Posts Tagged ‘Gulzar’

To quote Stephen Witt, Listening to hundreds of new releases a year could lead to a kind of jaded auditory cynicism. Last year, I wasn’t expecting a lot, and the year was fine. This year, I wasn’t expecting much yet some albums surprised me (Thank God I have always been a cynic). We have picked  one song per album. We don’t care how the colour scheme of the films to which these songs belong, compliment the character as movie progresses. It is just about the music. Do suggest your favourites which aren’t in the list for I am sure I have missed some gems.

If you are in no mood to read, just scroll down to play the embedded playlist.

  • Badnaam jiya –  Sung by Rekha Bhardwaj and composed so well by Rohit Sharma, this track sounds earthy, retains the charm of a filmi thumri and sounds splendid. I loved the entire album of Anaarkali of Aarah, and it was a task to pick this one over Sonu Nigam’s mann bekaid hua, but I did, gladly so.
  • Tera junoon – From the film Machine (yeah! Have you heard about it?), composed by Tanishk, sung by the excellent Jubin Nautiyal, penned beautifully by Arafat Mehmood & Mohammed Irfan, the song ticks all the right boxes – understated, melodious and very well presented.
  • Humsafar – There are confusing words/lines in the song (Hai nahi tha pata?), still I love the hopeless romanticism in the song from Badrinath Ki Dulhania. Akhil Sachdeva, thumbs up to you!
  • Alvida –  I love this entire album and the keyboard of my laptop will tell you how conflicted I was between this and the magnificent ‘Ye Ishq hai’ (Arijit Singh), both from Rangoon. Gulzar, Vishal Bhardwaj & Arijit Singh. Alvida wins because Gulzar reminded us to question all goodbyes and everything there’s to a goodbye. Aye kahin tu khuda to nahi? – God bless you Gulzar saab!
  • Rozana – Oh the delight of listening to Shreya Ghosal in her normal pitch! Composed intimately by Rochak Kohli and such fabulous words by Manoj muntashir, this one is from Naam Shabana. I quite liked the way the song has been presented. She longs for her love, yet she is not weak because she longs for her love. Aate jaate yun hee, mere liye theher, Rozana..  Simply beautiful!
  • Maana ke hum –  There is a lovely moment in Insomniac City* when O says to Bill,  ‘I’ve suddenly realized what you mean to me: You create the need which you fill, the hunger you sate. Like Jesus. And Kierkegaard. And smoked trout.’ I feel the same can apply to ghazals as well. There are hajaar genres and then there is ghazalThis year, Sachin-Jigar flirted with ghazal-like film songs, and if you remember Sachin’s Kho dia hai (from Bhoomi), you would know what I mean when you hear it along with this fabulous song. I am, of course, referring to the version by Parineeti Chopra in Meri Pyaari Bindu. A contemporary presentation of ghazal in my view. I love Kausar Munir’s pen for what it has done in this song.
  • Phir wohi – I see Amitabh Bhattacharya, Pritam and Arijit Singh together and my heart races in anticipation. I love this song from Jagga Jasoos (JJ)and I felt alive when Arijit went ‘gham ka jaya‘. It felt like a rejoinder to the first song of Arijit which I loved – beprwah rang ka jaaya. Back to JJ, I love the entire album but now that we are picking one song per album for the post, I couldn’t go to any other song than this gem. Arijit Singh
  • Safar – Haan, so what was I saying about Arijit singh? Oh yeah…Arijit Singh, please never stop singing. For me, this is the song of the year, from Jab Harry Met Sejal. Pritam, Irshad Kamil & Arijit singh – I bow to you for this one. Did you notice the ‘jaana maine’ part from 3:00 to 3:02? I could give my cassette collection to Arijit Singh for that. (I desperately wanted to mention Hawayein and Ghar but I won’t because we are picking one song per album. You didn’t hear anything from me Ok?) If I could live in a song, I would live in this song, may be I do. 
  • Ek Chaand – Guitars by Sanjoy Das, pretty much everything else by Tony Kakkar, this one is from Loev. I remember pausing the film and immediately picking this song, and playing this everyday since then, and perhaps this won’t change. I am still conflicted what I like the most? The music, the singing, the film, the lounge where Shiv is shown in the last shot? Well Jaane do…iss baat pe phir kabhi baat kar lenge. The song conveys pain and hurt yet it doesn’t console, doesn’t even demand to be heard, it plays almost in the background. Do yourself a favor, pick up the full song because the youtube clip doesn’t have the full song. Best 18 bucks you will ever spend.
  • Barfaani – Written by Ghalib Asad Bhopali, composed by Gaurav Dagaonkar and sung by the sublime Orunima Bhattacharya, this song is from Babumoshai Bandookbaaz. The excellent arrangement of the song sounds so close to the ground on which we stand and the singing ensures the song burns that very piece of the ground, just splendid!
  • Hoshiyar rehnaOh yes! The beauty of listening to Neeraj Arya’s Cafe singing Kabir without dumbing it down or polishing it excessively! Enough said.From Baadshaho.
  • Kho dia – Penned by Priya Saraiya, composed by Sachin Jigar and sung by Sachin, this song took me back to explore the whole album of Hariharan titled Kaash. I love the ghazal-sque vibe of the song and I hope at some point of time, the unplugged version of this song comes out. From Bhoomi.
  • Nachdi phira – Ah! My secret superstar of the year – Meghna Mishra! I loved this album a bit too much and this song just didn’t let me move on, and hello again Kausar Munir! Impossible not to shower adulation listening to this kiddo going all teri nagariya, teri najariya and doing all this so effortlessly..too much! Lastly, Amit Trivedi – Thank you kood kood ke ! I said (Thank Yoooooou in falsetto, kood kood ke)! From Secret Superstar.
  • Na jaa – For some reason, I couldn’t find Asees Kaur’s version of this superlative song (from Jia Aur Jia) on youtube. I like both versions of this song which is basically a friend calling out her friend, her sakhee. When was the last time we heard a hindi film song touch this genre? Excellent music by Nisschal Zaveri and brilliantly penned by Raqueeb Alam.
  • O mere sanam – The answer to ‘What if Benny Dayal decides to floor us with a song so romantic it charms our pants off’? First things first, apart from Benny’s superlative yet understated singing (hear him say ‘varak‘ so perfectly!), what stood out for me are the excellent words by Shakeel Azmi. Girish G has composed this song for The House Next Door.
  • Tu bann jaa gali banaras ki – Yep, Shakeel Azmi with his murderous pen again! Composed by Rashid Khan and sung in two solo version by Asit Tripathy & Asees Kaur respectively for Shaadi Mein Zaroor Aana. Tujhe isskooter pe bitha ke main, tere saath hawa mein uda karoo – the way the song is presented comes across with a certain degree of purity and honesty, without being too self aware. It’s like a really cute kid who is indulging in all her** cuteness without caring if someone is filming her mischief. Please hear both the versions on my request. Everyone cries small-town-simplicity, if only half of them could make us live it. This one does it. Lastly, do check Shakeel Azmi on internet.

P.S. – I feel compelled to mention few more things here. 

Genres that Hindi film music touched this year which I absolutely loved 

  • Non manipulative kiddo love to her mum – Ammi from Secret Superstar
  • Teen love done right – I miss you – Secret superstar
  • A song for a friend, by her friend – Na jaa – Jiya aur Jia
  • Non manipulative comment on demons within – Hoshiyar rehna – Baadshaho
  • Classical done right – Babul morai – Poorna
  • Classical done right – Sunn bhavra – Ok Jaanu!
  • Scratch better than the recorded version – Main faraar sa (sung ONLY by Anupam Roy) for ‘Running Shaadi’. The writer of the film made me listen to it on his phone and i loved it. I don’t have it for he rightfully didn’t share it with me, but if you get hold of it, hear it, you will know what i mean.

*The entire book is filled with lovely moments. I am no book recommender, but do pick this one up, or not.

**Hashtag girlchild, Hashtag feminism

– Rohit

I heard about the tale of Saheba and Mirza for the first time, in my favorite song from Jab Tak Hai Haan – Heer. Guess who wrote that. Now, If the first name they splash on the screen is Gulzar’s, you know the makers are serious about their sh*t. The music of Mirzya is out and while I try hard to keep myself equanimous, pardon me if my feelings jump out of the keyboard and infect you with some enthusiasm and drunken stupor. Read on!

Mirzya

The album contains 15 songs and some are in the form of less than a minute of powerful recitations – composed and voiced by Daler Mehndi. What is clearly a storytelling technique, in these tracks, not only you understand the character, you get a feel of particular situations as well. Take the Yeh wadiyan for example,  the track is screaming ‘flashback flashback!’ But even then you would want to play it again. We get these lines in the title song as well.  In Mirza se darre and Mera mirza sher, the way Daler Mehndi soars, you will have goosebumps, the fearlessness of youth in two lines. What attitude! In Lahoo luhaan – Daler slightly errs in the beginning but paints the gory detail about a bloody fight that went on till the fighter started losing his ‘havaas’.  Even if Punjabi is not your language, fear not – it will make you soar nevertheless because Mehndi does NOT falter in Puchh na pende or Phaa paye nain fact, in the latter, hear how resigned is Daler when he says – Tu phir na jammi, Mirjiya. You feel the pain, you lose hope along with the singer. He has already won. Now, on to the songs of the album..

  • Mirzya – Sain Zahoor does what Sain Zahoor does. He sweeps you off your feet and S.E.L. bombard you with perhaps the most vibrant track of the album. There is a goosebumps gooseFOREST inducing Akhtar Chanal Zahiri as well and if this wasn’t enough, we get the ever so dependable Nooran Sisters and Daler mehndi jazzing things up and all this under 4 minutes. I kid you not, I couldn’t go beyond this track for a while. A bombastic start to the album!
  • Teen Gawaah Hain – Notwithstanding the earthy beginning of the song where we hear Sain Zahoor calling out, the tune of this love ballad reminded me of ‘mere mann ye bata de tu’ from KANK. Having said that, it’s what young love sounds like. A playful guitar stealing a glance while the constant pace eases your mind, making everything dreamy and slow. In antra, hear how Siddhartha leaves the last word of the first line, making you feel his passion. Listen to his ‘khol’ in the line ‘aasman khol ke dekhne do’ and you will know what I mean. A pretty pretty song! (I kept thinking the back up vocalists will break into ‘love will find a way’)
  • Chakora – God only knows why I wanted to talk to my dealer the moment this song started. It is comforting to see Bollywood waking up to Akhtar Chanal Zahiri, and not only that, using him well! Add some trippy beats to his recital or perhaps overlap him while someone is singing and you would probably want to make love to a joint near you. Mame Khan and Suchismita Das lend the ‘bollywood folk’ feel to the tune in their own cute style. Stunning song!
  • Aave re hichki – The opening 37 odd seconds of Esraj (or sarangi), is a class act by S.E.L., not to say that the song isn’t good otherwise. The song has fuses a bit of dervish-like sound on a simple free flowing tune. A minor grouse – You don’t go ‘hitchhh’ when you get ‘hichki’, you go ‘hikkk’. Clearly, Gulzar sahab wasn’t present in the recording.
  • Hota hai – I am sure it is just me but a ‘tun tuna’ start from Nooran Sisters put me off…and then I heard Sain Zahoor and Akhtar Chanal Zahiri (ACZ) together and it all made sense. The fantastic beat pattern of the song that stops to accommodate Sarangi and meets ACZ’s solid voice is to be heard to be believed. In addition to these powerhouses, I absolutely loved Shankar Mahadevan’s voice towards the end. For the uninitiated, please do check out Sain Zahoor and Akhtar Chanal Zahiri independently as well. They have brought studios down across the border. The brute force in the song makes you want to break the law, do the impossible and be weirdly proud of it all. A fantastic song by all means and well, I changed my mind. The ‘tun tuna’ is not all that bad afteral…..TRAAA!
  • Ek nadi thee – Thank God someone gave K. Mohan a tune that is not very ‘K Mohan’ if you know what I mean. All his songs have been sounding similar to me lately. This one is a glorious exception. Intimate claps and a bonfire like improv singing (of course with sexy strings) has made this quite a different song from the usual ‘unplugged and reprise’ like songs we come across.
  • Doli re doli – Who in their right mind would do a babul song with a slow jazz like treatment? S.E.L. did it here and boy, does it sound delicious. It has me conflicted whether I am supposed to be sad or happy, and I love the song for that. Clearly an example of what S.E.L. can achieve if the makers are willing to let them be.
  • Kaaga – It is a fine feeling when you see the artists you have been rooting for since long, go ‘mainstream’. I shrieked like a teenager when I heard Sain Zahoor and Akhtar Chanal Zahiri and here in kaaga, we hear the flawless Kaushiki Chakraborty with breathtaking strings and brass! The sound towards the end of the track can be so easily mistaken for a ‘superhero climax theme’. That said, I wish there is a longer version of this song hiding somewhere because it would be soul satisfying, just like this one is.
  • Mirziya theme – I might not reach out to the theme to play it again and again but I blame songs of the album for that. You are too consumed by the time you reach this track. It fills the album well, is no ‘Udaan theme’ by any measure, but is still good. Sarangi and flute. Enough said.

Most of the film music albums this year have been remarkably impervious to the flow of creativity and freshness. If this album makes you want to stop everyone, and make them listen to this, don’t worry, You are not acting strange. Mirzya’s music is *the* real thing and not an oddity in template infested bollywood that requires quotes around it as if it was a strange thing. I don’t know how the film would be, I don’t care how the film would be. I am just celebrating what would easily be the film music album of the year. This is what fundamentally good things sound like. Hear Hear!!

I wish there was an option to buy an album twice on iTunes!

Rohwit

(PS – To give credit where it’s due, I absolutely love T-series for including the artist credits in the jukebox link. You can access it here)

The first look of Meghna Gulzar’s Talvar is out. Starring Irrfan Khan, Konkona Sen Sharma, Neeraj Kabi, Sohum Shah, Atul Kumar, and Gajraj Rao, the film has been written by Vishal Bhardwaj who has also given the music. It has Gulzar’s lyrics and has been shot by Pankaj Kumar.

Do check out the trailer.

The film is based on Aarushi Talwar murder case and looks at it from the point of investigation.

Talvar will have its world premiere at this year’s Toronto International Film Festival.

Irrfan

The Toronto International Film Festival has just announced its line-up for 2015. And here’s the good news – two Indian films, Meghna Gulzar’s Talvar and Leena Yadav’s Parched have been selected for World Premiere in ‘Special Presentations’ section.

Starring Irrfan Khan, Konkona Sensharma, Neeraj Kabi, Atul Kumar, Gajraj Rao, Sohum Shah and Tabu in a special appearance, the film is a gritty investigative drama about the Noida double murder case. With Gulzar’s lyrics, Vishal Bhardwaj’s music & screenplay, and cinematography by Pankaj Kumar (Haider, Ship Of Theseus), the thriller is a fictional dramatization of true life events revolving around Aarushi Talwar murder case investigation.

Leena Yadav’s Parched has Tannishtha Chatterjee in the lead role. The official page has one line description – In a rural Indian village, four ordinary women begin to throw off the traditions that hold them in servitude, in this inspirational drama.

(Disclosure – One of our editors is closely associated with Talvar)

So what do you do when you get to know that there’s a screening of Libaas? Well, only a Gulzar fan can tell you the right answer. So over to Mohit Kataria who tells us what exactly he did.

libaas_1988

Before you start:

Please don’t read this post as a film review post, it’s all about my personal experience with the movie Libaas and the way I got to watch it. I’ve never written any movie review before and I don’t think I even qualify for writing one (if there is any qualification criteria). You might also find it really biased as I’m a fan of Gulzar Saab and always wear a particular pair of admiration glasses while reading/watching/listening to any of his works.

Prologue

What do you do when you get any once-in-a-lifetime opportunity? You grab it with both the hands, right? That’s what I also did.

It all started with a Facebook post from a very dear friend and an ardent fan of Gulzar saab, Pavan Jha, that I came to know about Libaas getting screened in IFFI – 2014 in Goa on 22nd Of November. Then after a number of confusions, calculations and discussions later, I decided to go ahead and started making my travel plans. Then, I came to know about something called a delegate registration (I have already warned you about my credentials ), which was already into its “register-with-late-fee-phase”. Somehow got registered with some made up bio-data to prove that I was worthy enough to be a delegate there. I got an email mentioning that the confirmation will be done after some careful review of my bio-data. I waited impatiently for the whole day which was the last day for the registration, and by the end of the day, I got a confirmation mail asking me to pay to be a delegate. I followed the instructions and completed the formalities. Then it was time to book the tickets for travel. After doing some calculations, considering family, work, economics and time dynamics, I booked the flight from Bangalore, scheduled to reach Goa at 2 PM on the day of screening (22-Nov-14) (Libaas was scheduled for screening at 5:30 PM) and also booked first available flight from Goa the very next day (23-Nov-14). Needless to say, my only purpose of going through all this exercise was to witness something I really was waiting for ever since I started following and loving Gulzar Saab and his work – to get a chance to watch Libaas. And I never thought I would get an opportunity of a lifetime in this manner, to watch it with Gulzar Saab himself.

Experience

Before cutting through all the details of getting the passes (where Ashok Bindalji and IFFI organizers helped a lot), reaching the theater following Gulzar Saab, and finally settling down to watch Libaas, I would like to mention here that there were lots of people who wanted to get in and watch Libaas and the auditorium had a limited capacity of accommodating 280 people only. So one senior IFFI organizer (I won’t name him to get him into any trouble), took a call after consulting with Gulzar Saab and Vishal Bhardwaj, to allow people to sit in the gallery, on the floor, to stand on the gates, behind the last row and any other place wherever possible without making others uncomfortable. It got reminded me of the pre-multiplex era when it was a norm for any big movie. Isn’t it delightful to treat and watch the movie in the same manner we used to watch movies when it was actually made (in 1988)?

The stage was set by welcoming Gulzar Saab by the IFFI authorities, and then Vishal Bhardwaj presented the movie Libaas as the inauguration movie of retrospective: Gulzar. Vishal said that it’s an honor for him to present this movie, and spoke about how Gulzar Saab started his career as a poet and brought his poetry from paper to screen. Each of his movies are poetries on screen. He also briefly mentioned about the efforts at various levels that have gone in trying to get the movie released, including his personal efforts of 20 years which has gone in vain. Then he mentioned what it means to him personally, and for his whole family to be part of this historic event.

Gulzar Saab was visibly holding back his emotions, and he started on a lighter note saying, saying, “दोस्तो, मैं भी उतना ही curious हूँ फ़िल्म के लिए, जितने कि आप हैं. आप ने भी नहीं देखी फ़िल्म, मैंने भी नहीं देखी”, which rightly summed up the significance of the film. He was happy that the family and friends have come from all over to see this screening. You can listen to the whole discussion here. And then the magic started on screen. We were in for a very delightful treat for next couple of hours.

As you might know, the movie was completely based on Gulzar Saab’s own story Chaabiyaan which has also published later with the title Seema. There was wit, brilliance, intelligence and emotions written all over the movie. Each frame was flowing into the other one like the way water flows – at times like a river, sometimes like a silent lake and often like waterfall. It was a sheer pleasure to experience Gulzar Saab’s poetry for the next 137 minutes. The movie has four main characters – Sudhir Bhardwaj (a passionate theater director, played by Naseeruddin Shah), T.K. (a flamboyant businessman, played by Raj Babbar), Seema (an amazing actress who is also a not-so-happy wife, played by Shabana Azmi) and the theater which is the sutradhar which keeps tying all the running threads of the movie. It also has a handful of supporting cast who made their presence felt without shadowing the main leads. Not even a single character was out of place or not required. The story primarily deals with husband-wife relationship and a extra-marital affair, all in the backdrop of theater. While watching it, I could feel it was much ahead of its time (it was scheduled to be released in 1988), as was confirmed by Gulzar Saab in a post screening Q&A session that such things were happening at that time but were never shown in cinema. He dared to reflect what was part of society then.

Opening scene of the movie is in a theater, where Jamal Saheb (played by Utpal Dutt) is entering the theater while taking a look at the play being staged.

Utpal Dutt in Libaas

Utpal Dutt in Libaas

In the canteen, he is greeted by youngsters who are theater artists/aficionados and the scene establishes that Jamal Saheb is a great artist from the times gone by. He is not relevant anymore and is in a poor state. He has been replaced, so to say, by Sudhir, who is dominating the contemporary theater scene. In next few scenes, we come to know that for Sudhir, the first priority of his life is theater – the way he forces Seema to gargle every day in the morning, no matter what, and the way he keeps on talking about and enacting various scenes from his plays. One scene which nails it down clearly is when Seema asks Sudhir if she could get a hair-cut as she feels she would look prettier in short hair.  To which he replies, if she gets the hair cut, what would happen to all the characters she is playing in theater, and starts quoting each of the characters from different plays. All the members of his theater group love and fear him in equal measure due to his strictness while doing the rehearsals. A couple of times when Seema forgets her lines during the rehearsals, he yells at her, and at home, he tells her,

“खाना बनाना भूल जाओगी तो बर्दाश्त कर लूँगा, dialogues भूल जाओगी तो कभी बर्दाश्त नहीं करूँगा.”

Phir Kisi Shaakh Ne Phenki Chaanv - Libaas

Phir Kisi Shaakh Ne Phenki Chaanv – Libaas

Seema is already strained, and wants a break from the monotony of Sudhir being so hard on her as he always thinking about one thing – theater. That’s when T.K. enters the scene and their home. He is informal and is such a close friend of Sudhir that even Seema feelss surprised as she had never seen Sudhir being so comfortable with anyone, including her. TK’s flamboyant style of talking and cheerful behavior attracts Seema, and he gets attracted to her beauty. They all meet a couple of times and then while one relationship starts forming, other one starts breaking. On one side, Sudhir is always busy with his play rehearsals and on the other hand, T.K., a well versed businessman is always ready to meet her and pay attention to her.

Her loneliness and boredom from theater adds fire to the fuel, and before even they realize, the relationship becomes complicated. The high-point of the movie is a scene which has brilliance of Gulzar Saab written all over it. It was Gulzar Saab’s craftsmanship that he handled such a burdened situation in such a subtle manner. The treatment of the characters, the dialogues of this one scene leaves us completely mesmerized and catches us unguarded. The scene is when Sudhir decides to confront T.K. and Seema about their relationship. Seema and T.K. enter the house after spending some good time together, and they find Sudhir at home. T.K. tries to cover up his embarrassment by telling Sudhir that he was asking about him from Seema as Sudhir was very busy, they were not able to meet.

T.K. – और किस ड्रामे में busy हो आजकल?

Sudhir – “अ..अ..म.. आजकल… अ… एक personal से नाटक में ज्यादा busy हूँ.”

“ह.. ह.. मतलब..?”

“नाटक तो दूसरे लोगों का है, मैं खा-म-खां बीच में फंस गया”

“अम.. कुछ समझा नहीं यार, वो कैसे?”

T.K., though embarrassed, is still trying to appear innocent even though he is guilty of cheating Sudhir.

“क्या है के हमारे यहाँ… हमारे यहाँ, वो हैं ना… मि. मुखर्जी”

He looks at Seema and starts building the story.

“मुखर्जी? कौन?”

Seema asks, to which Sudhir replies –

“तुम मिली हो उन से, शायद याद नहीं है… मि. मुखर्जी में याद रखने जैसा कुछ है या नहीं मालूम नहीं… लेकिन अपनी पत्नी की वजह से वो.. अक्सर याद रह जाते हैं लोगों को…. बड़ी talented… और talented से ज्यादा ख़ूबसूरत पत्नी है उन की. अब ज़ाहिर है कि लोग उन की तरफ़ तवज्जो देते हैं, attract होते हैं. और ये कम्बख़्त चीज़ ऎसी है कि आदमी हो या औरत, पाँव तले की ज़मीन खींच लेती है. आदमी सोचता है, इश्क ही में ज़िंदगी है, बाकी सब तो फ़न, आर्ट, talent, सब सजावट की चीज़ें हैं. बहरहाल, मि. मुखर्जी का problem है, उन की पत्नी… वो किसी के इश्क में पड़ गई हैं या कोई है जो उन के इश्क में पड़ गया है….”

Seema asks, “तो problem क्या है?”

To which Sudhir replies, point blank, still keeping it indirect,

“तुम्हें नज़र नहीं आता?”

“नहीं मतलब… समझ में आता है लेकिन दोनों अगर एक दूसरे को चाहते हैं तो…”

“नहीं, नहीं, नहीं, नहीं… तुम उस लड़की के problem को देख रही हो, मैं मि. मुखर्जी के problem की बात कर रहा हूँ”

“उनका क्या problem है?”

“क्यूँ? याने… उन का कुछ है ही नहीं?…

उन का problem ये है कि उन्हें मालूम हो गया है… और जान लेने के बाद शौहर यानि मि. मुखर्जी क्या करे उस पत्नी का? चुप रहे? देखता रहे? होने दे जो हो रहा है? मुश्किल तो ये है कि कोई भी शौहर जान लेने के बाद ये निगल नहीं सकता”

Now T.K. intervenes,

“आख़िर मुखर्जी चाहता क्या है?” “चाहता क्या है, वो छोड़ो, क्या करना चाहिए उसे?”

“अम..ज़ाहिर है अगर उन की पत्नी, उन के साथ नहीं रहना चाहती तो उन्हें कोई हक़ नहीं है कि वो उस के साथ ज़बरदस्ती करें. After all.. वो अपना अच्छा-बुरा समझ सकती है, ऎसी कोई बात नहीं है…”

“हाँ, समझना तो चाहिए, सिर्फ़ ये कि जिस से वो प्यार करती है, क्या सचमुच प्यार करती है? यूँ ही उन्स में तो नहीं पड़ गई? ख़ा-म-ख़ां का infatuation तो नहीं है, जिसे वो प्यार समझ बैठी है?”

“आख़िर शादी-शुदा औरत है, क्या इतना नहीं समझती? इतनी mature नहीं होगी के…”

And that’s when Gulzar Saab’s intelligence of handling the complicated situations comes in full form.

Sudhir interrupts Seema at this point and says it straight,

“इतनी mature हो तुम? इतना समझती हो कि जिस राह पे जा रही हो, जिस के साथ जा रही हो वो झूठ-मूठ का कोई ड्रामा तो नहीं कर रहा है?”

At this time T.K. tries to escape saying this is personal matter between husband and wife and he is an outsider.

Then, as a matter of fact, Sudhir tells him,

“बैठ जाओ T.K., तुम भी कोई बच्चे नहीं हो… बैठ जाओ… देखो T.K., इन रिश्तों में कानूनी, ग़ैर कानूनी कुछ नहीं होता. कानूनन कोई पत्नी नहीं बनती, कानूनन कोई शौहर नहीं होता.Law has nothing to do with it. हम ज़बरदस्ती इन रिश्तों पर कानूनी मोहरें लगाते रहते हैं. आज तक, कोई किसी आते को नहीं रोक सका और ना किसी जाते को थाम सका है. और मैं ये कैंसर ले कर नहीं घूम सकता…. तुम ने ठीक कहा, अगर सीमा मेरे साथ नहीं रहना चाहती तो मुझे कोई ज़बरदस्ती नहीं करनी चाहिए, मैं नहीं करूँगा, लेकिन मैं इसे रास्ते पर नहीं छोड़ सकता. मैं तुम्हारा फ़ैसला जानना चाह्ता हूँ, तुम दोनों का फ़ैसला जानना चाहता हूँ… अगर तुम दोनों flirt नहीं कर रहे हो, एक-दूसरे को धोखा नहीं दे रहे हो, सचमुच एक दूसरे को चाहते हो, तो हाथ पकड़ो और निकल जाओ इस घर से.”

Seeli Hawa Chhoo Gayi - Libaas

Seeli Hawa Chhoo Gayi – Libaas

Even after Sudhir and Seema get separated and she remarries T.K., there is still an element of care and affection for each other.

T.K. and Seema are living happily, yet Seema is not able to forget her past so easily.

In one scene, where one evening she is sitting sad all alone on a yatch, T.K. comes and asks,

 “क्या हुआ… सुधीर का ख़्याल आ गया?”

“हूं..”

“इसीलिए तो तुम्हें शादी के बाद यहाँ ले आया. जानता था, अगर वहाँ रहोगी तो अतीत याद आएगा. अतीत बुरा हो तो सीमा, आदमी गर्द की तरह झाड़ दे, ख़त्म कर दे, लेकिन सुधीर जैसा… मुझ पर अंधविश्वास था उसे. जो कुछ हुआ, मुझे उस का अफ़सोस नहीं, बिल्कुल नहीं, बस यही है कि अगर तुम किसी दोस्त के यहाँ ना होती ना…तो अच्छा होता, क्यूँकि तुम जहाँ भी होती, मैं यही करता, I love you. मैं तुम से प्यार करता. I love you Seema, I love you.”

[Edit Note : While Mohit has written the climax in his post, we are not going to reveal what happens in the end, as we expect more screenings of the film soon and expect you to watch it someday, somewhere. We leave you here with Ravi Shastri Quote : All Three Results Possible ]

And the end credits roll over with the song

“तुम से मिली जो ज़िंदगी, हम ने अभी बोई नहीं,

तेरे सिवा कोई ना था, तेरे सिवा कोई नहीं…”

…Leaving everyone in the theater completely spell bound.

Gulzar Saab got a standing ovation which refused to die down for the next few minutes.

Epilogue

It had Gulzar written all over it. Gulzar the writer, Gulzar the dialogue-writer, Gulzar the lyricist and Gulzar the director. It was like various Gulzar competing with each other and attaining the pinnacle of expressions. The music of R.D. Burman was also a highlight of the movie as the melodies are so soulful, the film would have been definitely incomplete without such lovely songs.

From story perspective, it is really difficult to say what was wrong or who was wrong or whether anyone was wrong at all? This is the power of a sensibly told story on screen. We all know that Gulzar Saab has great sense of expression when it comes to relationships. He is the one who has given the words to all the emotions we have gone through at various points in our different relationships. He is no different here as well. Gulzar Saab has also given various references of past work of theater artists who have explored the complexities of husband-wife relations – Leo Tostoy’s Anna Karenina, Vijay Tendulkar’s Khamosh adaalat jari hai, Mohan Rakesh’s Aadhe-adhure. The film, even though made some 26 years back, is still relevant and I believe due to the nature of human relationships, will be relevant even after 26 years.

There are so many situations in the movie which could have been exploited with melodramatic scenes but he kept them subtle, and trusted the intelligence of audience he was catering to. Like after re-marriage, one day when T.K. is gargling in the morning, all of a sudden she gets reminded of Sudhir, who was always after her for gargling. She gets in that groove for a moment that she actually calls out her old maid’s name “दुर्गा…” and then she realizes her mistake. And when she calls up their family doctor (played by A.K. Hangal) asking him to visit their home for T.K.’s cough and cold, she forgets to mention to the doctor about his new life and husband. The doctor habitually visits their old home and because Sudhir is also suffering from the cough at the same time, he doesn’t find it surprising that Seema called him up. Subtle ways to show that the bridges are not yet burnt completely. The central idea of the story keeps coming back again and again in multiple ways.

During the post-screening Q&A we came to know that the climax which was shown in the film was not his choice but the producers insisted upon him to change the climax.

He wanted to leave it a bit open ended, which he couldn’t do in this movie, hence he made Ijaazat, another masterpiece on husband-wife relationship which he ended the way he wanted it to be.

Nobody dared to ask the question, “अगर लिबास release हो जाती फिर भी क्या वो इजाज़त बनाते?”  and I doubt if anyone who has watched Ijaazat would even dare to think it being non-existent from the filmology of Gulzar Saab. Nothing to compare but to give a flavor to the people who could not watch the screening of Libaas, in my opinion, it was at par (if not more) with Ijaazat in terms of exploration of relationships, writing, dialogues, songs, direction and music.

To sum it up, I would just say, no matter how many years the movie has spent in the laundry or dry-clean, this Libaas is still as crisp, clean and white as new.

 – Mohit Kataria

 

(Mohit Kataria is an IT engineer by profession, writer & poet by passion, a Gulzar fan by heart. He is based in Bangalore and can be reached at [kataria dot mohit at gmail dot com] or [@hitm0 on twitter)

(Pics & Videos by Ashok Bindal [ajbindal at gmail dot com], a close associate of Gulzar saab, based in Mumbai)

Retrospective Inauguration Video via Ministry of I&B YouTube Channel]

haider-movie-wallpaper-26

There is a distinct smell of honesty in things which are fundamentally correct. You have got to love anything when it is done with utmost sincerity and no sluggishness. This is why we wait for Vishal Bharadwaj’s films and music. His latest offering is out, and we strongly recommend you get a taste of it. Here’s why:

So Jao – The eerie calm of a dark night perpetuated by heavy bass notes and a near mourning dead voiced ensemble consisting of Bashir Lone, Bashir Bhawani, Muzamil Bhawani, Mayukh Sarkar, Aalaap Majgavkar and others take upon themselves to scare the life out of us in this calm yet intense song. The singers might all be mourning but they are in perfect sync and you will find yourself reaching for the repeat button without a doubt. The sound of shovels attacking mother earth is impactful, to say the least. Top class!

Jhelum – Yet another dark song where the music arrangement is spread out. The magical electric guitar surprises you as it creates an atmosphere of contemplation. Vishal, helped greatly by the words from Gulzar, paints a picture of grief, the kind that will suck you and might make you sad, very sad. I might be thinking too much but then I feel the words ‘jhelum hua kharaa’ came out right from Gulzar’s heart as he reflected on the massacres he witnessed, during partition. That perpetual sinking feeling owes a lot to the wonderful Simaab Sen who has produced this song in the album. Vishal Bharadwaj doesn’t sing much in films. We wonder why.

Gulon mein rang – The thing with good poetry is that it can never be badly performed (unless of course, KRK decides to rap it). To make it even better, words have been modified and what’s better than to see Gulzar and Faiz in one song! We honestly didn’t expect much from Arijit Singh, (who is breathing these days with microphone attached to his throat) because we knew, the sound would be indistinguishable from most of his songs off late. I won’t say we were shocked and surprised with his rendition here. It is strictly average but the music arrangement takes it a notch higher, especially the hopeful note on which the song ends. Talking of this iconic kalaam, even Mohit Chauhan did it nicely here.

Ek aur bismil – With an adorable arabian touch and sufi setting, this version paints a fantastic belly dance setting in the mind. The clarinet in the song is exact and lends much richness to the song. Unlike the ‘bismil’ song (to which this song owes its title and tune) which has a podium/stage setting, this feels more intimate, street like and humble.

Do Jahaan – Call me an incurable romantic, but I cannot wait for Suresh Wadkar singing a ‘suresh wadkar वाला’ song. No, I don’t mean ‘totey udd gaye’ (ek thee dayan) sort of song. I mean ‘tere liye’ (7 khoon maaf) sorts. A lazy setting that somehow has become Vishal Bharadwaj’s forte along with Suresh Wadkar’s depth is something to look forward to. This song is exactly like that. An added bonus is to hear Shraddha kapoor’s voice which doesn’t sound processed and adds a ‘real’ feel to the song.

Aaj ke naam – After her fantastic ‘har ghadi’ in D-Day, Rekha Bharadwaj gives us a ‘by the tabla’ ghazal that has ‘tragedy’ written all over it. This is also a work of Faiz Ahmed Faiz. Vishal Bharadwaj quietly sneaks in gentle keyboard notes to give a contemporary feel to the overall setting. Since the ghazal talks of so much sadness (With the excellent use of ‘new’ words for hindi film songs like – ब्याहता), extreme caution is advised because it will leave you sad, very sad.

Khul Kabhi – Good things were said about this song by Vishal Bharadwaj himself in a recent interview on Radio Mirchi, Bombay. Perhaps what Vishal Bharadwaj didn’t estimate was the flood of Arijit Singh’s songs with whom we are playing ‘catch up’ on daily basis. This song is good and we couldn’t help feel that this should have been sung by Vishal Bharadwaj himself. No doubt that would have been the thought at the time of composing it. It is a ‘FVBV’ song all the way (For Vishal, By Vishal). Arijit is efficient and average at best, what is lacking is the exclusive, infectious feel that this tune and crazy romantic song deserved.

Bismil – The ‘stage’ song! With Sukhwinder, there is always a danger that perhaps he will sound too ‘sukhwinder’ and hijack the song. It doesn’t matter in this case because there is an army of excellent back up vocalists, and a ‘beyond awesome’ rabaab at work along with him. The song paints a dark picture of deceit with an upbeat tune. The lyrics give away everything there is to correlate with Shahid Kapoor’s anger in the film. These days when music composers take pride in saying ‘ये गाना डांस फ्लोर पे महिना भर बजेगा’ , here is a song which might become a hot favorite of people who are into stage dramas. The overall feel reminded me of ‘Sheher’ of gulaal which can also be re-created on stage with impact, if only some people are up to it. A thunderous song that gives you a feel of large auditorium. Kudos!

Aao Na – I feel Vishal Dadlani somehow saves his ‘year’s best’ when he teams up with Vishal Bharadwaj. While I still maintain that ‘Dhan te nan’ is his best, this song stands right next to it. The passion, drums and singing, all are just top notch. Did I miss anything? Oh yes, that bloody mother of a tune on guitar. I cannot write enough good things about this song. Double thumbs up!

Vishal Bharadwaj and Gulzar have given us a brilliant album that has right shades of dark, much like the background and context of the film. In a year that has been marred with too much trash and vomit inducing tracks, Haider is what leaves a lasting sweetness on our taste buds.

As Vishal says, क्या बात है!

– by @rohwit

A new Vishal Bhardwaj film is always cause for celebration. Even his weakest films have so much to savour, and in an industry so plagued by intellectual and creative bankruptcy, Bhardwaj is the rare filmmaker who could perhaps truly claim auteur status- he produces, directs, writes, composes- and does all of it with a style so distinctive and quixotic- there’s no mistaking his stamp. We’ve got to admit, we’re fanboys, and unashamedly so.

The much awaited trailer for Mr Bhardwaj’s new film ‘Haider’ has arrived along with a trio of posters. Haider is based on Hamlet and is the final film of his Shakespearean Trilogy (preceded by Maqbool and Omkara) and stars Shahid Kapoor, Tabu, Shraddha Kapoor and Kay Kay Menon among others (including Irrfan Khan in a special appearance).

Notably, Haider has been co-written with Kashmiri author and journalist Basharat Peer and also marks the filmmaker’s first collaboration with cinematographer Pankaj Kumar, who is best known for shooting Anand Gandhi’s Ship Of Theseus. Click here to read an interesting article about Peer’s collaboration with Bhardwaj.

Take a look at the trailer and posters and let us know what you think: