About Films


Satya Prakash's POV

Inflated Nationalism : Banning Film/Banning free-culture/ Damaging to PM Modi’s “MAKE-IN-INDIA”

By Satya Prakash

Film has always been a soft target to ban it or to attack upon it to galvanize and arouse cultural Nationalism .Let the film release, the citizens of country will take decision whether or not they will go to the theatres on 28 th of october 2016 for watching Karan Johar’s film Ae Dil Hai Mushkil.

Pakistan being supported by Chinese does not suggest Government of India to ban import and export of the necessary things bilaterally. India exports its many things to China. However, social media is flooded with a request statement of our PM Modi not to buy the Chinese items in Indian Market. Such a request is ridiculous and dangerous for Indian businessmen who import Chinese-made-things from China. Who will compensate the loss of manifold of million Dollar. Is the whopping amount of businessmen a miniscule money for inflated nationalists for showing jingoism?

Prime Minister Modi must ban the business treaty between India and China that helps Pakistan’s nefarious design of terrorism attack on India. Terrorism across the border is heinous and it must be deplored. Government of India’s request is going to give a big jolt to Indian businessmen on the eve of Festival of lights and so is to huge financial and cinematic cultural loss to producer and director Mr.Karan Johar who had signed two Cine-artists from Pakistan, much before the recent attack of Pak-supported-Terrorists, that has embittered its relation with India.Indian soldiers who lost their lives, cannot be irreparable. This fatal activity is, really, deplorable.

Banning of screening of Mr.Johar’s film “Ae Dil Hai Mushkil” by Association of Distributors & Exhibitors will leave a cultural and cine-business malaise in the Art Field of country. Government of India must intervene and calm down the bigot-jingoism of few people at least three states like Maharashtra, Gujarat, Goa being governed by BJP.

PM Modi must request these distributors to run the film in theatres to flow free culture and the business of cinema. Banning the film is against PM’s vocal programme “Make-in-India”.

The film “Ae Dil Hai Mushkil” has Indian actors like Ranbir Kapoor, Aishwarya Rai Bachchan, Anushka Sharma as well as Pak-artists like Fawad Khan and Mahira Khan.
A nation cannot settle its score with another nation by banning one’s artist’s performance into another’s. Such prevention of cultural flow is not healthy for the revival of the relation between the two nations in the days to come in. Only flow of culture sweetens the dead bridge into cultural bridge of two countries. Whipping patriotism or nationalism by killing the cultural bridge does not benefit any country.

If Film Makers like Anurag Kashyap and others question the guardian of the country, the social media gets flooded with abusive attacks upon them, ordering to seek apology from PM Modi. Anurag Kashyap has surfaced the things before PM, seeking his sorry too to him if PM feels offended. Although inflated jingoism is not sparing the film maker Mr.Anurag. All the theatres of country barring three-four BJP-ruled states do not have much brouhaha to release the film. The timid distributers and exhibiters have taken a patriotic position in lieu of business position.

Our Prime Minister Modi must appeal his governments of four states, distributors and passionate patriotic people to allow Karan-Johar’s high-budgeted film for the sake of free cultural flow within and across the border and free business too instead of appealing citizens of India to be away from the Chinese items in Indian Markets run by Indian businessmen who have invested a whopping amount of money to run their business.

As a Film Maker, I appeal my PM Modi to expedite the process of releasing the film as soon as possible.

About Films

Satya Prakash's POV

The film “PINK” underlines, “Bollywood is changing.”

The film “PINK” has gripped me till its moving end-credit roll with a powerful poetry in the voice of Amitabh Bachchan. I shivered, trembled and my tears jumped out with a voice. A touching hand of one of the spectators had sensed me back. I wiped my tear.

Film “Pink” creates a catastrophic turmoil in me and makes me feel ashamed of being man who are so disgraced, prejudiced, feudal, egoist, reluctant, bigot, arrogant and male-centric that existence of being woman gets misplaced and degraded in society. The man is growing from infant to young without hindrance with full freedom whereas the girls are grown with care of negation.

Film “PINK” by its name implies that woman is so rosy that she has been made to please the lust of man.The progressing India has given a little space to the woman to modernize in comparison to man. In Metro cities,the educated middle class girls interact with boys and they go far with their mutual consent but boys make their dirtiest opinion for girls. Those very girls are misunderstood by the boys for ever.This very film beats such an evil dust of the feudal-infested-man and a retired old lawyer who is distress and distraught of his ailing wife, kindles the hopes in the eyes of three victimized girls who are sexually harassed, molested in the car,racially tortured by the boys who belong to powerful feudal sort of politician.

The court-drama makes audience stunned. After the court, pathos, mental agony and suffering of girls bizarrely produce a horrific ambience not on the celluloid but on the mind of audiences in the hall. Pin-drop-silence pierce each spectator sitting in the theatre with gripped breathing. The reluctant -feudals go berserk to see the picture of her sister, drinking liquor in a party and he patronizes the woman of his high-blooded-family.

The last judgement session of court listens seriously to the experienced lawyer who adds, saying,” No means always no…No does not have any description except no. Either in certain stipulated time, consented girls deny or the prostitutes deny. No means always no.

The film has wonderful locations of country’s capital, “New Delhi” that has modern and educated women only but men are less in the number who understand these sensitive girls. The lawyers and the owner of the house can be counted in such less populated civilized gentry of capital of country, that throws frequent heart-wrenching incidents against woman to the people of country.

The Big B , Taapsee Punnu,Kirti Kulhari.Andrea Tariang,Angad Bedi,Piyush Mishra,Mamta Shanker and Vinod Nagpal and others have put their hearts into their characters. Amitabh Bachchan( Big B) has scintillated his character.

The Back ground score churns the audiences.Music by Shantanu Moitra,Anupam Roy and Faiza Mujahid relate to the prevailing situations of the film.

Producers Sujit Sarcar and Rashmi Sharmi have dared to make such an parallel cinema amidst of flood of commercial Cinema, is a welcoming step.

I can underline that Bollywood is changing.  

About Films

Satya Prakash's POV

A Great Tribute to Mahasweta Devi

( LITERATURE & FILMS)

The great literary legend Mahasweta Devi passed away todat at her 90 years with plenty of rich literary works  for the next generations. She has been influencing many generations through her fabulous writings and social activism. She has never been confined to the geographical outline of West Bengal. She was actively associated with  theatre Budhan Theatre – the theatre group of Chhara Denotified Tribals of Gujarat.

Mahasweta Devi had been critical of previous and present ways of ruling West Bengal, indicating that she had been pro humane and pro suppressed and oppressed people of country.

Mahasweta Devi had unbiased mind and kept writing novels and short stories. Her writings have influenced the middle class educated Bengali gentry as well as others in India and away in other countries. Her writings have contributed much to Indian and world Cinema.

Her writings fascinated Film Makers like Harnam Singh Rawel for Film“ Sungharsh” in 1968, based upon her Bengali  short story “ LAYLI ASMANER AYNA” that narrates the story beyond West Bengal about Vendetta within Thuggee cult in holy city of Varanasi. The film has Dilip Kumar, Sanjeev Kumar, Balraj Sahini, Vyjantimala.

Other Film Maker like Kalpana Lajmi directed a class movie “RUDAALI”  on Mahasweta Devi’s short story in 1993. Dimple Kapadia had fetched The Best National Award. “Rudaali” is the real story of certain regions of Rajasthan where the weepers of low castes are hired to weep on the eve of death of persons of upper caste that has no custom to express their emotion. So ironically, such female weepers do this.

Film Director Govind Nihalani made an awesome movie “Hazar Chaurasi Ki Maa” based upon the novel “Hazar Chaurasi ki Maa” written by Mahasweta Devi. For this novel, Mahasweta Devi got Magsaysay and Jyanpeeeth Award.Film has also got the Best National Film Award in 1998.

Many films have been produced upon Mahasweta Devi’s writings even in Bengali language.

The film “Gangor” is a Bengali film , produced by Italian production in 2010.The story” Gangor” was such a creation that has attracted Italian director Italo Spinelli.Later on, it is dubbed in Italian language and fetched a series of accolades like New Jersey Best Film and director ‘s awards.

Many novels and stories like TIN KORR SADH etc will be fascinating all of us to write for positive society.

The forthcoming generations around the globe have rich heritage of writings of Magsaysay award recipient Mhasweta Devi.

About Films

Satya Prakash's POV

 Film :”KATHAKALI” is being killed by CBFC of Kerala.

CBFC denotes CENTRAL BOARD OF FILM CERTIFICATION that does not involve a cuss word “CENSOR”. Censor is a blasphemy sort of word for Film Maker in the world of constitutional democracy. CBFC ‘s main function is to see the film for certification and place the film either in “A”, “A/U” and “U” Category. Film makers are also educated and they understand about their art-creation in the form of film. After defeat in Mumbai High Court against Bollywood Film “Udta Punjab”, CBFC has axed on a Malayalam Movie “Kathakali”.

CBFC is losing its legal and moral sanctity to be good for Film Makers, Actors-actresses, technicians and more over for business of film. Such a CBFC board will kill the interest and enthusiasm of investors and producers to make films.

Kearala movie” Kathakali” has been directed by a young director Sijo whose world view is obviously different from the persons sitting in CBFC Board. Members of regional CBFC of Malayalam Cinema are not moving ahead with the pace of world. World is dramatized in film with facts and elements of reality. New and young directors are brilliantly fictionalizing the reality into fiction in more subtle way for audiences of Indian Cinema. The new approach of realistic Cinema is not being digested by members of CBFC that is more like a Moral Policing Board and they want films that may preach like the films of Rajshree productions. Such film makers are also prevalent and their films are welcome and well-received. All the films cannot alike. And film like “UDTA PUNJAB” is also being admired by audiences across the globe. The film is proximate to the drug menace of the Punjab. Illegal drug-business is being threatened by the film that has fictionalized in a grey light of victim of Punjab society to get rid of such pathetic condition.Many films of Film Makers have been shelved by Central Board of Film Certification and its regional offices. Nawazuddin starring film "Haramkhor"has not seen day of light because of objections of CBFC. It is surprising that the film has been made on corrupt education system that has been going on in each state of India and politicians lodge their protest over time and again but film on the same content irks them and CBFC.

The three important scenes of Malayalam film “Kathakali” have been ordered to delete by the regional center of CBFC in Kerala. The film deals with the aesthetic body- expose of protagonist Dasan is objectionable and CBFC has halted it from release. The protagonist “Dasan” is undressed and beaten by antagonist and in the climax of the film, Dasan removes the attire of Kathkali and walks towards river. The each scene of the film is logically progressing. The cuts will make the film irrelevant and illogical.

The young director Sijo says, “These scenes are soul of the film.” If soul ports out, human-being dies.

The film director Sijo is young and industrious with new world-view that will always be making a scintillating and confronting film that will churn thoughts of audiences to progress the society in cultural way.

CBFC must leave the act of controlling the idea otherwise this film “ KATHAKALI” will also go the court for release of the films. The Malyalam film fraternity is agitating against the antI-cinema –step of CBFC. I hope, entire Indian Cinema must support SIJO’S FILM “ Kathakali” without a single cut and a word.

I also subscribe the idea of release the Malaylam film “KATHAKALI”. Government of India must implement the recommendations of committee report headed by Film Maker Shyam Benegal

CBFC must provide certification to the films, not more than that.  

   

About Film

Satya Prakash's POV

Film: Sairat

Film SAIRAT is slap on face of Modern Indian society.

Subtle way of communication about love story between high caste girl and low caste boy during schooling has been showcased in a film “SAIRAT” with full conflict of class-caste shift or conflict of caste-class shift of Indian society by sensitive director Nagraj Manjule.

Is this new subject for Marathi or all India audiences? Not at all dear. It is the reality of Indian society. However, film “Sairat” moves ahead in its screenplay with easy penetration into heart and mind of audiences to churn of barbarity of castes. Love starts between two protagonists in the school fascinates, embeds and make the audiences so familiar that these guys do not seem outsider. So their brutal end has profoundly leave emotional impact on audiences.

Art of visual flow with narration of the story is simple, soothing and watery that imbibes audiences in various emotions. Audiences do not detach from the flow of film for a second and that is the meticulous catch of director Nagraj Manjule who has appealed all India audiences to get rid of barbarity of killing the love-birds of different strata of society. Director does not infuse a simple commercial element in the film that does not prevent the flow of story-progression. Film has all new castes. And all new things and simplicity of the subject work to greater extent.

Contrary to this film, Bollywood has two films on this subject of “owner killing” but both the films “KHAP” and “OWNER KILLING” faltered at Box Office and ultimately they died down. Reason is obvious. To make it commercial and spice or masala film, the same content got fiasco.

The empathetic and catchy point of the film is crying baby of the murdered love-birds ( wife-husband). The baby is not understand as to why their parents are lying in blood. Baby comes back, stumbling to a neighbor lady and film fades out with pathetic silence

.

Film “Sairat” means freedom and film is successful in this regard to provoke the greater mass of India. India needs freedom from caste system and all divisive evils. Communications reach in second and we are advancing on digital wave but our society is so divisive that love-birds are murdered because of high clan and caste.  The Film SAIRAT has transcended the boundary of state, language and attracted people across the country and world. Film is still catching huge collection on Box office.

The music by Ajay- Atul has galvanized the progression of film.

Director’s greatest caliber is to allow the natural flow of story on screen of Cinema and Mr.Nagraj has succeeded.

About Film

Satya Prakash's POV

NIDA FAZALI : A TRIBUTE 

Nida Fazali has been one of the leading Urdu-Hindi poets who kept composing for Bollywood films, for late great Gazal singer Jagjeet Singh and for many magazines. He has authored more than thirty books. Nida Fazali must be heard in Hindustani Language . 

घर से मस्जिद है बहुत दूर 
चलो यूँ कर ले ,
किसी रोते हुए बच्चे को 
हसाये जाए !
--शायर निदा फ़ाज़ली

निदा फ़ाज़ली यूँ छोड़ कर गए कि अदब की दुनिया में सूनापन सा छा गया लेकिन अपनी अदब की विरासत से इस दुनिया को मालामाल कर गए ! किताबों में उनकी शायरी हो या फिल्मों में उनकी शायरी को तरन्नुम मिला हो ..वो हर जगह, हमारे साथ हैं , साथ रहेंगे ! अदब, ग़ज़ल और फिल्मों की दुनियां में सफर करता हुआ खुद इस दुनिया से सफर कर गया इंसान हमें सकते में कर गया है लेकिन हक़ीक़त यही है !
उनकी बातों में कशिश ऐसी कि आप उन्हें सुनते चले जाएंगे !! किस्सागोई सी थी ! मुंबई को बरसो से देखा ! पूँजी के खेल का दबाव इंसानों पर होते देखा, आदमी के चेहरों पर पड़े दुःख-अवसाद को अपनी गहरी नज़रों से देखा-परखा और इस पर भी लिखते चले गए ..गोया ये उनकी अपनी कहानी हो ! इक बड़े शायर का मिज़ाज़ भी ऐसा ही होता है ! दूसरे के दर्द को अपनाकर शिद्दत से लिखते रहना और शायरी की दुनिया में एक खूबसूरत दुनिया को बसा लेना ..ये भी इक बड़ा शायर निदा फ़ाज़ली ही कर सकते थे ! उन्होंने अपने चह्नोंवालों की एक दुनिया भी बनाई थी लेकिन कुछ लोगों को व अच्छे नहीं लगते थे और तब लिखते थे :

उसके दुश्मन हैं बहुत , आदमी बहुत अच्छा होगा !

कई किताबों में हमारी ज़िन्दगी की रवानगी छोड़ गए हैं ! आँखों और ख्वाब के दरम्यान ,लफ़्ज़ों के पुल , दीवारों के बाहर ,शहर मेरे साथ चल तू और भी कई किताबें हैं जिन्हें पढ़कर आदमी इंसान बन सकते हैं :

गिरिजा में मंदिरों में अजानों में बंट गया 
होते ही सुबह आदमी खानों में बंट गया

इक इश्क नाम का जो परिंदा खला में था 
उतरा जो शहर में तो दुकानों में बंट गया

बहुत सारी फ़िल्में निदा फ़ाज़ली के गीतों से सुहागन बनी ! सिसकियाँ, यात्रा , बीवी ओ बीवी ,देव, बस इतना सा , सरफ़रोश आदि फिल्मों में ! 
सरफ़रोश फिल्म की शायरी

हम लबों से कह ना पाये , उनसे हाल-ऐ -दिल कभी ,
और वो समझे नहीं , ये ख़ामोशी क्या चीज़ है !

निदा फ़ाज़ली को Film Fare Award उनके गीतों के लिए मिलें..और देश में साम्प्रदायिक सद्भाव कायम करने की दिशा में उनके कार्य को "कम्युनल हारमनी अवार्ड " भी मिला ! फ़ाज़ली साहेब का हिंदी -उर्दू-साहित्य में उल्लेखनीय अवदान के लिए अवार्ड न मिला , शायद उनके बेबाक होने की वजह से !

बांद्रा में कई बार उन्हें मुग्ध होकर देखा और सुना ..खास कर उनकी बातचीत ! मैं क्या सभी उनसे मुखातिब उनको सुनते थे ! काश ! इक तस्वीर होती उनके साथ तो मेरी दुनियां भी मुक्कम्मल होती !

निदा फ़ाज़ली साहेब को भावभीनी श्रधान्जली !!!!!!!!!!!

About Film

POV: Satya Prakash

Pune and Film fete as PIFF

Pune International Film Festival 2016 had invited Cine.-philes and cine critiques from 22 countries. One of the greatest Bollywood and Marathi veteran actors Mohàn Agase and Argentinian Film director Pablo Cesar had transpired a lot about art and cinema with my intervention to give a momentum to the debate at breezy night of beautiful city Pune that has been fascinating me much. Mohan Agase has had profound and intense acting in the film "Ganga Jal" directed by great Film director Prakash Jha.

Pune and PIFF are having cultural relation but I will add ,this relation will be symbiotic.I love this city because of my lovely friends like Milind Brahme,Shrirang Mirajkar, Sujata Patil, Priyada Wadekar, Vaishali Dabak and many more.