As the IAWRT Asian Women’s Film Festival celebrates its 15th edition, director Gauri D Chakraborty tells Chahak Mittal how women filmmakers have to wrest the discourse as they are never been celebrated with open arms
Even though not every film is made to impact people’s mindsets but each of it has the power to chronicle the tiniest change in the society. However, there is a stark difference when a woman directs a film to when a man does.
The IAWRT Asian Women’s Film Festival has been making the constant and conscious efforts to make this difference reflected and showcase narratives woven by women filmmakers from different parts of Asia. Since the festival entered its 15th edition this year, Gauri D Chakraborty, director, felt that she had to make it more “befitting” now that she is assigned to work for it.
“Even though the Bollywood is beginning to change and increasingly shifting towards appreciating women, how many times have we seen them celebrating the spirit of women and the female filmmakers in the industry?” questioned Chakraborty. She believed that this is not just about Bollywood or other Indian female filmmakers, rather a universal purview.
While the festival, held at the India International Centre (IIC), this year received 755 film entries from 37 different countries, choosing out on around 50 films from 20 countries were some tough choices to make. “Initially, after the first round for selection, we cut it down to 257 films, and then finally moved on choosing on a total of 51 films from at least 20 different nations.”
Even though women directors are taking charge of cinema and making an effort to make the society realise of concerns that are important to be looked upon responsibly, there have been debates around the commercial prospects of stories driven by female characters, general perceptions around women on the film sets, and the truth that even female-centric films have been, at times, misogynistic and regressive.
Chakraborty felt that while going through the selection process, they didn’t want anything to be “clichéd.”
“We chose films which highlight the current discourse, and the filmmakers who are aware of what is happening in the society today and are able to tell through their research what society actually needs when it comes to empowering women and enable them to express themselves freely,” said she.
The three-day festival marked debates on the #MeToo movement and how it has been a “critical time” for the film industry and even the women to be awakened and realise what has been wrong over the years that now need a change. Led by Bina Paul and Nupur Basu, the debate included 60 other representatives from various organisations including the UN Women. One among many other subjects was also female gaze and a gaze at them — how women on the film sets are looked upon through various lenses.
“Though female gaze is a very academic term, it’s interpretation is very subjective. It’s important to also show and include the woman’s perspective when it comes to cinema. A woman’s narrative through the cinematic form gives us a view into their world and how they look at other things around them. Men need to understand what the systems mean to them and what they want. They are a voice of all the other women who have been suffering but are unable to speak up,” she said, adding that the debate went on to be very “dynamic and concrete.”
The festival also showcased a special art work installation titled, Bioscopewaali, that made one reminisce about the age-old bioscopes and how peeping through its lenses could still give a tough competition to the current advanced technology — TVs and smartphones.
Chakraborty shared that surprisingly there were people of all age groups who were delighted to see the installation. She said, “The impact was completely different. I didn’t imagine that this would be so attractive to people, especially the senior people. They felt as if something very close to them from their childhood has come back. They were eager to see what the bioscope showed. Even the children of the current generation were happy as they had never seen it before.”
One of the most loved yesteryear entertainers, Chakraborty’s bioscope gave a surge of nostalgia among the more mature generation who have run around on the streets, fascinated, behind the bioscopewalla as soon as he entered their gullys. She said that the bioscope showed visuals of gender texts and people could choose what they wanted to see from a set of films and videos. “I felt it was a great idea to represent film and cinema. It was after all, one of the first ways that cinema came to houses, knocking on people’s doors,” said she.
The festival also saw a two-day workshop conducted specially for underprivileged adolescent girls, titled The Little Directors, led by Meena Sabnani and Samina Mishra.
Writer: Chahak Mittal
Courtesy: The Pioneer
Bridal Asia 2019 showcased various new trends, giving a platform to summer weddings and wholesalers to become sought-after labels and lightweight couture. By Ayushi Sharma
Selecting a wedding outfit is more than just a fitting as it’s actually a process, a memory in the making. The bridal attire is one thing that matters the most over everything for any woman. The Indian bridal fashion has always been changing and evolving ever since the concept of “big fat Indian weddings” came in.
Bridal Asia curated its hand-picked Spring Summer ’19 edition, exhibiting some of the renowned designers of the country. Through an amalgamation of opulence and craftsmanship, it showcased something for everyone, and a multifarious assortment of apparel, jewellery, footwear and accessories, from the choicest brands that came together for celebrating the Indian heritage.
Dhruv Gurwara, chief marketing officer of Bridal Asia, says, “This year, the exhibition completed 20 years and we are absolutely elated. Our narrative has opened the curtains of a new era, where the bride declares her individuality. The brand is now celebrating the chasm between its history, the coy bride and its future, the bold bride. With every passing season, we understand our muses better, so this was the perfect time to also dedicate space to lighter collections.”
“This time we concentrated on the summer collection as summer weddings and even destination weddings have now become a trend. The time between April and June has actually become a period where lot of weddings take place. This is the reason why we started the summer edition. This has been our second edition,” he adds.
Dhruv apprises that this time there were a lot of jewellers from Jaipur mainly and other places as well, who were initially wholesalers, have started retailing themselves and are now coming out as brands, like Raniwala and Rambhajo. So it’s quite interesting to see the wholesalers getting into the retail business.”
He further says that people are willing to experiment now, in terms of quality, colours, what suits them, fits them best, and they are considering comfort as their top-most priority. They are not just stuck on to the mainstream designers anymore. Weddings are a once in a lifetime experience, especially for brides and grooms, as it is their big day, their day to seek all the attention and look exactly like they have dreamt of all their lives. By being comfortable in what they choose to wear lets them enjoy their day. He feels it has been quite a refreshing change. People are opting for lighter, breezier outfits rather than heavy embroidered ones. Even when it comes to jewellery they are ready to tick something simple that goes along with their dress instead of extremely flared pieces. They are also considering cost effective designs, something classic, minimalist and modern with a touch of traditionality.
Dhruv says, “Opting for lighter pieces even helps in destination weddings since you don’t have carry too much weight of your lehengas and jewellery.”
Ask him about the colours which seem to be in trend, he adds, “That dark maroon isn’t there anymore which used to rule the hearts of Indian brides. Bright colours like red, blue, pink, white, off-white, even ivory, are working very well, everything other than dull velvets.”
For Dhruv, a wedding dress is both intimate as well as personal for a woman and it must reflect the personality and style of the bride. After all, a bride’s entire world stops to look at her on her wedding day, it has to be memorable.
Courtesy: The Pioneer
Writer: Ayushi Sharma
Actor Kartik Aaryan is often mistakenly believed to be a Delhiite, but his heart still beats for his hometown Gwalior. In conversation with Saimi Sattar
“Have you eaten?” Even before I could ask a question, actor Kartik Aaryan fires the first one, making you wonder whether you are on a “social visit” at his home or for an “interview” at a hotel! But then it is this next-door comfort that has made him the nation’s heartthrob, one who equalises reality and aspiration on his sneakers. Dressed in a dark blue suit blazer with a barely there print, white shirt that is unbuttoned and blue trousers, the actor sips his tea perched on the 20th floor and glances around at the people who are assembled in the room.
The actor, who is known for his comic capers in films like Pyaar Ka Punchnama and its sequel as well as Sonu Ke Titu Ki Sweety, is often mistaken for a Delhi boy. “May be it is because of the way I look or my lahja (tone). May be it has to do with the fact that I have done a lot of films that have seen me play a character from Delhi. But yes, this idea has caught on in popular imagination,” says the 29-year-old actor.
Kartik is from Gwalior where his new film, Luka Chuppi, is set. “I could never imagine that I would be shooting in the place where I had dreamt of being an actor. My friends, families and relatives are all there. Everyone knows each other as it is a small town. The welcome was surreal. They started calling me Son of Gwalior. There were huge hoardings with my name and photographs which were a bit embarrassing, especially because they all were from my scrawny days. I wish they had asked me for some better ones,” he guffaws. “It was surreal.”
However the love for the city comes through in his voice. “I took my entire cast and crew around. I loved these boondi laddoos from Bahadura Sweets as a child. So I got those and rasmalai for everyone everyday. Everybody had to chuck their diet plans. The aloo patties are famous as is the poha,” he says as he seems to to be savouring all the delicacies once again.
But it is also in his values that he continues to remain a small town boy who is not affected by failures and success. “I keep on working on myself because that is what I did after getting scolded by my parents,” he says.
Coming back to the present, the actor says that his entire trajectory has been about doing relatable cinema. “Luka Chuppi is about the problems that a small town couple faces when wanting to live-in. But it has a quirk. It is live-in sah parivar (with family). It is a social satire and many can identify themselves with the characters. After watching Sonu Ke Titu Ki Sweety, a lot of people felt that they wanted a Sonu in their life as they felt that they were Titus,” he says.
The actor believes that Guddu Shukla, the protagonist in this film, is the most earnest and honest character that he has ever played. “He is the guy you would want to take home to mum,” he says.
And when one asks him if his claim of being marriage material in a recent interview is true, he immediately answers, “Yes,” without batting an eyelid. And then laughs and adds, “May be I became the character of Guddu. I am shaadi material as I am a person who believes in being together with family. I have shifted to a bigger place recently so that I could get mine to Mumbai after staying alone for seven-eight years.” However, he believes that he is not as righteous as Guddu. “And that is me being honest,” he says guffawing again. The other characteristics that he believes he shares with his role are that he is upfront and committed. If he is convinced about any choice that he makes, he goes for it with great passion.
Besides the relatability factor, what excited Kartik was that for the first time he was speaking in a dialect in the film. “My character is from Mathura, so he talks like the people from there. But the manner of speaking is situational because he is educated. So it changes depending on the people that he is interacting with. I think my rawness will be visible here. While Sonu and the other characters were flamboyant, street smart and with grey shades, here I play an average guy who fits in the setting and is not stylish. His appearance, too, is such that he fits into the scenery. From the first scene you will see Guddu and not Kartik Aaryan.”
So is that his way of making a mark when all the young actors are competing for the same set of roles? “Whatever I am doing, I believe it is working. I have that belief in my sense that it is going in the right direction and I don’t want to change it. I am relying on my gut feel,” he says. About his compatriots, he adds, “I think that this is a very good time for the young brigade as there are so many content creators and avenues of expression. Content is king and that is the reason why there is ample amount of chance for all of us to put ourselves out there in projects which are different and also work on screen.”
Few know that he locked on to this character soon after he finished Sonu ke Titu ki Sweety. “It is not just the protagonists. The side track in the film is an interesting commentary on our intrusive culture. Everybody has a habit of poking their noses in other people’s lives instead of minding their own business. So the elder brother wants to know what the younger one is up to and the third bhabhi might be jealous that the first one has an important position in the family. In this too, everyone has an agenda. Each character has a separate track. That is the funniest thing. There was a lot of situational comedy. When I heard the script I decided that this has to be my next film. I was actually the first person on board.”
It is apparent that Kartik follows everything with a deep conviction and passion. “I was in class VIII when I decided that I wanted to be an actor,” he says. It was in pursuit of this goal that he applied to all the engineering colleges only in Mumbai and Navi Mumbai. “In Gwalior, appearing for PMT and IIT entrance exams was the done thing. I could not have told my parents that I wanted to pursue acting as they would not have been able to afford a course. So engineering in Mumbai became an excuse. I never attended classes as I was busy with auditions,” says the actor who did manage to complete his engineering during Pyaar ka Punchnama 2.
Kartik burst on in the popular imagination with a six-minute monologue in his first film, Pyaar Ka Punchnama, and he has an interesting story behind it. “For three years, I searched online with key words like audition and actors required. I got an advertisement where I was paid Rs 2,500 which was a channel promo where I was holding a placard,” he recalls. It was during this time that he saw an audition call for an unnamed film. “I caught the train from Belapur to Andheri which took 2.5 hours and gave an audition,” he says. The back and forth went on for six months and as a part of the last audition he had to say this monologue which was five and a half pages long! “It was the first time something like this was being attempted. But this was crucial to clinching the role. To add to my woes, I had to perform it the next day,” he recalls. So Kartik did what he knew best. Took it up passionately. “I didn’t sleep. I kept learning it throughout my train journey and then in my PG. I enacted it, recorded it, then saw the mistakes and attempted it again. The next day I kept on doing it in the train. But it was worth the effort as people actually clapped when I finished,” he says, the pride still surfacing in his voice.
During the actual shooting, they worked on a reel camera which has a limit unlike the newer digital ones which are used now. “There was only four-and-a-half minutes of the film left when I started my monologue of six minutes. No one told me that the camera was not rolling for the last one-and-a-half minutes. As I was drawing to a close, the reel finished. I had to do a retake again. I shot at one go and it was okayed in Take 2,” he says. But he feels it was well worth the effort as the monologue is the most popular scene from the film. “It has been circulated all over the world and has been a hit,” he says.
Having nailed it, Kartik went on to top this further. In Pyaar Ka Punchnama 2, the monologue was seven minutes long. “They kept working on the final draft so it came to me when I was in the midst of shooting. But somehow I managed to pull through,” he says.
One reason that his films have drawn flak is the misogynist gaze on the female characters. “See, we are not generalising boys. It is these characters in the films that are roguish and loveable rakes.”
Another reason why Kartik has been in the news is on account of Sara Ali Khan taking a shine to him and wanting to date him or his alleged link-up with Ananya Pandey. Something that has kept his name in circulation among Bollywood’s swish set. But the young star likes to keep it grounded. “I don’t pay attention. I only feel good and flattered but that is bound to happen when someone says something good about you. Link-ups are a part and parcel of the industry and I know how to deal with it,” he nods sagely. The small town boy is growing up.
Photo: Pankaj Kumar
Courtesy: Pioneer
Writer: Saimi Sattar
Bringing a fresh take on Korean Jazz music, Chae Ji Hye blends traditional Korean music with its elements of joy and improvisation. He is in conversation with team Viva.
Since how long have you been performing?
I have been a performer and composer for 18 years in various fields like jazz, pop and Korean music. In 2016, I started Chae Ji Hye’s Go Back Project and through it I am actively pursuing an original music style by combining traditional Korean music and jazz.
What made you combine jazz with traditional Korean music?
The music differs from other groups in that Korean traditional instruments and Western ones are in harmony. While playing jazz, I wanted to build a more personalised style of music. Jazz and traditional Korean music are very similar. Just as jazz has a major element of improvisation, Korean traditional music has an improvisational music genre called Sinawi. In terms of joy and improvisation, we try to showcase the jazz that embodies Korea of this age through its subtle harmony with traditional music.
A brief on the motto — Finding today’s solution from the past?
Its meaning is ‘to make and play original music of this age inspired by the past music of Korea. This resembles jazz a lot in the sense of joy and improvisation which is reinterpreted in a modern way.
How is jazz different from other musical form?
It is the music of communication and of expression of freedom. Its most basic element is improvisation which is a combination of composing and playing. The greatest feature and charm of jazz is that it should be played instantly and according to the situation and place as opposed to prepared music.
While performing internationally, is it easy to connect with audience or do you find it difficult?
All of the band members of Chae Ji Hye’s Go Back Project have held overseas performances. This is the first time I have visited India, but I will try my best understand what the audience likes in order to create the best performance. Park Ji-Young, a member of the team, will play the role of interpreter for our team. We can communicate through her.
Jazz has not been explored much by Indians. What is the scope of this genre in the country?
In Korea, the genre of jazz is still unfamiliar to the public. So we try to play it in a manner that that they can enjoy jazz easily. I think this musical intention will appeal to the audience in India. In addition, Korean traditional musical instruments, unique playing methods, and tones in our music, will attract Indian audience. In order to communicate with more local audience a famous folk song of India was composed by the repertoire in our own style.
Courtesy: The Pioneer
Writer: Team Viva
How and why did you choose to rap?
I was born in Kurla, and grew up in Sahar with my family before my mother left for a job in the Middle East. I then moved in with my grandmother who lived in JB Nagar. My introduction to hip-hop was through a t-shirt. This friend of mine was wearing this shirt with 50 Cent on it. I was curious so I asked him who was that, and he gave me this CD which had maybe 70-80 songs on it. I heard all the songs. 50 Cents was the rage and it was the coolest thing I had heard. I started digging deeper, I would sit in cyber cafes to learn as much as I could about hip-hop. I realised that 50 Cent wasn’t even among the coolest! Tupac, Biggie, Nas, Eminem. I learnt their songs. They wrote about the world around them. It wasn’t pretty, much like my life.
I learnt more about hip-hop and writing rap when I met Abhishek Dhusia (Ace) and Amey Patkar (AP), founders of the city’s first rap crew — Mumbai’s Finest. I was about 17-18. In those days, people were active on Orkut. We had online communities like Insignia Rap Combat, who would participate in online text rap battles.
My first solo song was released in 2013 — Voice of the streets. It had lyrics like “born in the gutter, raised by a single mother”. I would write my own rap but it never felt convincing till I switched to Hindi. It was only when I started writing in Hindi that I was able to translate my thoughts into words effortlessly. In 2014, I released Yeh mera Bombay which had lyrics in Hindi and English and that racked up like one lakh views in a few months, and won me an award. That’s when I knew hip-hop was where I belonged.
How difficult is it to be a rapper?
People either didn’t know or understand hip-hop, or would assume that it’s about booze or girls or violence. I didn’t sing about any of that. I wrote songs about my neighbourhood, my friends and my life. People in the rap scene understand what goes into writing a verse, what flow is. Most importantly, if you’re authentic, people will respect you.
Would you agree that rap culture in India has come of age or do we still have a long way to go before we can catch up with the West?
Hip-hop is a form of storytelling that exists all over the world. There are certain elements that make it. But the beautiful thing about it is that you can adapt it to whatever language you want. I rap in Hindi because it helps me reach a wider section of people, it makes my story and the listening experience more authentic. The Indian hip-hop scene is documenting the 21st century in a way that books did.
Why is it that rappers choose words that are a bit crude or should we say swear words?
Well, a lot of rappers write songs about what they see, what they hear. Yes, a lot of hip-hop is also about violence and women and booze. But hip-hop came from the streets and life on the streets isn’t polite and clean.
Would you agree that rap that has found its way into Bollywood is different from hardcore rap of today? What is the difference?
Punjabi rap has been around in Bollywood for a long time, and that was the style they adopted every time a movie needed a party time. But Gully Boy is the story of hip-hop in Mumbai, and how the city was essential to its growth.
Do you think Gully Boy will help promote rap in India?
It might help people understand what hip-hop is. it will introduce new names and new sounds to people. That is a definite plus. But beyond that, I’m curious myself to see how this pans out. I know that Zoya (Akhtar) has spoken about how she hopes Gully Boy will shine a light on the indie music industry. Maybe it will help new and exciting talent shine through.
Writer & Courtesy: The Pioneer
Actor Akshay Kumar has showered artist Kriti Sanon with words of praises, for recreating the famous song Ye Khabar Chapwado from his film Aflatoon.
The recently released “Poster Lagwa Do” song from Kriti Sanon’s album “Luka Chuppi” showcases the actress shaking a leg to the remixed version of the original 90’s chartbuster.
Akshay who is not only the original actor of the song but also Kriti Sanon’s co-star in their forthcoming film Housefull 4, gave a thumbs up to the actress for her version of the song. Akshay had also earlier given a shout out to Kriti ahead of the song release.
Kriti will be essaying the role or Rashmi who is caught in an awkward situation as her live-in relationship with Kartik Aaryan in the film.
Impressing the audience with her bubbly yet rebellious character as Bitti in Bareilly ki Barfi, Kriti Sanon garnered immense appreciation for her small town avatar.
The actress now gears up for her first release of the year with Luka Chuppi.
Courtesy: The Pioneer
Writer: Team Viva
The song “Stupid Saiyyan” from Why Cheat India, grabbed the eyeballs of many for many reasons. Artist Prabhjee Kaur speaks with SHALINI SAKSENA about the debut song and how her sister helped her when the tide was high.
Tell us about yourself.
Music has always been part and parcel of my life since I was a child. To begin with, I used to sing Gurbani with my siblings, then graduated to singing songs of Bollywood legends. Slowly, my interest in music developed. After singing for years, we never realised when and how the switch to singing professionally took place. But at one point in life, we all wanted to be singers.
Did you take training in music?
Yes, we took lessons from Ustad Puran Shah Koti from Jalandhar.
Are all your siblings playback?
You may be aware that my elder sister is already part of Bollywood. She has sung songs like Bolna from Kapoor & Sons, Akh Lad Jaave and two songs in the movie Simbaa. My other siblings are also playbacking and very soon you will hear them as well.
You debuted with Why Cheat India. What kind of response have you got?
It was very smooth. I got so much love from the industry. It feels great to be part of such a film. I feel blessed. From the time that I understood that I wanted to be a professional singer, I wanted to give the industry my best.
Did you face roadblocks or did your sister help smooth the path?
It helped that she is part of the industry. I learnt so much from her struggle. I had a ring side view of what she went through. She has been an inspiration for me.
What has been your parents’ reaction?
They are very happy and all of us have made a mark in the industry. Maybe if one of us was not singing, they would have pushed for another profession. But the fact that all of are doing what we love has made them happy. They wanted us to pursue our dream.
Are there challenges for newcomers?
You need to have luck with you. I sent voice samples to music directors — some took note, others ignored it. I was lucky that Krsna sir (Solo) took note of the message and voice samples that I sent him. He liked it and asked me to meet him. I got a positive feedback and got my first song. Now that I have a Bollywood song to back me up, it has become easy to get my work recognised and get noticed by others. My life was easy but other have it tough.
How did you manage to deal with no response?
When I would sent a message and not get a reply, I would get sad. But my sister was a pillar for strength. She would encourage me and tell me that my time would come.
Is there competition among you siblings?
No, not at all. We are so much in sync with each other. If you listen to all of us sing together, it is one powerful voice. We are three sisters and one brother. We encourage each other.
Are the four of you working on a single?
The digital platform is great for artists with talent. We are all working on something which we can do together.
What are your plans for the next year or two?
I would like to get as many studio songs as possible. I feel that it is important to make a mark as playback before going to live performances. If my studio life is good, I will get more stage shows.
Courtesy: The Pioneer
Writer: Shalini Saksena
From Bollywood project such as Dangal, Guru or Neerja to Hollywood films such as Bohemian Rhapsody, which has been nominated for Academy Awards in five categories – biopics have been loved by one and all. SHALINI SAKSENA speaks to stakeholders to find if it’s the ultimate formula for success.
We have seen it all. From movies on sportspersons (Mary Kom and MS Dhoni) to politician (Thackeray) to businessman (Guru) to social worker (SP Chauhan) to a warrior’s journey (Manikarnika: The Queen of Jhansi) to even a dacoit (Bandit Queen and Paan Singh Tomar), the Indian film industry has churned out great biopics in the last couple of decades. The subjects have grabbed the eyeballs and therefore filmmakers are now looking for subjects and profiling men and women from everyday life.
Sushil Kumar Agrawal, CEO Ultra Media and Entertainment Pvt Ltd, tells you that India has always been historically rich in terms of stories, rulers, patrons, warriors and the various struggles it had undertaken to fight both the foreign a well as internal tyrannical rulers and the world has been in awe of the nation’s colourful history even today.
“Indian cinema, for all these years, has portrayed those tales illustriously. Many films exploring these topics had been commercially successful. Being nostalgic journeys, these tales are constantly inspiring and giving us insights into nuances we were unaware of. There is a huge set of youngsters there who over and above reading about the history in textbooks will benefit a lot watching it getting depicted on the screen and understand the opulence of the rich and the varied folklore and culture India had. Filmmakers nowadays have a special affinity for historical films. Historical films definitely will and always have a market and patronage. Case in point is the success of these films in the past two years and the 2019 and 2020 promising us gems like Manikarnika: The Queen of Jhansi, Panipat, Kalank, Taanaji, Kesari and Takht,” Agrawal says.
Shariq Patel, CEO of ZEE Studios, tells you that it is not just India where there is a market for biopics, globally too there are takers. “Increasingly, people like to see people stories. In this context, we have been seeing movies like Manikarnika… which has done very well. In the past, there was Bhaag Milkha Bhaag and Mary Kom. Uri has done well, though not a biopic but inspired by true events. There is a market for films on the big screen for subjects that we may have read in history books and in the newspapers. There is an innate desire to see a dramatised version of the subject which can entertain and be informative as well,” Patel explains.
Even internationally, we have movies like Social Network to Bohemian Rapsody, they are all related to real life characters. These movies resonate with the audience because there is already an underlining fan base and connect.
Despite reading about these characters either in books or read about them in the newspapers, the reason for the fascination of watching a movie of them is because we are curious on how it will be dealt with on the 70 mm screen.
“There is something about watching the protagonist struggle and a hero emerging. Or it could be related to wanting to know behind the scenes of making a film on Queen (Bohemian Rhapsody). Wanting to know the relationships between the four band members. There is an increased value. ‘I have read it, now want to see it’,” Patel says and agrees that it is similar to watching The Jungle Book or even Cinderella.
“That is why films based on books are doing so well too. It is someone’s interpretation of the book. It is a great source for cinema — if you have not read it, then movies is a great way to dive into them. If you have read it, then to just see how it can come alive,” Patel says.
He tells you that it is not just the CGI or the props that are part and parcel of biopics. “It depends on the subject matter. “For example, in Manikarnika…, if one was showing the battlefield, people come to watch the visual spectacle. But if it is a movie like Mary Kom, besides whatever they did in terms of boxing, there were no props. It was a single girl’s journey which was fairly simple when compared to Manikarnika… where everybody enjoys the recreation of the past,” Patel says and opines that each biopic comes with its challenges.
“Take Manikarnika… for example. The battle that she is known for is the battle she lost and escaped from with the child tied at the back from Jhansi to Gwalior. This scene is what has caught our imagination — the imagery of her leaping off — which is the more grandeur battle that the battle at the climax where she dies fighting. Even Bhaag Milkha Bhaag. We have heard how he lost the Olympic medal because he looked behind. This was done with right at the beginning. The challenge is to then take the movie forward intelligently and engaging for the audience. Hence, a lot of creative liberties are taken and can be taken given the subject,” Patel Says.
A prime example of this is Bohemian Rhapsody where an interesting infographic has been made related to which song came out first and which concert was done when and where. This is not what is shown in the film. The main idea here is not to be chronologically correct but to entertain and give a gist of what happened. The challenge is what to show, what not show, how much to dramatise and getting the costumes correct. To ensure that if it is a period film, to get rid of the roads and the electrical towers down to the minutest details like the pens used during that time.
“Risks are involved when it comes to each movie not just biopics. The biggest is when it comes to making a biopic on the person who is living so that it doesn’t become like an ode to that person. Since the person is alive, a lot of negatives and positives have to be taken into consideration so that the person doesn’t come across as a shallow person and the living person has to approve it. This is where creative problem crop up. That was the problem with Azhar. A lot of criticism came because even though he was exonerated, he was flawed. If mistakes were done, they should have acknowledged. A film should be as true to life as possible,” Patel explains.
Atul Mohan, editor of Complete Cinema and a trade analyst tells you that the fascination for biopics stems from the change in the storytelling pattern. “The taste of the audience has changed. They are looking for content that is inspiring and finds a connection that is realistic. The old kind of cinema will not work. They want larger than life cinema or biopics and are not fictionalised,” Mohan says and tells you that at best a biopic can have 15-20 per cent dramatisation.
“Like in Bhaag Milkha Bhaag, it had a fictional story in the form of a song. Even MS Dhoni… was fictionalised to keep the interest of the viewers till the very end. Otherwise, it would end up like Sachin: A Billon Dreams,” Mohan says and is quick to point out had any other movie been made on the lines of Sachin… would not have worked.
“Therefore, it makes for a viable formula for filmmakers to pick up a biopic subject that is inspiring and be well made,” Mohan says.
Courtesy: The Pioneer
Writer: Shalini Saksena
A series of discoveries on certain species that were thought to be extinct reminds us of the unfinished job of wildlife conservation.
While it may seem like a miracle, especially at a time when biodiversity is under threat, but species believed to have been extinct are being rediscovered, changing our perceptions about the continuity of the evolutionary chain. With reports of the Galápagos tortoise making a comeback after 100 years in the islands, India, too, has been notching up sightings of rare creatures, once considered exotic by colonial era naturalists, but lost to time. On February 15, researchers discovered a new species of keelback snake in Arunachal Pradesh. A brownish-yellow frog was also spotted in Arunachal Pradesh in June 2017, with markings that turned fluorescent in torchlight, last seen nearly 36 years ago in Tibet. Over the last couple of years, the Northeast has been in the limelight for discovery of sub-species of endangered hog deer, frogs, geckos, diatoms and insects. Even the Western Ghats have reported rediscovery of species that have been found to be endemic to the region’s moss, ferns and rocks. Global studies indicate that 400 species of mammals have been discovered since 1993 with some scientists calling our times the “new age of discoveries.”
So how does one explain this boom in the discovery of new species at a time when even dominant species worldwide are disappearing at unprecedented rates and human depredations have resulted in a significant negative impact on the planet’s ecosystems? Even livestock is predicted to be in short supply by 2050. But there is nothing miraculous or inexplicable about it. Turns out that the loss of major species as we know them has fuelled an unprecedented, multi-nation alliance on conserving existing ones and documenting every life form unaccounted for so far. And with the United Nations prioritising biodiversity as a common concern of humankind, countries have joined hands to find species and then draw up a plan to contain their loss. This rekindled interest in biodiversity studies is leading researchers and conservationists to once again go out on scientific expeditions to under-explored regions of the world, carefully cataloguing the richness of creation. One of the study zones of the multilateral team of experts happens to be the foothills of the Himalayas. So what we are seeing is essentially a revival of the explorer’s spirit in the 18th and 19th centuries when recording natural history was equivalent to the thrill of a new discovery. We simply stopped looking around with the same spirit of inquiry and the advent of the industrial age. This means that we are discovering what has been unseen so far and in certain cases have missed their mutation to a different kind of subspecies or migration to a more fertile ecosystem. Now with advances in the field of molecular genetics and genomics and technological aids, we are able to identify and classify creatures better. For example, the frog species in Arunachal inhabits moss-covered rocky stratum along hill streams in mixed wet tropical forest types everywhere. Previously only thought to inhabit the Talley Valley, where it thinned out over time, it is now being found in a wider range due to the availability of similar habitats. There are over 50 species of frogs with many exhibiting overlapping morphological characters, making their identification in the field difficult. What we have completely disregarded is that the degradation of forests and ever-mushrooming urban development has meant that some species have chosen to survive in a modified habitat. However, that doesn’t mean that species are safe. It just means that we need to conserve and find the original species more. Rather than aliens, we must be curious about the earth-born, which are out there, waiting to be rediscovered. And saved for posterity.
Courtesy: The Pioneer
Writer: Editor – The Pioneer
Saimi Sattar sat down for a chat with Actor, Anil Kapoor, who will be seen next in Total Dhamaal.
Actor Anil Kapoor Kapoor is conversing with the chef and asks him to send some meethi chutney to accompany the really delicious Delhi samosas. Eating fried, oily snacks is quite contrary to the idea of the actor’s diet, who seems to have drunk from the fountain of eternal youth, but he lets us in on his mantra. “The body is like a bank balance. It needs a certain number of calories to run. If you’ve burnt more calories and eaten less, then you have the bank balance which can be withdrawn when it is needed. Today is one such day when it is okay to indulge myself,” says the actor, who, except the fine lines and creases here and there, looks not a day older too when he had made his debut in 1979.
Dressed in all black, he is promoting his new film Total Dhamaal, where he reunites with Madhuri Dixit, his popular co-star of the 90s. “It has been a long career. I have been quite lucky. And there is the bonus of being able to work with beautiful girls like Madhuri,” he guffaws.
As to what kept him invested in the adventure comedy film, he tells us, “First of all, I laughed reading the script. That did it for me. This is an ensemble cast and the biggest advantage is that the entire film is not on your shoulder, which reduces the pressure. As a result, we enjoyed acting in the film more and did better. This is also apparent in the trailer and people are liking it,” he says. And the subject of mature romance worked well for him and Madhuri. “When you are younger, you can take the pressure because you are fresh, the songs are great and as a pair, you are also looking good together. We are not Ranveer Singh and Alia Bhatt. We should stay in our auqat.”
Of course, he points out that there are other factors that prove to be clinchers. “The script, director, co-stars, producers, distributors, and the money make me decide,” says the 62-year-old. But whichever genre he is working in, preparation is essential. “In today’s time when the stakes are so high, every detail including performance, dialect design, art, and clothes have to be prepared in advance. If you are prepared, your work will be faster, easier and better.”
Having worked in comedy franchises quite a bit, Kapoor believes that the foremost role is played by the writers. “Only a few people can work on punches and understand them in a manner that it works pan-India, with people from villages to those in the cities, students, children, intellectuals. The dialogues should make everyone or at least 70 per cent of the population laugh. These days there is a surfeit of comedy for various categories of audience, be it TV, YouTube and even stand- up acts. So in a film, you need to add scale and adventure. We have got in an animal farm like scenario in Total Dhamaal, which is not possible in a TV show, for instance, to make sure that people feel that they’ve got their money’s worth,” he says.
Kapoor feels there are as many styles of comedy as there are directors, writers and actors. “Chameli ki Shaadi was situational. Indra Kumar does a combination of situational, gags and physical comedy. Similarly, Priyadarshan is different and so is Rohit Shetty or the old guard like Basu Chatterjee and Hrishisda. Directors need to have a sense of humour inherently and that makes a difference. Their thinking, the way of writing and the editing can make a comedy work or fall flat. The physical comedy that Jim Carey does was fantastic. The way Ben Stiller works is different. Steve Martin, Mehmood, Kishore Kumar traverse similar territory. Amitji is more poker and physical while Govinda and Johnny Lever have their own streetsmart way of executing it. Coming to the writers, the kind of comedy that was penned by Kader Khan was distinct.”
Kapoor is categorical that if the writing is flat, then even a Charlie Chaplin or Laurel Hardy cannot make a script work. “Gags have to be well-written and thought out. When the writing is good, it is easier for the actors,” he says and goes on to give the example of American show Modern Family as brilliantly written.
We rely on his experience to talk about the progression of content in cinema and inevitably talk revolves around Ek Ladki Ko Dekha Toh Aisa Laga. “The audience is evolving. The educated, sensible youth of the country are exposed through the internet and are engaging with sensible content.” And he loves the next generation. While most actors do not like carrying work back home or vice versa even when they have spouses or parents from the industry, Kapoor has no qualms admitting that shooting with his daughter Sonam was a blast. “During the shooting of Ek Ladki Ko Dekha Toh Aisa Laga, we were preparing for marriage and in between shots we discussed everything related to it,” he says of the film which she suggested to him. Even earlier, while choosing his international outing Slumdog Millionaire, it was his son Harshvardhan, who pushed him. As for his much-acclaimed TV series 24, he went with his wife Sunita’s gut feel. “When we started 24 about seven to eight years ago, I had trouble explaining to people that there can be a season and a daily soap is not necessary. I had to convince the producers that we could pitch it well for TV and if the casting was good with mainstream actors like me, then people would accept quality content on Indian TV. I wanted a certain amount of money because I knew I couldn’t make it in a lesser amount,” he recalls as he keeps his fingers crossed for a third season of the show.
The fast-paced show won a lot of fan following. “Some people even said it should be slowed down because it was so edge-of-the-seat,” he says. But there are other problems too while shooting in the series format as opposed to a film. “There are 24 episodes which represent an hour in one day. While the films are for two hours, the content that we needed for each episode is 40 minutes which adds up to 20 hours for the entire season. That means 10 films in a year! It was strenuous and a roller coaster ride. Sometimes we even worked for 18 hours.”
Besides the content, another way that Kapoor has seen the industry change is the way it treats women. He believes that #Metoo has changed the work environment. However, he believes, “I was fortunate to work in films where there was a healthy atmosphere. Whether it was my Telugu debut as Bapu in Vamsa Vruksham (1980) or with MS Sathyu with whom I was a part of Kahan Kahan Se Guzar Gaye, our assistants and newcomers were women. In Parinda, Renu Saluja was the editor and she controlled everything. Much later in Ayesha, Rhea was the producer and she was 21. On the sets of Veere di Wedding, I had to look for a boy as there were 50 girls. In this film, the photographer is a Japanese girl. We are consciously creating an atmosphere.”
Courtesy: Pioneer
Writer: Saimi Sattar
A marriage of convenience has ensued between Politics and Bollywood ever since the business of ruling over the mass consciousness and creating a narrative wave became profitable. And no political party, be it the Congress and the BJP at the national level, or the regional parties, has been immune to fronting them for some shiny piece of propaganda. Of course, much water has flowed from when parties sought the help of celebrities during campaigning to draw in the crowd, using them to publicise social welfare programmes or including these ideas in nation-building films to now giving them party tickets and on them winning, gifting bonafide Ministries. Of course, everybody leverages celebrities to galvanise support and grab eyeballs. Or as someone like George Clooney said while working assiduously on the genocide in Darfur, “Celebrities can help focus news media where they have abdicated their responsibility. We can’t make policy, but we can ‘encourage’ politicians more than ever before.” But if a latest sting operation is to be believed, then more than 30 Bollywood celebrities, including biggies like Jackie Shroff, Kailash Kher and Vivek Oberoi, have allegedly been caught on camera for agreeing to promote not only the agenda of parties on social media platforms but even make controversial and inflammatory posts on their social media handles in exchange for money ahead of the Lok Sabha elections and create a certain environment. Quite the polar opposite of the ambassadorial role that Clooney has mentioned about.
The celebrities, most of them second rung TV and film stars, agreed to tweet content on various issues to be provided to them before posting the same on their social media handles and make it look as their own. And given the fan following of even TV stars in a flat world these days, the hit value is a harvestable option for marketers. The sting showed how they would allegedly defend the government even on controversial issues and fatal accidents such as bridge collapses. They were even willing to sign a dummy contract for endorsement of products to disguise the real nature of the proxy political campaigning that they were willing to do. Not only that, while some agreed to share their PAN number and banking details, most preferred cash, clearly oblivious of the efficacy of digital India or black money-free drives. The fees have been astounding too, from Rs 2 lakh to Rs 50 lakh per message, going up to Rs 20 crore for an eight-month contract. There is nothing wrong in getting paid for endorsement but getting paid to endorse mindlessly and without a conscience is a new low. And while fans on social media, post the expose, commended Vidya Balan, Arshad Warsi and Raza Murad, for not falling into the trap, fact is being on the right path is not about heroism at all, it is the most normal reaction to be expected of celebrities, who are making easier money these days through endorsements, live shows, writing books and delivering lectures on life lessons. The trouble with Bollywood is that it has, by virtue of many allied businesses of its leading lights in such diverse areas as sports, begun to believe it can influence policy in every sphere. But the fact is if we use them as sources of insight on political issues, then we are more likely to be misled than finding the truth. Hopefully, the Indian voter is still mature enough to see through such orchestrated shenanigans.
Courtesy & Writer: Pioneer
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