a big leap from yesteryear films like Dosti and Kunwara Baap where society makes a mockery of the handicap. Not anymore, films like Black and Taare Zameen Par alter perceptions of mental and physical disabilities and present the protagonist without stigma.

There are innumerable magical moments in the film- The time Auro first time speaks to the MP and preens like a peacock…The time he visits Delhi with his biological father… The time spent together in the under ground train and on the flight journey…The time Auro goes shopping with his grand mom…Watch out for the way Auro wobbles his head slightly unsteady and hands awkwardly held together. He dons thick glasses but the sunken weak eyes reveal a story of rare spirit and faith. For a young boy fighting so many oppositions, he is self assured in his relationships.

There are many layers and many insights. Infact Paa is more about Auro’s inter personal relationships than his illness. It is a celebration of ensemble performances- Paresh Rawal, Arundatti Nag, Abhishek live up to their roles. Vidya Balan transforms from a passionate beloved to a courageous mother ready to take on society and medical world. And finally Amitabh Bachchan as Auro breaks your heart. He is mesmerizing, completely spellbinding.
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