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Artists who brought Revolution in different ARTS

(Please read this article with relative reference to the Indian continent)

Revolution is a very powerful word. Derived from the Latin word revolutio, “a turnaround”, it means a fundamental change in the existing ways. With time and technology, the face of the art that we know today was changed once by some people. We are going to take here names of which everybody has heard of but never really got a chance to read about them better.

Enlisting here the trend setters who changed the perception in different fields of Arts:

1. Dadasaheb Falke for FILMS

Before him, films didn’t exist!

Dhundiraj Govind Phalke, popularly known as Dadasaheb (30 April 1870 – 16 February 1944) was an Indian producer-director-screenwriter, known as the father of Indian cinema.

Starting with his debut film, Raja Harishchandra in 1913, now known as India’s first full-length feature, he made 95 movies and 26 short films in his career spanning 19 years, till 1937, including his most noted works: Mohini Bhasmasur (1913), Satyavan Savitri (1914), Lanka Dahan (1917), Shri Krishna Janma (1918) and Kaliya Mardan (1919).

The Dadasaheb Phalke Award, for lifetime contribution to cinema, was instituted in his honor by the Government of India in 1969. The award is one of the most prestigious awards in Indian cinema and is the highest official recognition for film personalities in the country.

Some interesting facts about the First Motion Picture – Raja Harishchanda

Advertisements seeking handsome actors for the lead role brought so much amateur and inadequate talent that Dadasaheb Phalke was forced to add a line saying “ugly faces need not apply.”
Dadasaheb Phalke was forced to cast a male actor, Anna Salunke, in the role of queen Taramati because acting was not considered a decent profession for women then.
Dadasaheb Phalke promoted his films as: “A performance with 57,000 photographs. A picture two miles long. All for only three annas.”

2. Chetan Bhagat for WRITING

 

Writing and literature is a deep grounded art for which not everybody has an interest but Chetan Bhagat wrote something which sold half a million copies in Indian Book market where the sale of 10,000 copies make a bestseller. Suddenly every youth in India was found walking, travelling or curling up with a Chetan Bhagat book! n the era when technology was on its onset, he managed to hook many youths to books.

Born 22 April 1974, Bhagat is an Indian author, columnist, and speaker. He is the author of bestselling novels, Five Point Someone (2004), One Night @ the Call Center (2005), The 3 Mistakes of My Life (2008), 2 States (2009), Revolution 2020 (2011), and What Young India Wants (2012). All the books have remained bestsellers since their release and three have inspired Bollywood films (including the hit films 3 Idiots and Kai Po Che!). The latest one inspired from “2 States” is set to release in March 2014. In 2008, The New York Times called Bhagat “the biggest selling English language novelist in India’s history.”

The differentiating factor was his extremely simplistic writing without demand of an extensive vocabulary of the reader. There seems to be a unanimous disapproval of Chetan Bhagat among the high-brow Indian writers but he did bring a revolution in Indian youth readers!

3. Jagjit Singh for MUSIC

 

Jagjit Singh is credited with opening up the ghazal to a whole new audience. Music composer Sanjeev Kohli sums it up:

“He made the common man’s drawing room a darbar. He brought his beloved ghazal out of the confines of the silver screen and aristocratic mehfils into the warmth of the middle class home.”

His only son Vivek died in a car crash in the year 1990. At that time he was only 21 years of age. This had a permanent shattering effect on him and his wife. Jagjit Singh’s wife Chitra Singh gave up singing after the tragic incident and ‘Someone Somewhere’ was the last album that the duo recorded together.

Poet Nida Fazil tells, after his son’s death, he was at a concert where there were many young people.

“I asked him, how come in this modern age of jeans and pop music, you had so many youngsters at the concert for ghazals? He replied, ‘It seems as if Babloo has reached heaven and told the young people to look after his father.’ “

Some interesting facts about the Ghazal Maestro

 

Singh’s 1987 album, Beyond Time, was the first digitally recorded release in India
It was Jagjit Singh who started the practice of paying lyricists a part of an album’s earnings.
In his initial days in Mumbai, Jagjit Singh used to make a living by composing jingles and performances at weddings.
It was Jagjit Singh who started the practice of paying lyricists a part of an album’s earnings.
The tickets for Jagjit Singh’s concert “Live at Royal Albert Hall” in 1982 were sold out in three hours.
4. MF Hussain for FINE ARTS

Maqbool Fida Hussain fondly known as MF Husain is known to begin the ‘modern art’ era in India.

Born into a Muslim family on 17 September 1915 in Pandharpur, Maharashtra, primarily self-taught, Hussain painted cinema posters in Mumbai early in his career. To earn extra money, he worked for a toy company designing and building toys. He often travelled to Gujarat to paint landscapes when he could afford to.

He was one of the original members of the Bombay Progressive Artists’ Group , a clique of young artists who wished to break with the nationalist traditions established by the Bengal school of art and to encourage an Indian tradition, engaged at an international level.

In 1967, he made his first film, Through the Eyes of a Painter which was shown at the Berlin Film Festival and won a Golden Bear (Short Film).

He was a special invitee along with Pablo Picasso at the Sao Paulo Biennial (Brazil) in 1971. He was awarded the Padma Bhushan in 1973 and Padma Vibhushan in 1991.

Some Interesting Facts about Hussain

Hussain rose to become India’s most celebrated artist with many of his works commanding prices of millions of dollars.
His paintings made waves and stirred controversies across the globe. In the mid-1990s Hussain angered a section of Hindu community by painting the nude images of Hindu goddesses Durga and Saraswati.
He was even described by Forbes magazine as the “Picasso of India”.

Husain was famous for the muses he kept and the most talked about was his camaraderie with Indian actor, Madhuri Dixit. So much was his fondness for the actor and her acting credentials that the media had tagged him as ‘Madhuri Fida Husain’. His fondness for Bollywood actors continued post Madhuri’s marriage and the other actors who got an opportunity to be his muse were- Tabu, Amrita Rao and Anushka Sharma,
Controversial Work by M.F. Hussain:

Worst Controversies he was involved in

1.Bharat Mata: Tagged as Husain’s most controversial painting, ‘Bharat Mata’ was anything but a painting, it depictedMother India as a naked woman, in an exposed position with the names of Indian States on various parts of her bare body. The painting, when release for auction created quite a flutter in the country, for it was slammed for hurting the sentiments of Indians, who revere ‘Bharat Mata’. Also, it showed one of her hands (claimed to be North Kashmir) chopped off or blurred to some extent. This particular work infuriated a certain section of the society to this extent that Husain’s exhibition was vandalized and his public image went for a toss, followed by him taking a refuge in UAE, for he thought India was not safe for him anymore

2.Rape of India: As heavy as its name, Husain’s ‘Rape of India’ that was dedicated to Mumbai blasts, post the terrorist attacks on the city, caused much furor, represented India as a woman being raped, with an animal straddling her and of a man pulling her blouse away. This piece of art was taken to be nothing but a solid scorn on Husain’s part.

Journey of a Cinema Ticket

A cinema ticket has meant a lot to a lot of people – be it the passion for cinema, a casual entertainment evening, fun of bunking the college/school or a serious love date- a movie ticket has made a lot of things happen in the lives of mango people! It’s not just a reservation of a seat in the movie flick but it entails corner seats, popcorns spilled, laughter and tears, and whistles and comments!

A cinema ticket has also travelled a long way to earn whatever it is worth of today!

Seventies was the era of most romantic and action flicks in Bollywood with the kinds of Bobby and Deewar. From a nostalgic lane we collect the figure- in 1976 a cinema ticket for a balcony seat in a theatre used to cost Rs 3.50! This further only amplified to Rs 5, 7 and so on! Early 90’s witnessed a pricing of Rs. 25 to 35 and in 1998, this price was Rs 50 in the city like Mumbai!

Then with the advent of multiplexes in 90’s the cinema watching scenario changed drastically and so did the worth of the cinema ticket. Starting minimum from 100 bucks, the tickets were priced anything between Rs 50 (morning shows) to Rs 150. Today the prices are anywhere between Rs. 180 to 900 of noon and evening shows in general.

Maximum average prices at the metro cities of India range today like Rs 600 in Mumbai, Rs 900 in NCR (National Capital Region), Rs 120 in Chennai and Rs. 350 in Kolkata. Whereas; smaller cities range as Rs 180 in Lucknow, Rs 300 in Chandigarh, Pune; Rs. 160 in Goa and so on. In fact, the most famous movie theater of India –Raj Mandir theatre of Jaipur keeps its ticket pricing between Rs 70 to Rs 250 in today’s date!

But the pricing isn’t all about a cinema ticket! It has much more dimensions and emotions entangled in the loop. There were queues once, when people used to spend hours standing and waiting to buy the ticket at the ticket counter- now we just log in to the movie booking site on computers or even phones and the tickets are booked!! The balconies and stalls have been bartered for chairs and plush recliners, fans are totally swapped off for air conditioners and the peanuts have happily given way to butter popcorns! Even the company for cinema watching has gradually drifted from ‘with family’ to now ‘with friends or spouses’ because of the swift transformation in the content of the films.

The transformation from then to now has been a great deal for a Cinema ticket. We all have our own instances of hearing from our friends, parents and grandparents how they once used to run away from their schools and watch a movie from their pocket money or how the entire town used to go crazy on release of the latest Amitabh Bachchan flick!

The craze and passion of cinema watching has stood much above the art of cinema making. If tried, the cinema actors , directors, writers, musicians can be counted but the huge population watching them, admiring them , drawing inspirations and changing their own lives because of them are innumerable.

Let’s hope that the mighty cinema ticket continues to give us more and more memories to add to our lives of love and passion and we continue to be as crazy as possible for Indian cinema as we were 100 years back!

Happy 100 Years of A Cinema Ticket!!!

Know What Tumbhi Can Give You!

“Open your eyes and look within. Are you satisfied with the life you’re living?” Bob Marley

When Bob said this, it was clearly not for an average man who comes to work, does his routine and sleeps off to complete the cycle. It was more about the man who despite of his routine , takes out time for himself, the one who discovers himself as an artist, nurtures his talent and grows without any full stops in view.

Tumbhi, as per definition, means an online platform that seeks to transform the lives of artists, art lovers and art seekers. You are an artist if you have created some artworks in the credit of your name, out of pure imagination of your own.

If you walk in Tumbhi world as an artist, there are a lot of things that are offered to you! Some of the pointers are as under:

  • You are an instant ‘Star’: All of us know fame doesn’t walk in the window so easily but there is always a beginning to everything. Tumbhi artists who get recognized either by getting shortlisted in some of the Tumbhi’s Contests or winning those are interviewed. These interviews are opened up for reading on our blog as well as other social media platforms. Through this, the world gets to know both the personal side of the artist along with the Artistic part.
  • Featuring on Facebook: Facebook is a big deal these days. The entire world around us is there on Facebook as well and making up to something on Facebook is not a meager issue. Tumbhi has a proactive Facebook page with a huge fan base of more than 90,000 fans. Any artist who captures the attention of the Tumbhi team with his outstanding work of art (be it a photograph, poetry, story or even modeling portfolio) gets featured right there in front of thousands on Tumbhi’s Facebook page. Same goes with Tumbhi’s Twitter and blogging platform as well.
  • Expert Comments: This is something which you don’t easily get everywhere! An artist always craves for the right eye for his/her artwork and if that eye is of an expert of that field, there is nothing better than that. Tumbhi has on its board an eminent panel of advisors, who are handpicked by their respective industry itself for the kind of work they have to show to the world. These include people like Anurag Kashyap (Film Director), Irshad Kamil (Lyricist), Javed Siddiqui (Screen Writer), Sunjoy Monga (Photographer) and so on. An artist coming to Tumbhi gets an opportunity to expose his talent to such maestros and receive expert comments from them.

So the first step to discover yourself as an artist will always be your initiative but Tumbhi can take definitely take up from the following steps.

Give yourself a chance to get Explored by the world! Login to www.tumbhi.com.

Dreams That Came True!

“All our dreams can come true, if we have the courage to pursue them. “- Walt Disney

Every one of us a dreamer, the difference is only that some of us remember them when we wake up and some of us let go the flow of thoughts. The dreams may vary as per night or day but the core ambitions travel along with every vision that comes to the dreamer’s mind.

An artist also dreams. He dreams to transform all his dreams into reality one day. And what if someday, somebody actually holds his hands and guides him through? A bunch of dreamers experienced something like this! They got a chance to cherish their dream: being a filmmaker, a scriptwriter, an actor.

Tumbhi came up with a scriptwriting contest back in May 2011 called “Paanch”. The prize was only a promise to transform the words into reality i.e. the winning entries would be converted to actual short films under the mentorship of none other than Anurag Kashyap.

Six Short films were made by Tumbhi. Shor and Sujata were part of those six films. Come November’2011, the film Shor goes to Abu Dhabi Film Festival (U.A.E) 2011-12, gets discovered by the right eyes for filmmaking, receives rave reviews from many critics and wins the Best Narrative Short: Grand Jury Prize.

But Shor was made only to shout out loud what it actually was! It grabs another Best Narrative Short: Grand Jury Prize at South Asian International Film Festival (SAIFF). Neeraj Ghayawan, Scriptwriter and director of Shor , could actually see now his dreams flying high right there in the clouds above. Making much more ‘Shor’ than its name, Shor won another Grand Jury Prize at 10th Indian Film Festival of Los Angeles.

But Shor was not alone here for the accolades. Huma Qureshi, the lead actress of the other short film “Sujata” gets a special mention by the grand jury at IFFLA. Sujata, a dream-child of the scriptwriter Annie Zaidi and director Shlok Sharma, becomes just another route of bliss for its conceivers.

To Tumbhi.com, it was all about giving feathers to the dreams of artists! Looking forward to even more feathers getting added to their caps, Tumbhi takes pride in translating at least a few dreams to reality because as Dr. Abdul Kalam said, “you have to dream before your dreams can come true.”

How to Prove Wikileaks Wrong?

The figures quoted in Wikileaks’ cable are only an eye opener. No star is today guarantee of box office success, yet they refuse to do away with their astronomical prices. The corporate houses that entered in the film production some years back were looked upon as to mend the ways for film making in Mumbai and take it out from the grip of money launders.

Cinematorium
By Pankaj Shukla

How To Prove Wikileaks Wrong

Two things were noticeable this week in Hindi Cinema.
First The Hindu published a cable released by Wikileaks sent to American officers in India to their home country about the way Hindi Cinema works and how the fakism of this industry has reached to a level where the bubble can burst any time. The cable talks about the over rated prices demanded by some of the top film actors and the over budgeted films being made in Mumbai. The cable speaks about quotes of many authoritative film makers who are of the opinion that if the budgets of Hindi films are not cut down drastically, the industry will see its doom’s day very soon.

Second is the film being released this week I Am. The film is a compilation of four short stories and directed by gay activist Onir. The noticeable things about this film is not only the good craft that its actors and crew have put into it to make it a commendable film but also the way the funds have been generated for it. The film is helped by contributors from 45 different cities across globe and even a city like Kanpur represents its co producers. Though, the film’s main producers Sanjay Suri and Onir yet to clear all their bills for the equipments and services used for making this film, the very fact that it has been liked by most of the people gathered to watch it in a special show organized at Yashraj films studio, which is again situated in the campus of one of the biggest studio of India and known for making big budget films. I saw associate producer and actor of the film Juhi Chawla roaming around in lawn of the studio and trying to recognize some special plants grown in the vicinity. And, again overheard her talks with a journalist and telling her how novice she is in money matters.

First thing first, most of the industries around the world which were hit by the recession three years ago are now somehow trying to regains their spirit and production both. But, a look at all these three years in Hindi Cinema, and prices of stars have only been increasing. The figures quoted in Wikileaks’ cable are only an eye opener. No star is today guarantee of box office success, yet they refuse to do away with their astronomical prices. The corporate houses that entered in the film production some years back were looked upon as to mend the ways for film making in Mumbai and take it out from the grip of money launders. But to keep their share prices high, they went on announcing one project after another with huge budgets and prices for the actors that were unheard of. They raised the money for these films from the market and again sold these low on content and high on glamour films to the same share holders in the market. Then every film just after the three days’ of its release was declared a hit and huge collections were quoted in  the newspapers and hoardings. Thanks to Income Tax department’s raid on the offices of Arbaaz Khan, the producer of Dabangg that this practice has now slowed down if not stopped. Income Tax sleuths could not find any detail of the money that Arbaaz has publicized against his film’s collections.

Hindi Cinema is getting butchered by its own men. Everyone here talks about content being the king but the very few bother to search for the good content in fact. Every director is asked to get stars, and every start asks for a big banner. It becomes like a chicken and egg situation for a good but new director to start a film which might be a good story but when he finds himself in a situation like this, he sits back at home and works on mediocre things to earn his family’s bread and butter. Wikileaks’ cable is just an indication to what is going on in Hindi film industry. The point was proven last year with the decision of T Series of not to release Puja Bhatt directed Kajrare, a film which has a super star in fading Himesh Reshamiya, properly. To sell film’s satellite rights they had to complete formality of film’s theatrical release and that they did it by releasing the film in just three theatres, two in Mumbai and one in Pune. Same doom looms upon another film of Himesh, A Love Isshtory directed by Sarfarosh fame John Mathew Mathan. Both these films are high budgeted films but could not find any takers to distribute and exhibit them. T series people were clever enough to not waste money on publicity of these films and did away silently.

On the other hands films like I Am, Chalo Dilli at present and Tere Bin Laden, Bheja Fry and others in recent past not only generated good curiosity among viewers but also did good business for their producers. As a trade analyst puts it, it is safer to make a Rs. 5 Crore budget films and earn the money back than to make a Rs. 50 Crore budget film and lose everything. Films like I Am and Chalo Dilli are a welcome change in Hindi Cinema and their success can only make Hindi Cinema survive and prove the Wikileaks prediction wrong. Amen

How to prove Wikileaks wrong?

The figures quoted in Wikileaks’ cable are only an eye opener. No star is today guarantee of box office success, yet they refuse to do away with their astronomical prices. The corporate houses that entered in the film production some years back were looked upon as to mend the ways for film making in Mumbai and take it out from the grip of money launders.

Cinematorium
By Pankaj Shukla

wikileaks

Two things were noticeable this week in Hindi Cinema.
First The Hindu published a cable released by Wikileaks sent to American officers in India to their home country about the way Hindi Cinema works and how the fakism of this industry has reached to a level where the bubble can burst any time. The cable talks about the over rated prices demanded by some of the top film actors and the over budgeted films being made in Mumbai. The cable speaks about quotes of many authoritative film makers who are of the opinion that if the budgets of Hindi films are not cut down drastically, the industry will see its doom’s day very soon.

Second is the film being released this week I Am. The film is a compilation of four short stories and directed by gay activist Onir. The noticeable things about this film is not only the good craft that its actors and crew have put into it to make it a commendable film but also the way the funds have been generated for it. The film is helped by contributors from 45 different cities across globe and even a city like Kanpur represents its co producers. Though, the film’s main producers Sanjay Suri and Onir yet to clear all their bills for the equipments and services used for making this film, the very fact that it has been liked by most of the people gathered to watch it in a special show organized at Yashraj films studio, which is again situated in the campus of one of the biggest studio of India and known for making big budget films. I saw associate producer and actor of the film Juhi Chawla roaming around in lawn of the studio and trying to recognize some special plants grown in the vicinity. And, again overheard her talks with a journalist and telling her how novice she is in money matters.

First thing first, most of the industries around the world which were hit by the recession three years ago are now somehow trying to regains their spirit and production both. But, a look at all these three years in Hindi Cinema, and prices of stars have only been increasing. The figures quoted in Wikileaks’ cable are only an eye opener. No star is today guarantee of box office success, yet they refuse to do away with their astronomical prices. The corporate houses that entered in the film production some years back were looked upon as to mend the ways for film making in Mumbai and take it out from the grip of money launders. But to keep their share prices high, they went on announcing one project after another with huge budgets and prices for the actors that were unheard of. They raised the money for these films from the market and again sold these low on content and high on glamour films to the same share holders in the market. Then every film just after the three days’ of its release was declared a hit and huge collections were quoted in the newspapers and hoardings. Thanks to Income Tax department’s raid on the offices of Arbaaz Khan, the producer of Dabangg that this practice has now slowed down if not stopped. Income Tax sleuths could not find any detail of the money that Arbaaz has publicized against his film’s collections.

Hindi Cinema is getting butchered by its own men. Everyone here talks about content being the king but the very few bother to search for the good content in fact. Every director is asked to get stars, and every start asks for a big banner. It becomes like a chicken and egg situation for a good but new director to start a film which might be a good story but when he finds himself in a situation like this, he sits back at home and works on mediocre things to earn his family’s bread and butter. Wikileaks’ cable is just an indication to what is going on in Hindi film industry. The point was proven last year with the decision of T Series of not to release Puja Bhatt directed Kajrare, a film which has a super star in fading Himesh Reshamiya, properly. To sell film’s satellite rights they had to complete formality of film’s theatrical release and that they did it by releasing the film in just three theatres, two in Mumbai and one in Pune. Same doom looms upon another film of Himesh, A Love Isshtory directed by Sarfarosh fame John Mathew Mathan. Both these films are high budgeted films but could not find any takers to distribute and exhibit them. T series people were clever enough to not waste money on publicity of these films and did away silently.

On the other hands films like I Am, Chalo Dilli at present and Tere Bin Laden, Bheja Fry and others in recent past not only generated good curiosity among viewers but also did good business for their producers. As a trade analyst puts it, it is safer to make a Rs. 5 Crore budget films and earn the money back than to make a Rs. 50 Crore budget film and lose everything. Films like I Am and Chalo Dilli are a welcome change in Hindi Cinema and their success can only make Hindi Cinema survive and prove the Wikileaks prediction wrong. Amen!

Once There Used To Be Film Critics…

Cinematorium
Pankaj Shukla

Having stopped reviewing films on weekly basis long back, I hardly have an urge to watch each and every movie first day first show now. Friday noon or Thursday evenings used to be booked for a film in my weekly schedules for almost a decade then and no matter what, be it rain, the thunderstorms or the scorching heat, I had to be there to see a new film. Sometimes the time used to pass by with an entertaining film, sometimes it was more thoughts than entertainment that used to come to mind and sometimes it were all emotions. But to see a film and then curse the self for wasting more than two hours of life on a trash used to be a case once in a quarter. Even flop films till sometimes back had a sense and something or the other in their making had some magic to keep you intact.

Nowadays in the time of celebration of corrupts, Film reviews too have fallen in the hands of marketing people in the dailies of most of the newspapers in India. Any person who dares to judge a film by his or her gut is sure to be crucified with so called Gangs of Marketing Men. They are modern Men In Black who are out to write the new rules of journalism and their over enthusiasm to milk producers have taken a heavy toll on ethical film journalism. Last year only when I was sitting with a close friend and one of the top most film distributors of Northern India, he cursed me for not writing weekly film reviews in a time when critics not only get plasma TV, double door fridges and foreign trip tickets but also their palms are greased well. I was aghast listening this and could only feel ashamed of the fact that the person sitting across the table is making fun of a profession which I almost fell in love. It was like listening someone abuse your darling and you could do nothing.

I don’t know how much truth was in his satire, but if he is wrong then how would a critic will rate a film with one star and other one will go on to give the same film four stars or sometimes even five stars. Not long back, a producer friend of mine wanted to make a film on this film review business and approached me to write a story for the same. I advised him if he wants to make a standing in the film trade, he should keep away from this and better make films on some other topics. Thankfully, he agreed and I was saved in washing dirty clothes of my own fraternity in public. But, now it is becoming above saturation point. It is like a time when somebody needs to stand up and say, Enough.

I liked the reviews of Minty Tejpal off late who used to write in Mumbai Mirror till very recently and may be because of his being true to his heart has cost him his job. His name has vanished from the paper’s weekly film review section. All these thoughts have been occupying much space of mind since the time I came out watching film 3 They Bhai recently. I was so much in praise of its producer Rakeyesh Omprakash Mehra till the time I didn’t see this film. He gave interviews with the headlines, ‘Producers in Hindi Film Industry do not have story sense’. And, he went on record to say that was the only reason he made 3 They Bhai. The headlines seekers gave huge space to Mr. Mehra in their papers. I am certain that he learnt this art from his hero in Rang De Basanti, Aamir Khan. Shout from the top of the highest building in town like Veeru and win Basanti (the viewers). Who cares what happened when Veeru and Basanti left in the train from Ramgadh. The money spent in buying tickets is in the pocket of the producer. His job is done, the viewers can wait for their revenge till his next film. As a producer he is not going to release his next film very soon in near future and it is certain that he will not have to bear the same burnt that Akshay Kumar is still facing post his idiotic comedy Singh Is King.

Gone are the days when writing a film review was deemed as an art. People used to line up to get an admission in film appreciation course, now every Tom, Dick and Harry is a film critic. Those who don’t even heard of plot points and basics of screenplay are the most talkative film critics in any press show. People who have no knowledge of music and its beats praise a shit song like National Anthem of the country. So overawed are these reviewers that they declare even a film like Raavan, a super hit, as soon as you start reading end credits in the theatre itself. One can now count genuine film critics in the country on finger tips, who are not in awe of stars, who don’t look for complementary things, who have no issue in watching a film with their own money than to watch in a press show and feel obliged for hardly 200 bugs. But, do newspapers have space to publish their views any more. The question is Too Boo or not to boo

यारों सब दुआ करो…

अरसा हो गया अनुभव सिन्हा से बात किए हुए। हमारी आखिरी बातचीत तब हुई थी जब उन्होंने मुझे एक संभावित फिल्म निर्माता समझ कर फोन किया था और उन्हें लगा था कि मैं दिल्ली से बहुत सारा पैसा लेकर मुंबई पहुंचा हूं फिल्म बनाने। उन दिनों मैंने अपनी पहली फीचर फिल्म का काम बस शुरू ही किया था। अपनी फिल्म कैश के नाकाम रहने के बाद तब अनुभव सिन्हा काम तलाश रहे थे।

सिनेमांजलि
पंकज शुक्ल

पूरा देश जहां एक तरफ क्रिकेट वर्ल्ड कप के खुमार में डूबा हुआ है, सुनते हैं कि शाहरुख खान ने अपनी लंबे समय से बन रही और जल्द रिलीज होने जा रही फिल्म रा वन का पहला प्रोमो रिलीज कर दिया है। और, ये संयोग ही है कि ठीक इसी समय कार्टून नेटवर्क ने अपना न्यू जेनरेशन सर्वे भी इस साल के लिए रिलीज किया। पश्चिमी देशों में फिल्म और कार्यक्रम निर्माता अपने हर प्रोजेक्ट से पहले इस तरह के सर्वे कराते हैं और संभवत: कार्टून नेटवर्क ने अपनी भावी कार्यक्रम योजनाओं के मद्देनजर ऐसा किया। सर्वे के तमाम दिलचस्प नतीजों में एक नतीजा ये भी सामने आया कि भारतीय अभिनेताओं की बात चलने पर बच्चों के बीच शाहरुख खान अब भी सबसे ज्यादा पसंद किए जाते हैं। सर्वे में शामिल बच्चों में से 28 फीसदी ने शाहरुख को अपनी पहली पसंद बताया। सलमान खान उनके बाद नंबर दो पर और ऋतिक रोशन नंबर तीन पर रहे। हालिया प्रसारित हुए रिएल्टी शो जोर का झटका के आंकड़ों के लिहाज से देखा जाए तो शाहरुख का तिलिस्म छोटे परदे पर कम होता जा रहा है, लेकिन इसकी बड़ी वजह उनका इन दिनों अपने सार्वजनिक कार्यक्रमों के दौरान ऐसी भाषा का प्रयोग करना माना जाता रहा है, जो भारतीय परिवार एक साथ बैठकर सुन और देख नहीं सकते। लेकिन, भले बड़ों के लिए ये भाषा अभद्र रहे, टीन एजर्स इसे ट्रेंडी मानते हैं। रा वन शाहरुख का ड्रीम प्रोजेक्ट है और इस पर वह पानी की तरह पैसा बहा भी रहे हैं। लेकिन, इस फिल्म मेरी दिलचस्पी सिर्फ इसलिए ही नहीं है कि देखें तो भला कि इसी कहानी पर पहले ही बन चुकी रोबोट से ये फिल्म कितना अलग रहती है बल्कि मैं इसका इंतजार इसके निर्देशक अनुभव सिन्हा की वजह से कर रहा हूं।

अरसा हो गया अनुभव सिन्हा से बात किए हुए। हमारी आखिरी बातचीत तब हुई थी जब उन्होंने मुझे एक संभावित फिल्म निर्माता समझ कर फोन किया था और उन्हें लगा था कि मैं दिल्ली से बहुत सारा पैसा लेकर मुंबई पहुंचा हूं फिल्म बनाने। उन दिनों मैंने अपनी पहली फीचर फिल्म का काम बस शुरू ही किया था। अपनी फिल्म कैश के नाकाम रहने के बाद तब अनुभव सिन्हा काम तलाश रहे थे। मैंने उन्हें समझाया कि मैं इस प्रोजेक्ट से बस एक निर्देशक की हैसियत से ही जुड़ा हूं और जिस किसी ने भी मेरे फिल्म निर्माता होने की सूचना उन तक पहुंचाई है, उसके पास गलत जानकारी रही है। उसके बाद उनका दोबारा फोन नहीं आया, और मैं भी जिंदगी के दूसरे झंझावातों से जूझने में लगा रहा। लेकिन, मुझे वे दिन अब भी याद हैं जब अनुभव सिन्हा मुझे अक्सर फोन किया करते थे और फोन उठाते ही पूछते थे कि क्या वह मुझसे बात कर सकते हैं? और क्या बातचीत के लिए वह सही समय है। ये वो वक्त था जब वो म्यूजिक वीडियो डायरेक्टर से फिल्म डायरेक्टर बनने की तरह पहली छलांग लगा चुके थे। आपको शायद मालूम ही होगा कि सोनू निगम के शुरुआती अलबमों के ज्यादातर वीडियो अनुभव सिन्हा ने ही निर्देशित किए हैं और ये अनुभव सिन्हा ही थे जिन्होंने शायद पहली बार अपने म्यूजिक वीडियो में बिपाशा बसु को ग्लैमर की दुनिया का पहला बड़ा मौका दिया था। अनुभव सिन्हा की दूसरी फिल्म आपको पहले भी कहीं देखा है, बुरी तरह फ्लॉप रही। ये फिल्म मैंने दिल्ली के कनॉट प्लेस के एक थिएटर में देखी थी। फिल्म देखने के बाद मैंने अनुभव को फोन किया और बताया कि फिल्म के संपादन की शैली मुझे काफी पसंद आई और ये भी कि उनका कहानी कहने का अंदाज बजाय एक रूमानी फिल्म के किसी थ्रिलर के लिए ज्यादा मुफीद है।

अनुभव ने उसके बाद कभी कोई रूमानी फिल्म नहीं बनाई। उनकी अगली दो फिल्में थी दस और कैश। इन फिल्मों के बाद वह बतौर निर्देशक बड़े परदे पर वापसी के लिए लंबा इंतजार कर चुके हैं। सिनेमा में संघर्ष के दिन ज्यादातर तकनीशियनों को जिंदगी की हकीकत से रूबरू कराते हैं। मुझे उम्मीद है कि ऐसा ही कुछ सबक अनुभव ने भी अपने इस संघर्ष से सीखा होगा और वह अब भी रा वन की टीम के कप्तान की हैसियत से अपने एक बड़े सपने को परदे पर उतारने में तल्लीन होंगे। अनुभव में फिल्म बनाने के सबसे अहम पहलू शॉट डिवीजन के दौरान नए नए प्रयोग करने की अद्भुत क्षमता है। वह एक मंजे हुए तकनीशियन और एक उम्दा निर्देशक हैं हालांकि यही बात उनकी निजी शख्सीयत के बारे में मैं दावे के साथ नहीं कह सकता। ग्लैमर की दुनिया की चकाचौंध के अलावा इस जिंदगी का एक दूसरा पहलू भी है, जो उतना आकर्षक अक्सर नहीं दिखता। अनुभव ने मुंबई आकर जिन दोस्तों का गुट बनाया था, वह अब बिखर चुका है। उन पर फ्लॉप निर्देशक का तमगा चस्पा होने के बाद वे सारे दोस्त उनसे कन्नी काटकर निकल चुके हैं। शायद अनुभव और शाहरुख दोनों का दिल्ली कनेक्शन उन्हें रा वन के करीब लाया। इस फिल्म की शूटिंग के दौरान अक्सर हमें तरह तरह के किस्से सुनने को मिलते रहे हैं कि कैसे हर शॉट के बाद अनुभव ओके कहने से पहले शाहरुख का मुंह ताकते हैं। लेकिन मेरा अपना मानना है कि अगर ऐसा होता भी रहा है तो शाहरुख का बतौर निर्माता इसका हक बनता है। रा वन की मेकिंग से जुड़े मित्र बताते रहे हैं कि ये फिल्म हिंदी सिनेमा निर्माण में एक नया अध्याय जोड़ सकती है। ये फिल्म दुनिया की बेहतरीन फिल्मों का मुकाबला करने में सक्षम है। हालांकि, मैंने रा वन का फर्स्ट लुक प्रोमो अभी तक नहीं देखा है, फिर भी मुझे यकीन है शाहरुख जैसे सुपर स्टार और अनुभव जैसे काबिल हुनरमंद ने मिलकर जरूर एक ऐसी फिल्म बनाई होगी जो अनुभव के शुभचिंतकों और शाहरुख के प्रशंसकों को समान रूप से पसंद आएगी।