TO LOVE AND DIE- PUP's LIFE

TO   LOVE   AND   DIE-  PUP’S     LIFE  

Last  afternoon on way from Sagar to Bhopal in bus. On way to Mumbai .Bus stops at 

Vidisha for Tea. I get down. Am greeted by this loving pup, tail

wagging. I offer him 

small digestive biscuits  given by the bus people.He gobbles all one by one. As if 
waiting for me. I feel good. He sits happy. I ask for a cup of tea. I take his photo. As I 
sip I see him crossing the road. The others have also been watching. Suddenly ; a 
speeding car is seen and the pup is run over. We all watch the cruel twist of life. The 
tea  seller says,” Aaapki photo uski aakhri photo thi”. I am unable to express anything. The bus horns for us. I get up. As I am about to board, I turn to him.  Salute my loving friend. Perhaps; he was waiting to make me happy, just for 
one moment, and then depart in this cruel manner.

FEROZE ALLAHABADI!

  FEROZE  ALLAHABADI !

    Just finished with the book ‘Feroze –The forgotten Gandhi’ by Bertil Falk a Swedish writer.  I was always  keen to know more about Feroze as he has emerged as a much sympathetic character over the years; as someone who did not get his due; as someone who was victimised by the Nehru family. As I read information on him in the various references and articles my interest grew. When this bound book appeared I quickly purchased it and read it within reasonable time ( I am a slow reader).

     It is a fairly OK account of Feroze by the author largely relying on his many years of intermittent interaction with those who were close or known to Feroze. Some newspaper research. However to a Feroze watcher it may leave unsatiated. None the less  certain important information emerges which may be interesting to many and particularly to Allahabadis.

   Birth of Feroze is mired in controversy as the writer with some good research / interviews brings out that he was a  love child of Mr Kakkar ( Father of the famous  Allahabad Lawyer Shyam Nath Kakkar, -Solicitor General of India)) and  Parsi Surgeon Ms Shirin Commissariat who was unmarried. Well ! that makes Feroze half Khatri; if true. And Rajiv, Sanjay, Priyanka and Rahul Gandhis have in their DNA Khatri Characteristics! It is no where stated that Feroze was aware of this ; Was He? If yes his restlessness and complexities could be attributed to his  birth  ambiguity.

 Feroze was a weak child and did have some heart ailment as a child. However he was an active child full of energy and pranks. As student he was mediocre. He graduated from Ewing Christian College Allahabad. He was known to be charitable , largehearted  from the beginning as he would gift his expensive foreign clothes brought for him by his Aunt to poor children. Whenever he went out on vacation/tours he would return back almost empty handed as he would handover his belongings to the needy. This characteristic was his hallmark  right through his political life. Gregarious ( Dost Parast ), talkative ( sometimes loose talk), easy-going  person. He cut his political teeth during the civil disobedience movement, prior to that too he was arrested for participating in  Anti Simon commission agitation but was released after warning as his Aunt was a known person. He continued with his indulgence in anti British agitations prevalent at that time. His entry into Congrees fold was also by chance. He was sitting on the perimeter wall of Ewing Christian College when Congress women wing led by Kamla Nehru ( wife of Jawaharlal Nehru) arrived on the scene . It was a sunny afternoon and Kamla the leader of the group suddenly fainted.Feroze who was observing this group from distance in amusement rushed to the scene and offered help. The next day he went to Anand Bhawan ( the Nehru Residence ) to apologise that he was taking them lightly and met Kamla Nehru. Soon he was helping her in her organization. We must know that it was freedom struggle. The Congress Headquarters was at Swaraj Bhawan , next to Anand Bhawan, and Anaad Bhawan was Buzzing with activity day and night with the comings and goings of people.

   The relationship between Feroze and Kamla is also a high point in the book. They were close owing to being comrades in freedom struggle. But Feroze was deeply devoted to her is established from the fact that he nursed her during her fatal sickness (she died of TB) when very few were by her side and her husband was busy in his political activities or in jail.Being an able organiser he was also sought after. Nehru too has mentioned to Minoo Masani that Feroze was infatuated of Kamala, but perhaps he did not give much seriousness to their relationship. Some important workers of Congress who occupied high office after Independence mischievously put posters remarking about Feroze –Kamala relationship, but Nehru for whatever reason did not go against them.

    Feroze went to jail on many occasions during civil disobedience and Quit India movement. Keshev Dev Malviya, Lal Bahadur Shastri were his colleagues during those days .K D Malviya knew Feroze as Boy Scout where he was his senior.He gives vey positive account of him. Feroze was active in rural areas of Allahabad and was a grass root worker. What is interesting is that he was not a stereotype Parsi, but a very much Allahabadi and Ahiyapuri  ( an area of central Allahabad known for high pitched political activity, where Nehru was born and Pandit Malviya resided) to the core Kamala Prased Mohiley an important leader of Allahabad and P D Tandon have stated that he spoke hindi with a typical Ahiyapuri accent, always.

   Feroze’s marriage to Indira is also an interesting episode in both their lives. Kamla it is reported by M O Mathai was against the marriage  . Feroze had proposed to Indira when she was barely 17 , the proposal was shot down . But he was persistent despite the fact that Indira was having an affair with a German. Feroze followed Indira to England where she went for higher studies . He managed finance through his Aunt and obtained admission in London School of Economics through the contacts of Nehru. Sadly he did not complete his Degree , but was active in Congress Foreign office under Krishna Menon who brought out a pamphlet which was published by Feroze. Therefore even though he did not complete his degree he contributed to freedom struggle and his work was appreciated. During this time he was friends with Nikhil Chakraverty  ( the famous editor of ‘The Mainstream’)and T N Kaul  and other left leaning students and imbibed leftist orientation. He wooed Indira persistently and would visit her on weekends . Their relationship bloomed here and by the end phase of their stay they were living together. Nehru agreed to their marriage despite reservation and after some initial hesitation the Parsi community too agreed . However the Conservative Hindus of Allahabad had opposition but Nehru did not give much heed to them. 

  

  The marriage ceremony is described in great detail through many witnesses. Feroze is dressed in traditional shervani and cap and looked handsome. Indira wore a khadi saree woven by Mahatma Gandhi. She looks pretty. It is a unique vedic ritual and the priest intended to standardise the ceremony and seek recognition . Nehru agrees reluctantly and goes through the ceremony dutifully. It was Feroze who enjoyed most of ceremony ,winking and smiling at his friends. His relatives too are present. He adorns the Parsee Kushti  ( sacred thread) as  deference to his mother and aunt. The ceremony is simple without much pomp as respect to the critical phase in Indian History and the turn of power which was awaited. The couple proceed to Kashmir for long honeymoon under guardianship of Sheikh Abdullah who was a close friend of Nehru at that time.

     He is made the Managing Director of ‘The National Herald’ .The news paper launched by Pandit Nehru from Lucknow. He is not successful here and the paper continues to run in loss despite the able editorship of Chalapati Rau. Chalapati Rao has mixed opinion of Feroze. However later Feroze is successful at the Management  of ‘The Indian Express’. He is separated from his wife and children as Indira is managing the affairs at ‘Teen Murti’ the official residence of Nehru. Feroze is not happy with the situation as he is a family man and resents the absence of it in Lucknow. He has numerous extra maritial affairs, one with a Muslim lady which seriously threatened his marriage but Rafi Ahmed Kidwai ( a cabinet minister and close colleague of Nehru, who was close to Feroze too ) saves the embarrassment  to Nehru and pursues the girl’s parents to end the matter. Feroze comes out as a womaniser . This the writer states emphatically in the beginning of the book and establishes it during the course. This perhaps is one strong reason of their separation even though they remained in touch. Feroze when shifted to Delhi had his own MP’s residence but as a routine had breakfast with Nehrus.

   Feroze was lucky to be part of the Constituent assembly, by virtue of his close relationship with Pandit Pant. He contested his first election from Rai Barelli in 1952 and won with a huge majority owing to his persistent field work and maintaining  the’ common touch’. He nursed his constituency and later was successful in establishing the Degree College, and other educational institutes, Industries etc. His good work enabled him to be elected again in 1957. He started as a backbencher in Parliament but made a mark in three important matters . First the press freedom. Till that time in fifties the newspaper could not publish criticism reported in parliament through the parliament as it was known to be the privilege of the parliamentarians . He ensured that the bill was passed by which all print media , radio were free to report the entire parliamentary proceedings . With this he became the darling of the media. The second was the Nationalization of Insurance Industry/ Life Insurance corporation is the contribution of Feroze. The third was his reporting and debating of ‘Mundra case’, where it was established by a one man enquiry headed by M C Chagla that there was complacency on part of the finance minister by which the Life insurance corporation rendered loss by purchasing below par Mundra shares . The finance minister Krishnamachari had to resign owing moral responsibility. It did not sully Nehru but he did not like it.

 After his first heart attack Feroze is advised to go slow but by then he seemed to have decided to throw caution to the wind. He stopped drinking but continued to smoke. The second heart attack ended his life at the young age of 48.

    The complexity of Feroze is not dealt in detail . The writer intends to pitch him against Nehru and Indira. The instance of Kerala assembly dissolution is quoted as example when Feroze called Indira  a Fascist. But what the writer forgets that at time ‘Fascist’ was a common term and anybody with a streak or minor tendency to be authoritarian was dubbed as ‘Fascist’. Even Nehru was called Fascist by his opponents.

  

    After reading the book one is left a little dissatisfied as the queer lifestyle of Feroze his rise and fall was not analysed. Was his tainted descent contributory to his waywardness? Did separation from his family and devoid of love of children responsible ? It has emerged that he was  a doting father. He loved his children but expected them to work with their hands . He was technically sound and could repair radio, cars etc. He spent quality time with his boys assembling toys and making things by hand. Did the womanising tendency  in Feroze ,which was even apparent during the courtship stage drifted Indira away . It has been stated by Nikhil Chakravarty that during Feroze’s English days he would visit Indira every weekend , but also had an English girlfriend! He further states that when Feroze’s body lied in State at ‘Teen Murti’ and Indira was sitting among the mourners the girlfriends of Feroze arrived to pay respect and howled in the presence of Indira who remained silent and stiff.

     His life could be summed up as a person who contributed in freedom struggle , was a good organiser and maintained touch with common man , was sensitive to corruption, was a good parliamentarian and did not remain in the shadows of his Father in law. Was a kind hearted person , generous , large hearted with a hearty laugh. His negatives were his wayward habits, specially womanising. He surely benefitted from his relationship with Nehru, his election victory cannot be totally his . we should not forget that Nehru was loved by the masses and they would have voted for his son in Law. He was not a good son in Law . He should have held his Father-in-laws hand . Before reporting in parliament the many matters he should have discussed it with him and found equally worthy solution rather that sensationalising issues. He was being revengeful! In Parliament! Nehru sent him to London School Of Economics an opportunity which he did not utilise fully .

  

    What interests me is his loneliness and complexity. His being an essential Allahabadi- left  of centre, sometimes casual, good hearted,  lacking ambition, inclusive ;which could make into an interesting Dramatic Cinema!

 

REMEMBERING HINDI FILM LYRICISTS - HINDI PAKHWARA

REMEMBERING     HINDI FILM LYRICISTS   - HINDI  PAKHWARA

Hindi   Fortnight is in progress and numerous functions would be in progress in Central Govt Departments for the proliferation of Hindi, as we know that Central Govt offices perform their work in English which remains mostly officer centric and the staff struggles to cope life long. Correcting drafts  still remains the primary function. Content and action is far cry. Talking of Hindi and its proliferation is  a sad story. During these days the Hindi officer is seen busy, some routine , unimaginative ‘pratiyogitas’ are organised  and prizes distributed to mainly Hindi speaking staff as others keep away or are mere audience.

  

But despite this Sarkari failure the Language is ‘stable ‘and  the single entity responsible for this is our Hindi Cinema Lyricists; past and present. I salute therefore so many of them. Big and small, famous and not so famous, old and new. Commencing from  Kedar Shrma( K L Sehgal’s Devdas; “ balam aan baso more man mein” ), Mazrroh Sultanpuri- one of the most prolific poets who wrote for about 50 years starting from ‘Shahjahan’, “aye dile bekrar kyon”. Rajendra Krishna , who teamed with Kalyanji Anandji and Madan Mohan and gave us  a large body of songs. Raja Mehndi Ali Khan-“ lag ja gale ke phir ye hansi raat ho nah o…”. And the three Greats- Sahir , Shailendra and Shakeel, need no elaboration. Anand Bakshi was so simple and sweet and perhaps wrote most songs. Indeevar, Neeraz have such nice collections.  Gulzar, Javed Akhtar and  Sameer  are the stalwarts of recent times.

    

The contribution was not intentional , it was not prepared so , it was not made to propagate but to please and to make people happy. It touched their heart and soul and remained there for ever. Not only in India , but abroad too. Far and wide. Therefore when people know that that there is no design , no motive they embrace. That is why people adopt ‘culture’ in great numbers than ‘religion’.

Finally these songsters have played a cementing role in keeping our Nation together and helping ‘integration’ where politicians and economists failed. For this I have deep respect and admiration for them and I am indebted to them for such a support system.

SAAWN AND BIMAL ROY

SAAWAN   AND BIMAL ROY

    So ;  this year’s monsoon has been generally good . The farmers are largely happy and Government is expecting a boom in agriculture production. The stock market may register the impact and the RBI chief would have something to cheer for a year!  

 However; the people have celebrated in song and dance, in ritual and religion this season of hope, love and longing since ages. We may be unique in the’ Pan – India’ celebration of ‘Saawan’ through ages - music( various raags; malhar,megh etc) poetry ( Kalidas’s Meghdoot ) Drama( Aaashar ka ek Din ) Dance  and Cinema where it is represented in grand abundance. It is an emotional therapy, it keeps our EQ ticking ,manifesting in various celebrations  often unconsciously. Customs  passed down from  generations through DNA ! Many filmmakers ,song writers , singers and actors have contributed over the period to this pool of  ‘sentimental resource’ which we often accept as routine/given.

Though      Indian Cinema  shows the various  shades of the season in songs and scenes  today I intend to talk of Bimal Roy the great film maker who inspires us  still. Bimal Roy has made many landmark movies and given the film industry very many great talents- Hrisikesh Mukherjee, Gulzar , Salil Chowdhry.. His cinema was rooted in reality and yet was middle of the road. Simple, tender and progressive  without any melodrama with strong story line. He was perhaps one of the most awarded filmmakers ( 11 filmfare awards) both as producer and director- ‘Do beegha Zameen’ , ‘Parinita’, ‘Biraj Bahu’,’Madhumati’,’Devdas’ ‘ Sujata’, “Parakh’, ‘ Bandini’.  His body  of work is immense and relevant till date. Bimal da as he was fondly addressed gave much emphasis to music as is evident in his films but he had this attachment to ‘Saawan’ ( the monsoon ) which he portrayed through songs. The various facets of ‘Saawan’, sung in different style and setting.

Do beegha Zameen.    This 1953  film starred Balraj Sahni and Nirupa Roy. It tells the story of a farmer who is compelled to leave his village to work in Kolkata as a Rickshaw puller  in order to save his ‘do beegha Zameen’ ( small piece of land ) but returns in vain.  However; there is this Jubilant Saawan song which the peasants sing in joy at the approach of the monsoon , the song uplifts them for a while from the drudgery of  life of belied expectations. “ haryala saawan dhol baja ta aaya ,  dhin tak tak man mein mor nacha ta aaya, mitti  mein jaan lagata aaya, dharti pehni hai hari chunariya banke dulhaniya,…..ek aagan bujhi ek aagan lagi, man magan huwa ek lagan lagi…..”  . (Broadly the song heralds the monsoon which arrives with the sound of the drums, and enriches the soil , makes it fertile , the surrounding have become green akin to a bride wearing a green sari. The heat of the earth has been quenched and the passions have aroused. The mind is engrossed  with this togetherness .) The song is written by Shailendra and composed by Salil Chowdhry. Among the many things it talks of the recurring theme of ‘Saawan’ ; fulfilment and arousing of passions.

Sujata. The film depicts the life of an untouchable girl( Nutan ) who is brought up in a high caste family . She grows into a beautiful girl along with the daughter( shasikala) of her adopted parents. The conflict arises when the boy( Sunil Dutt ) who is to marry the daughter falls in love with Sujata and is adamant to marry her . The ‘Saawan  song‘ in this film depicts the latent desires of Sujata which are aroused by the setting of the dark  clouds. “ kali ghata chaye mora jiya  larjaye, aise mein koi kahin  mil jaye, tau kisi ka kya jaye re kya jaye, kali……,hun mein kitni akeli woh ye jaante mere berang  jeevan ko pehchante, mere haton ko thame hanse aur hansaye,mera dukh bhulaye  kisi ka kya jaye, kali ghata.. (  the dark clouds have set in and my heart is kindled , in such a time  if I find love; how does It bother anyone? Finding that how lonesome I am  and how colourless is my life, if someone holds my hand and makes me laugh and thus I forget my sorrows; how does it bother anyone? ). The style is questioning and taunting, at the end of each stanza she repeats the same line ; how does it bother anyone? The dark clouds not only have provoked her natural desire  for man but this docile untouchable has become a sort of revolutionary! The song is written by Majrooh Sultanpuri, composed by S D Burman and sung by Geeta Dutt.

Parakh.  The film was made in 1963 and has story by Salil Chowdhary along with the music.  It is a unique film in that the two principal characters are Motilal and Nazir Hussain which has ‘honesty’ as its theme. Sadhna is the heroine  and daughter of the post master ( Nazir Hussain ), the role of the post man is played by Motilal in his easy going style. The ‘Saawan’ song in the film is sung by Sadhna who is in love with a young school teacher. The only similarity this song has with the ‘Sujata ‘song is that  both are sung by the heroine longing for love , however in ‘Parakh’, Sadhna is much open and bolder as the song itself conveys; “ o sajna  barkha bahar aayi ras ki phuhar layi ankhiyon mein pyar layi o sajna, tumko pukare mere man ka papihara  mithi mithi agni mein jale mora jiyera , o sajna barkha…   ( o love!   the rainy season has arrived  and has brought  joyousness  and love in our eyes, my heart yearns for you and the sweet sweet passion has aroused me. Unlike Nutan in Sujata here Sadhna is already in love and she wants to be together with her lover as “mithi mithi agni mein jale mora jiyera”(  the rains have aroused her passion ). Bimal Roy has employed the’ Saawan’ settings  to convey the otherwise subdued feelings of his protagonists and perhaps to convey that such desires are natural , though curbed and controlled by caste and social circumstances. The song is sung by Lata Mangeskar, written by Shailendra and composed by Salil Chowdhary. Some experts rate this song as one of the great Lata numbers and of course the finest Saawan Song.

 

Prem Patra.  The  film starred Shashi Kapoor and Sadhna and was released in 1962. As the name suggests the film is woven around a misunderstanding created over a love letter ( prem patra) . This song is played in background whilst the rains sway the palms and brighten their life. “ saawan  ki raton mein aisa bhi hota hai, rahi koi bhula hua toofan mein khoya hua raah pea a jata hai, aisa bhi hota hai,… teri nazar se ise dekh loon mein  dil se tum ye mehsus karlo, toofan ye mere dil mein utha hai, chaho tum ise apne daman mein bhar lo …”  (   it happens during the rainy nights that a traveller  lost in storm finds his way home  … it happens… I can see the season through your eyes if you feel it in your heart! The storm of emotion that has arisen in my heart you may embrace ; if you desire ! ). This is a duet  in background conveying the emotional state  of Shashi Kapoor and Sadhna. The theme is of reconciliation evoked by the rains  ( rahi bhula hua ). Saawan unites lost lovers! As Shashi is blind he says that he may see this season if she feels the same . Further ; there is desire for physical intimacy ( apne daman mein bhar lo ) ignited by the rains. The song is written by Gulzar ,composed by Salil Chowdhary and sung by Lata and Rafi. It is not a very popular song as the film did not do well but conveys the leanings of  Bimal Roy.

Bandini. This 1963 film was Bimal Roy’s last big hit before he was struck by throat cancer at relatively early age of 55. Bandini was a women oriented film like his many  earlier -  Parinita, Biraj Bahu, Madhumati, Sujata. Nutan played the role of Kalyani who is  a convict  . The jail Doctor ( Dharmendra) falls in love with her and she too responds. But there is conflict as she was married to a revolutionary ( Ashok Kumar ) in young age. On her release she has to decide between love and destiny! ( o re mazhi! mere sajan hein us par mein is paar ). However the Saawan song is completely different here not only among Bimal Roy’s earlier versions but among the wide ranging hindi film Saawan songs. This song is sung by another female convict whilst grinding wheat as part of labour in jail. Nutan is mainly  shown in long shots at a distance along with other female convicts. The camera stays most of the time on the singer but occasionally pans Nutan and other inmates. It presents there longing for home and normal life which is accentuated by the Saawan song . The festival of ‘Rakshabandhan’ falls during monsoon season ( August mostly ) and at this time women visit their parents to tie rakhi to their brothers and thus meet childhood friends . The song is extremely melancholic and haunting and invokes memory of the lost home: ” Ab ke baras bhej Bhaiyya ko Babul, Saawan mein lejo bulayere, lautein gi jab meri  bachpan ki Sakhiyan dejo sandesa bhijayere, ab ke baras…

, ambua talae phirse jhule parenge –rimzhim parengi phuharen, lautengi tere angan mein Babul Saawan ki thandi  baharen, chalke nayan mora kaske re jiyara  bachpan ki jab yaad aye re, ab ke baras….” (  o’ father this year do send brother to fetch me during Saawan, when my playmates return home do send word for me this year..Again the swing would be fixed to the mango tree as the rains fall during season, the cool breeze shall return to your premises o’ father  ; my eyes are moist as I long for the childhood memories ). Many motifs of Saawan are mentioned in the song- the swing, the ripening of mangoes, the meeting of plymates, the cool breeze it explores  new perspective of the season. The song is written by Shailendra, sung by Asha Bhosle and composed by S D Burman, but the unmistakeable genius of Shailendra is stamped on it. His Knowledge of eastern UP , Bihar folk dialect and songs comes into play here.  

  Thus Bimal Roy’s Saawan songs reveal the various shades of the season – arousing of passions for physical intimacy among otherwise conservative and docile youth. The return of the estranged lovers, economic prosperity among farmers. Meeting with one’s parents and childhood friends. It remains as the great season of hope and longing—economic, physical and spiritual.  

THICK INDIAN ACCENT

THICK   INDIAN  ACCENT  

Racism  has many manifestations. The latest in limelight is by  a Trump supporter and a commentator with conservative views. She said of Fareed Zakaria; the promint Tv  political analyst that he had a “ thick Indian Accent”. His comments have been rebutted by Zakaria’s sister. However the point remains that amidst the bitter campaign between Republicans and Democrats revolving around the checks on Muslims and controlling the Mexican all norms of civility have been set aside and one does not know , what would come next. The season is to mark people based on their peculiarities in order to segregate and hit and hound them to submission and escape. The purpose of  Ann Coulter was to point at the distinct Muslim identity of Zakaria who is known to be against Trump. Therefore to criticise his “thick Indian Accent” was to say that he was a commentator with unpolished accent and that he was an Indian Muslim and therefore the natural antagonist of Trump; further it was to convey that by opposing Trump with a “thick Indian accent” Zakaria was leading a Muslim campaign against a person who wants America to be safe.

We leave the Americans for a while and concentrate on India and the problem of accent. Though prima facie the issue of ‘accent’ is taken lightly but  it shows our prejudice. Our ‘Comedy shows’ on Television  thrive on making fun of various Indian accents such as Tamil, Malyalam, jat, Bengali and host of others. It is assumed that the other person would not take it seriously. However this culture of poking fun at ‘non standard’ accent is so wide spread that it seems difficult to control it. However not for a moment we consider as to how that other person was feeling.

This  bias by accent has two distinct facets: the English and Hindi; the two most popular means of communication in urban India. The bias against those who have strong regional twang whilst speaking English is mostly by those who are brought up in ‘English medium’ schools. It is a bias held against those who are though doing well in life but have an accent carrying their region . In this category would fall many. For example our President speaks with a heavy load of ‘Bengali’ which is distinguishable by many and there was this joke in media that he may have to employ an English interpreter in order to make himself comprehensible. Then we have Shri Anthony the longest serving Defence Minister in the U P A cabinet , he speaks with a ‘Malyalam’ accent and is at times difficult to understand. The second facet is of those who speak Hindi with an accent of their region and these may not be of non Hindi states  necessarily but even from the rural heartland of the cow belt, Bhayaas  as they are generally known in metropolis.

This ‘issue’ of ‘accent’ has not come to the fore of social issues as we as Nation are groping with larger problems of ‘caste’ ‘community’ ‘region’,’Gender’ etc. Further it has not posed any problem for meritorious people who  ignore this deficiency and move ahead in life and it has indeed not stopped people with talent to move up in life. Politicians  concentrate on their constituencies and communicate to their people in the language they understand. Bureaucrats make their mark with their work and ability. It only poses problem for those who have to communicate regularly like in media but they too cover their deficiency with their talent.

 However in a true democracy we must be able to absorb all such peculiarities and judge people on merit. The old school of having a ‘Queen’s’ English( Richard Burton/Rex Harrison ) as the standard of English  language has faded and now there is larger acceptance ( with the rise of American Actors ). However we have to cover much distance. Sometimes I think that these issues are more class based than any other. The accent of Katrina Kaif and Jaqlene Fernandis when they speak Hindi is acceptable to people because over the years they have accepted the fact that women of English speaking background speak Hindi with an Anglicised accent. The most striking case is of Mrs Sonia Gandhi who is a powerful political person and has led her party to victory twice with an accent which is so unpleasing but she has been accepted being a powerful person.

Therefore as a society we should be more sensitive to those who are on threshold and talented but have an apparent handicap of an affected accent because ultimately it is not important what the quality of their  accent is but what matters is the  content. Gandhiji was a poor orator but a champion communicator !

 Finally; among the varied languages of our Nation we have varied accents too and to accept and include all such accents is a true sign of a mature democracy toward which we all citizens should Aim.

PANCH PARMESHWAR

PANCH PARMESHWAR

Racism in Dallas, U S A  followed by  mob  violence.  Brutal murder of innocents in Dhaka.  The eruption of violence in Kashmir;  the tragedy in Nice ; there seems to be a common thread. No; I am not revealing some well kept secret but deep deficiency in our collective character which has not stabilized even with centuries of democracy! The oldest democracies are  passing through difficult times. The rise of Donald Trump signifies the dormant and hidden tendencies of American life. Are sizable number of Americans racist?  What has happened in Britain? Does it not convey that a Nation which flourished on exploiting the far off lands now wants that wealth only for itself! The spurt in racist violence post Brexit  explains  the latent hatred within the communities. The crisis in middle east, the mass migration and the rise of IS is human creation . The dismantling of Iraq regime under by Bush-Blair combine was a personal agenda of Bush who wanted Saddam dead because  he planned  to kill his father! Have we not studied the political parties of our Nation.  Bulk of them are either caste based, or region based or religion based. The malice is so wide spread that the ElectionCommission also never questions their ability to protect our lofty Constitution. In order to communicate better and provide a perspective I narrate hear a story of  ‘Premchand’ to whom I lean to for solace  from time to time ,if not for  solutions.

   The story is titled ‘Panch Parmeshwar’ and was written  in  Urdu  in  1916  and published in ‘ Zamana’ newspaper from Kanpur. It was published as book in 1920. It is a story of two friends- Jumman Sheikh and Algu Chowdhary. They were childhood friends and Algu was indebted to Jumman’s father as he was his teacher and made him proficient in drafting of applications and other legal documents. Algu had also served his master well and gave him respect and looked after his personal needs. Jumman had in his family his old Aunt ( Khala ) who had some property in the village. As she was old and being looked after by Jumman she gifted the land to Jumman and a registry of the same was made. Soon after the gifting the attitude of Jumman and his wife changed toward her , they were not only careless in providing her basic needs but were also rude to her. When it became intolerable for the old lady she  confronted Jumman and asked for a monthly allowance to sustain herself, which Jumman refused stating that she was being taken care of and that there was no earning from the land which she gifted to him. This compelled the old lady to call for a  village  Panchayat.  She requested many people  to participate but some declined as they did not want to antagonise Jumman and some were obliged to his father, but there were few who were jealous of him and looked at this as an opportunity to settle scores. When  Algu was approached to attend the Panchayat he said that he would not like to participate owing to his relationship with Jumman , to which the old lady said that as ‘Panch’ one should listen to the voice of one’s conscience and be honest. Well; one evening when the sun was about to set the village people assembled under a tree  to decide the case . When the time came to nominate the ‘Sarpanch’ Jumman was asked to give a name ,he looked around and found that large number were those who did not like him and so said that he does not have a choice and would accept whosoever his Aunt nominates. At this the Aunt announced Algu Chowdhary to be the Sarpanch, this surprised all as they knew that the two were good friends, Jumman was happiest. Well, Algu Chowdhary occupied the seat and commenced the proceedings. He ascertained the details from both parties , whilst discussing the case he realized that this was a hallowed chair he was holding on trust of people and should do justice. He decided that Jumman was not fair to his Aunt and that he would have to give her monetary monthly allowance to sustain. This came as shock to all who  were expecting a different outcome. Jumman was furious and their friendship soured. Things moved on and time went by but Jumman carried the grudge and looked for revenge. In order to supplement his farm Algu purchased from the nearby fare  two oxen to plough his field. They were of superior breed and had long horns, people from nearby village would gather to admire the two. One day one of the two fell sick and in matter of days passed away. Algu was heart broken and decided the sell off the second bull to Sahu the local trader. Sahu was happy to posses a hardy animal to pull his cart. The deal was that Sahu would pay in instalments as he earns money by taking goods from village to town and bringing items to village for sale. Sahu was a greedy trader and he would employ the ox much beyond the normal routine ,the diet also was reduced compared to the earlier days when the ox would get the wholesome meal at Algu’s home and was treated well with love and care. Here the sole aim of the trader was to exploit the animal and multiply gains in short time. Gradually it started showing on the health of the ox and one day it just  collapsed on the road and died. Sahu had to spend the night howling on the lonely road and when he fell asleep in the wee hours his earnings too were stolen.

 On the sudden death of the ox  Sahu decided to inform Algu that since the ox was no good and died he would not be paying the balance amount. This was not acceptable to Algu  because  he had handed over a healthy animal and had sold him as his partner passed away, therefore in order to settle the dispute a Panchayat was called and   Jumman was nominated as Sarpanch, the people expected  that Jumman would settle the score. On arrival at the venue Jumman too was in revengeful mood. However as he settled to take the responsibility his thoughts changed he asked himself that this was a coveted nomination and despite his relationship with Algu which was strained he should be fair as God resides in the heart of the ‘sarpanch’ and it was not  he but the voice of God which pronounces the outcome. The ‘Panch ‘ ( five people)listened to the case much of it they were already aware and decided that Sahu was liable to pay the balance amount as Algu had given a healthy animal but it was Sahu who misused it and did not maintain it. The assembly erupted in jubilation as they acknowledged the sincerity of the ‘Panch’, and shoted”sarpanch ki jai…’. Algu was stunned in disbelief and tears started flowing from his eyes ,he approached Jumman and both embraced each other ;their friendship was restored. 

    

   At the individual level we are imperfect in varying degrees. It is indeed normal as far as it does not result in conflict  and violence. Certain contradictions, competitiveness are acceptable and understandable. However we all wear a veneer of sophistication but underneath we are different- parochial, suffering from stereotype, castist bearing prejudicial leanings toward our institutions, regions . It is  revealed during our moment of weakness as it did to Rajdeep Sardesai when he stated joy at the swearing in of Suresh Prabhu as Railway minister and expressing his Gaur Sraswat  Brahmin Community. He was correctly criticised for that. We are our true selves with our close family members freely expressing our reservations on caste and community lines but in the public and in our apparent conduct we are above such shortcomings. All the above is acceptable as far as it does not harm anyone. The issue is that the Nation represents our  collective consciousness and when a large majority is biased it affects directly or indirectly our actions. Be it the Parliament, appointments, police action etc and therefore there remains and undercurrent of dissatisfaction and even animosity.

    The above story may not be directly connected to the theme in hand but it does convey that even in the remotest corner and neglected places  there may be a sign of hope . The old lady talks of ‘Imaan’ that is truthfulness and honesty is not the domain of the  select  but shines brightly in quiet corners as well.  Fairness and balance are key ,there were two judgements made in the story, one by a friend  and the other by a friend turned foe, but both the judgements were fair. The unabashed castism, parochialism  and nepotism which sows the seeds of discontent should be fought at each level. Even when we commit such blunders we should be aware that we are contributing to discontent. Every action has its equal and opposite reaction , may not be immediate, but later in a much fatal form. Look at the UP politics, the ruling party has the ministry filled with family members. Telangana is not far behind.

    In my opinion ,the root of unrest is ‘economic insecurity‘ which compels people to form associations on caste, race, community, region, institution affiliation. For the poor , oppressed, downtrodden ,deprived such a recourse is logical , but what happens when the well placed and economically secured people and communities  resort to such means because  the level at which this insecurity will stabilize is not known. The deeply entrenched corporate giants , the legendary politicians, the high profile film stars are equally insecure and greedy.

    The  Powerful State  should cater for the basic economic well  being but for those who fan such violence  perhaps an ideological   indoctrination  may work.  It could be any; a secular or religious as far as it works. The ideology  which worked for Jumman and  Algu was  ‘Imaan’  very simple, and yet very difficult.

'TEXT' AND 'SUB- TEXT' - SUBSTANCE OF CINEMA

'TEXT '      AND       'SUBTEXT'-   SUBSTANCE    OF  CINEMA

    Not these days so much, but when we were University students in Allahabad in the late seventies  there was this zeal and enthusiasm to decipher, analyse, anatomize  a movie among friends and family members.  It was our recreation at ‘chai shops’, whilst cycling to the College or at  friends’ place. To some extent we were affected by  the still surviving intellectual culture of the famous city which had produced large number of Academicians, Poets, politicians, Lawyers, bureaucrats and was holding on to the competition from Delhi and South. To some extent it was our Literature influence and to some our good grooming (!! )at the SJC ( St’ Joseph’s College ). Further, the Film Club under the genial patronage of Dr Chattopadhya Sahab was a big contributor in refining our cinema taste buds. We  started with  ‘The Bicycle Thieves’ in one of the lecture rooms of the Science faculty ( J K Institute ) and our cinema borders expanded toward new horizon. Till then we had seen mostly highly acclaimed commercial Hollywood films at the Palace Theatre or at Plaza or at Niranjan. The advent of Shyam Benegal with ‘Ankur’ and some dose of Ray   ( the famous Apu Trilogy )and Mrinal Sen made us smug and sceptic of regular commercial cinema, though till them we  had  had our fulsome exposure to Dev, Dilip Raj Kapoor , Bimal Roy , Guru Dutt etc . The commercial Hindi cinema with its idols and giants was deeply submerged in our consciousness. But this ‘neo – realism’ Cinemas commitment to society challenged our beliefs and for some time we were dedicated soldiers of the new wave ‘Art Film’ Army.

   As time moved the gap between the two reduced. The commercial cinema was going great guns with the advent of International studios and corporate houses. Technology made a leap forward  with reduction in print cost and the Box – Office norms were changed. Small budget Cinema too found an audience, but under the shadows of the commercial films. Multiplexes arrived and single theatre virtually vanished. However the debate between meaningful Cinema and popular Cinema continued with the new vocabulary .

    Some years ago ,I was watching a television show  where an imminent  Hollywood Director  was a guest on show . He was being questioned by one of our imminent critic and after the initial pleasantries the subject and quality of Indian films arose and in a very subdued and quiet manner he stated that the bulk of Indian Cinema  does not have any ‘sub text’ implying that it was very superficial and not well researched and the film makers just are concerned about the entertainment value and do not worry on research etc. Basically he was being very critical of our cinema though he was all praise for the standard few filmmakers who mostly operate on festival circuits.  At that juncture I nodded my head in agreement. However, now after about decade and half during which I have seen a wide range of world cinema and revisited the both popular and Art cinema of India I realize that we  have been victims of ‘Intellectual racism’. We could call it ‘cultural imperialism ‘ also.

  

     My view on the subject of sub-text or theme is that a film cannot be made with the sub-text in mind; the sub- text emerges from the text and is the result of the main creation. If we make a film with a sub – text in mind it would be very boring and didactic. The commitment should be toward the story, screenplay, the research, concentration on casting and not bothering on the sub-text. The film is remembered from its text and sub-text is a bonus, which at times surprises the maker himself. The ‘sub-text’ is a dynamic aspect and keeps evolving and changing with time.

   

Till recently  among the top films rated by international cinema critics  were ‘Casablanca’,’Citizen Kane’, ‘Gold Rush’,’Roshomon’, ‘Rome- Open City’ and others . All the above films are seen by audience today not for their sub-text but for  their cinematic excellence. Do we remember Hitchcock or Charlie Chaplin for their sub-text or for their images, composition , execution, drama, narrative, action ? Things which are apparent,  loud and  visible. Last year the cinema goers were surprised to find a dramatic change in the normally routine election when Hitchcock’s ‘Vertigo’ starring James Steward was adjudged as the best all time film. Well! ‘Vertigo’ is a very nice crafted film and the entire film revolves around a  ‘twist’ . I loved the film, but does it have any revolutionary ‘sub-text’ , which has come to attention now! No; it was only after the viewership of Hitchcock’s  increased on DVD circuit worldwide that people realized his genius. As said above that the fuss over the ‘sub-text’ is to do  with ‘class- distinction’, ‘ class- conflict ‘, ‘cultural- complex’ and sometimes ‘intellectual subjugation’. It also emanates from critics and filmmakers who believe that cinema viewing itself is an ‘Art’ not fathomable by the commoners! My personal experience is that good cinema, serious cinema and so called Art cinema  is understandable by the common folk as well, they enjoy Ray as well as Manmohan Desai, any good story narrated well finds an audience. The myth that Art cinema needs a nurtured audience has been broken by the rise of other world Cinema. Cinema of South America, Cinema of Iran , Cinema of Soth Korea, China and Japan.

  And Yet; we cannot deny that Cinema has a sub-text which a discerning audience  understands and appreciates, needs no classes or cultivation or instructions on ‘appreciation’ . The mass audience also appreciates. They know the sub-text of the stories told to them by their grandmothers. They know the theme of ‘Ramayan’ and ‘Mahabharat’ ! And our Cinema and their stories are mere screenplays of the stories of our Mythologies and ‘folk- lore’- Indian, Greek . Even Shakespeare is  now part of the western ‘folk- lore’.