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30 août Rock On, now onLong back once I had made a design on my T shirt, which looked something like the one shown below. I know, I know; it is not clear what it is supposed to be. Well, these are marks of exclamation like this- ‘!’ The first ‘!’ is straight, as it is supposed to be; expressing the expression of exclamation for the writer or the expresser. But then there comes a stage, after you have seen so many things going topsy-turvy in your life that you stop reacting to a misfortune that has suddenly appeared in front of you. Next bad luck does not surprise you. It was to denote that sense, the last one of the ‘!’ has become flat or ineffective. Not long ago, I used to get kicked by fairly average events in life- come home and start punching the key board and upload it. But since constant kicks of time has forced the proud ‘!’ into submission; I stopped punching the key board that often. But of course big surprising surprises too do pop in once in a while. They manage to drag me to the computer trolley, hold my neck over the key board until I start thinking, ‘how to start.’ Enter a pleasant surprise of Aug 29, 2008. At 8.30pm a group of 120 people collected at the PVR theatre, Juhu to see ‘Rock On’. All of us were Purab’s family, extended family and family friends and plain friends. Well, I knew about this movie for sometime. I had heard about it when it was to roll and then once I had gone to see its shoot too with Indu and Prateek. The production seemed to be thoroughly professional but it certainly did not seem to fall in ‘big budget’ bracket. Biggest name in the film was, director Farhan Akhtar, but he was not directing this film; he was the lead actor and singer in it. So in that sense even his big name didn’t count for the box-office appeal. But somewhere on the way ‘Magik’ happened. Actors in the film were a group of friends, who perhaps believed in the subject (sorry for the cliché) and made an honest film. Friends in life, playing the friends in the film, became deadly authentic. Due to honesty of making, a dew fresh look at life of current youth, new sound of music and film’s technical brilliance; Big-daddy of media grabbed the film, as well as its Hindi Rock music… For the group of 120, including me, Purab was the point of focus. He has grown up in front of us all. Starting a bit unsteady as a student, he got invaluable experience as a child actor in school campus TV soap, ‘Hip Hip Hurray’. He managed to sink his teeth in the field of performing art called ‘acting’ by being a popular VJ on Channel-V and ad films. After a few years on the small screen, he started dreaming the big screen dreams. Without getting into his period of ‘anxiety’, let us steer into the area from where things get super serious for Purab’s life; that is post ‘Rock On’. Eventually every metro guy and gal will see ‘Rock On’, so it’s no point getting into the story telling. Main thing is that, this film is a great product. The film has flawless camera work, very good ‘sound’ and seamless editing. Purab’s role was kind of tailor made for him. He plays a witty and cute baby of the rock group. He carried the role of an energetic drummer very well. His out bursts at two points were well balanced and had excellent take off and landing. Not to forget the impromptu solo song that he did in a party scene sent girls in the theatre into tizzy. Farhan Akhtar and Luke Kenny had some scope for maneuvering their parts to higher levels. Prachi Desai, playing his wife delivered very well, especially whenever a scene needed her strength. But surprise came from an unexpected quarter- Arjun Rampal and his wife, Shahana Gosawami. For me watching these two, especially Shahana was most fulfilling. Although I am technician myself; watching good performances always refreshes me. They make everything so believable and thus watch-able. Remember how many films having crappy story lines became golden jubilee hits, thanks to Amitabh Bachchan’s power of performance! Music of ‘Rock On’ by Shankar Ehsaan Loy is doing very well. All the young ones are listening to it and singing along aloud ‘Rock On’. Javed Saab has come out amazing as a lyricist in this new kind of writing. Here lyrics did not require well penned beautiful tender lines like in Silsila or Love Story 1942. The songs here have the quality of lyrics that were perhaps ‘scribbled’ just before the show. I am sure he took his time to achieve that. Congratulations to producers Ritesh Sidhwani & Farhan Akhtar for choosing services of director Abhishek Kapoor. He is a real thorough guy, who knows his ‘ok’ takes. It is strange that everyone’s name is brought up while talking about the success of the film; Abhishek Kapoor is not heard. Appun ka phillum industry aisaich hai; it has always been like that. But take it from me he is the back bone of all the rocking that is going on. And he is going to be a hot property soon… Post ‘Rock On’, I am so happy for Purab. Professional and mental well being of any actor so frightfully depends upon the fate of his last released film. He desperately needs to be noticed and appreciated… Listening to the girls squealing his name aloud ‘Pooorab’ in the theatre, it seems the time has come for him to get ready and pull his ‘socks on’. In all this noise and hustle, my mind goes to Purab’s very sober, bright, creative and pretty wife, Yamini. Fasten your seat belt too Yamini, it may be the take-off time; but I guess you are the one who has to keep things well grounded. 26 août Can I need your autograph? For 2 days I worked
for a ‘sarkari’ public service message type short film. For this we shot with
Rahul Bose. First day’s shoot was in Vashi, in Hiranandani hospital. It is a
fancy place. I met Rahul after many years. He did not recognize me. I guess since
we had done a project on only ‘sound’ with him. It was an ‘audio book’ on R K
Laxman’s (that ‘You
said it’ guy) Messenger. The shoo was inside an operation theatre. It was
kind of Rahul’s work coverage to be used for this message film. Good part of
this shoot was that I met Tinu Anand, after very long. Tinu too is part of that
film. I was happy to see him and we had a nice chat. We remembered Jalal
Agha too. A cute incidence happened as we were chatting. A young hospital
staff guy came up walking briskly towards us. Confidently shoving a piece of
paper and pen towards Tinu, he said in an artificially accented tone, “can I
need your autograph?” Tinu obliged. The man went away. After unsuccessfully
trying to understand this sentence, I asked Tinu, “did you notice what he said?
He said, ‘can I need your autograph’?” He too found it very amusing. We both
laughed at it. But amazing formation of the sentence is still in my mind. I can
not fathom its intelligence or lack of it. There is something very deep to it.
“Can I need your autograph?” I can spend a lot of time analyzing and dissecting
it.
I know I am being boring here - can’t help it. I guess I have turned into a boring guy. When and how it happened I have no idea. Did it happen gradually or quickly? No idea, but you can ‘blame it on me’. Next days’ shoot was in Colaba Woods. It is such a lovely garden at Cuff Parade, close to hotel Taj President. After reaching first thing I did was to go for short walk there. I thoroughly enjoyed the garden. At one point the garden touches the WTC of Mumbai. For a suburbanite like me it feels awesome, looking up at the tall high profile structure. The shoot turned out to be quite tough. As morning turned into noon, it became very hot. There were no chairs and work was hectic, as Rahul was leaving at 1pm. We shot till about 2.30pm. I was tired. Perhaps hard work of this kind has happened after very long. Any ways, the shoot was complete and the end was happy. After a little walk around, I took an AC bus from WTC to home. I was very tired. Due to comfort of AC and cushioned seats, I went to sleep immediately. Thank god for it, since the journey was nearly 2 hours long! Sleeping is the best ‘time pass’ for me. I always do it during long distance train journeys. Sleep, sleep and some more sleep, till I get there. Next 2 days I had my classes at the SNDT for media students. This year media class has only 3 students. And on that day, one of them happened to be absent, which meant 33% of the class was missing. So I lectured my lungs off for just two students. ‘Bahut na-insafi hai’! Yesterday I went to
the Seven Bunglow beach to get some pending pictures for an earlier blog post.
But the light was wrong… I clicked some any ways. I call them ‘sunset soaked
striped sand’. What say you?
10 août NAMOONANAMOONA (HINDI) / Length 3410.79 meters *ing Kishore Sahu, Kamini Kaushal, Leela Chitnis & Dev Anand, Madan Puri…Cockoo Story: J C Jain Dialogues: Mohanlal Bajpai Lyrics: Santoshi & Nakshab Music: C Ramchandra, Asst: Paigankar Dances: Badri Prasad DOP: L N Verma Cameraman: P C Sinha Director of Audiography: B N Sharma Recordist: P Raymond, Asst: Raman, Majid Editor: Vittal Banker, Asst: Harish Pathare, Krishan Chawhan, U Naik Make up: P Nikam Dailogue Director: B M Dixit Asst Director: C P Dixit, G P Shakhal Production Manager: M S Pathare Produced at: M & T studios Recorded on: RCA Produced by: C R Shah, S R Bhattacharya Directed by: Hira Singh (Dev’s name in film- Jeevan, Kamini Kaushal- Rekha)
Song# 1 (on stage Kamini Kaushal) Chalne walon ke saath sab chalet hain, Girte huon ka daman koi thaam le Himmat se koi kaam le, sahas se kopi kaam le Song# 2 (on stage Nautanki, unknown actors) Mhari gadi maa aavjo, Surat wala sethia, arey poonawala sethai (Kehte hain teri hazaron dukanei, humein ek de de toh hum bhi jane…) Song# 3 (Kamini Kaushal) Jiya mora dole, dhandkata hai dil, sajan mann bhaye balam mann bhaye Song# 4 (Kamini Kaushal) Jiya dhadak dhadak ho phadak phadak tadpaye, Tum aao toh chain aa jaye Song# 5 (Unknown actress- Banaras street) Tam tam se jhanko na raniji, gadi se gadi lad jayegi, Tirchhi nazar pad jayegi, bijli si dilpe gir jayegi Song# 6 (unknown actress doing Mujra & dev) Aji Ajee tan ban ke, ho, tan ban ke ho lala, Dekho nikal na jaye diwala kahin dil ka diwala…o lala Song# 7 (Kamini Kaushal, Dev / Talat Mehmood, ---) Tadpa ke mujhe ab chhod diya, dil todne wale yaad rahe, Aansoo na bahana mere liye, duniya teri aabad rahe Song# 8 (Kamini Kaushal) Ek thes lagi, aansoo tapke, ek chot lagi dil toot gaya Song# 9 (Kamini Kaushal) Mujhko sazayein deen tune kisi ke gunah ki, Bhagwan tune kyon bhagwan tune kyon Meri duniya tabah ki, mujhko sazayein de ke.
Villain Madan Puri narrates urdu couplets:-
Jalwe meri nigah mein kono makan ke hain, Mujhse kahan chhupenge wo aise kahan ke hain
Yaar kee mehfil mein kyon kar yaar aana chhod de Kis tarah bulbul chaman se ashiyana chhod de 8 août AagR K FILM’S AAG *ing Nargis, Nigar, Kamini Kaushal, Kamal Kapoor, Indumati, Premnath & Raj Kapoor CC: Producer: Ranbir Raj Kapoor / Length: 3788.66 meters Produced and Directed by: Raj Kapoor Story, screenplay and dialogues: Inder Raj Songs: Behzad Lucknawi & Deepak Dances: Satyanarayan Music: Ram Ganguli Photography: V N Reddy Asst Camera: K V S Reddy Editor: Babubhai Sound Recording: Allaudin Art: S Desai Prod-in-charge: Vishwa Mehra (Mamji) Asst Direction: Raja Nawathe Camera: Jayawant Pathare Sound: Jambu Kumar Processing: Arun Bhat Produced at: Eastern Studios Processed at: Famous Cine Lab, Tardeo Recorded on: RCA Sound Systems
Film opens with Suhag Raat scene / Raj Kapoor without his mustache / Goes into F/B SHAB-E-VISAL HAI CHIRAG GHUL KAR DO, KHUSHI KI RAAT MEIN KYA KAAM JALNE WALON KA Raj says, ’jitna hum kareeb a rahe hain, ghoogat sahab utna hee lambe hote ja rahe hain’ Paly in the film ’Bilva Mangal’ / Shashi Kapoor as a child actor
Song#1--- DEKH CHAND KI ORE MUSAFIR DEKH CHAND KI ORE (on Raj with mustache & Kamini Kaushal)
Song#2--- ZINDA HOON IS TARAH KE GHAM-E-ZINDAGI NAHIN JALTA HUA DIYA HOON MAGAR ROSHANI NAHIN (on Raj / Mukesh)
Song#3--- RRAT KO JO CHAMKE TAARE, DEKH BALAM MOHE ANKHIYAN MAREY (on theatre actor dressed like babies sitting in prams, in second half of song a very thin Nargis enters theatre)
Song#4--- KAHE KOYAL SHOR MACHAYE RE MOHE APNA KOI YAAAD AAYE RE USNE KAHE KO NAIN PHIRAYE RE KOI JA KE USEY SAMJHAYE RE (different form of poetry, every stanza opens with the similar Mukhda based line)
Song#5--- NA AAKHON MEIN AANSOO NA HOTHON PE HAYE MAGAR EK MUDDAT HUI MUSKURAYE (on Nargis)
Song#6--- SOLAH BARAS KI HUI RE UMARIYA
Song#7--- DIL TOOT GAYA JI CHHOOT GAYA KISMAT NE MITA KAR CHHOD DIYA AANKHON MEIN BHI TO AANSOO NA RAHE MAJBOOR BANAA KAR CHHOD DIYA AARTIRAJSHRI PRODUCTION’S AARTI (1962)
*ing Ashok Kumar, Meena Kumai, Pradeep Kumar, Shashi Kala, Peace Kanwal, Rajendranath, Vijaya Chaudhary, Mehmood Produced by: Dwij (Tarachand Barjatya) Director: Phani Majumdar Story: based on ‘Sansakar Lakshmi’- a Gujarati play by Prafulla Desai, Shri Deshi Natak Samaj, Bombay Writer: Vishwamitter Adil Music: Roshan Music Asst: Sonik, Om Prakash Lyrics: Majrooh Sultanpuri DOP: Pandurang Naik Op. Cameraman: Sridhar Naik Art: Sudhendu Roy Editor: G G Mayekar Dances: Satyanarayan, Suresh Sound: R G Pushalkar Song recordist: Kaushik RR: Robin Chatterji Playback: Lata, Rafi, Asha Prod controller: Late Daulatram Produced at: Kamal studios, Andheri Recorded on: RCA Music on HMV Processed at: Ramnord Research Lab
Song#1--- BANEY HO EK KHWAB SE TO DOOR KYA QARIB KYA LAHOO KA RANG EK HAI AMIR KYA GHAIB KYA (on Meena Kumai singing on stage/ Pradeep Kumar in audience/ a very basic looking airport)
Song#2--- AAPANE YAAD DILAYA TO MUJHE YAAD AAYA KE MERE DIL PE PADA THA KOI GHAM KA SAYA (on Pradeep Kumar, Meena Kumai / Rafi, Lata)
Song#3--- KABHI TO MILEGI KAHIN TO MILEGI, BAHARON KI MANZIL RAHI… (background, then on Meena Kumai/ Lata)
Song#4--- AB KYA MISAL DOON MAIN TUMHARE SHABAB KI INSAN BAN GAYI HAI KIRAN MAAHTAB KI. AB KYA... CHEHRE MEIN GHUL GAYA HAI HASEEN CHANDNI KA NOOR AANKHON MEIN HAI CHAMAN KI JAWAN RAAT KA SUROOR GARDAN HAI EK JHUKI HUI DAALI, DAALI GULAB KI. AB KYA... GESU KHULEY TO SHAAM KE DIL SE DHUAN UTHE CHHOO LEY KADAM TO JHUK KE NA PHIR ASMAAN UTHEY SAU BAR JHILMILAYE SHAMA, SHAMA AFTAB KI. AB KYA… DEEWARO DAR KA RANG, YE AANCHAL YE PAIRAHAN GHAR KA MEREY CHIRAG HAI BOOTA SA YE BADAN TASWEER HO TUMHI MEREY JANNAT KE KHWAB KI. AB KYA... (Pradeep Kumar sings for Meena Kumai/ Rafi)
Song#5--- BAAR TIJHE KYA SAMJHAYE PAYAL KI JHANKAR TERE BIN SAJAN LAGEY NA JIYARA HAMAR (Lata) CHHUO CHHUP KE KARTA HAI ISHARE CHANDA SAU SAU BAAR AA TOHE SAJANI LE CHALOON NADIYA KE PAAR (Rafi) (Meena Kumai, Pradeep Kumar/ Lata, Rafi) BEES SAAL BAADBEES SAAL BAAD Waheeda Rehman and introducing Biswajit, Asit Sen, Manmohan Krishan Music and Produced by Hemant Kumar Directed by Biren Nag Screenply: Dhruv Chatterji Lyrics: Shakeel Badayuni Dialogues: Devki Sen DOP: Marshal Breganza Operative Cameraman: Braz Braganza Art: G L Jadhav Editor: Keshav Nanda Sound: S Y Pathak Choreographer: Kundanlal and Kapoor Make up: Ram Tipnis Production Controller: Manna Ladia Produced at Filmistan studios, Mehboob studios, Guru Dutt films and Kamal studios Recorded on RCA Processed at famous Cine Lab Tardeo RR: Robin Chatterji Acknoledgements: Tolaram Jalan, Lata, Guru Dutt Films, Jai Prakash studios Kolhapur
Songs#1 sapne suhane ladakpan ke, mere nainon mein dole bahar ban ke (on Waheeda/ Lata)
Song#2 kahin deep jale kaheen dil, zaraekh le aakar parwane, teri kaun si hai manzil... (in background and on Waheeda/ Lata)
Song#3 kahin deep jale kahin dil (repeat)
Song#4 zara nazaron se keh do ji, nishana chook na jaye, maza jab hai tumhari har ada katil hee kehlaye... (on Biswajit/ Hemant Kumar)
Song#5 bekaraar kar ke humen yoon na jaiye, apko hamari kasam laut aaiye (on Biswajit/ Hemant Kumar)
Song#6 ae muhabbat meri duniya meon tera kaam na tha, tu na ayi thi to gham ka kahin naam na tha (on Waheeda/ Hemant Kumar)
Song#7 kahin deep jale kahin dil (repeat)
Song#8 kahin deep jale kahin dil (on Biswajit/ Hemant Kumar) Dukh aur sukh ke rasteDUKH AUR SUKH KE RASTE, BANEY HAIN SABKE VASATEY JO GHAM SE HAAR JAOGE, TO KIS TARAH NIBHAOGE KHUSHI MILEY HUMEIN KI GHAM JO HOGA BAANT LENGE HUM MUJHE TUM AZMAO TO, ZARA NAZAR MILAO TO...ZARA NAZAR... YE JISM DO SAHI MAGAR, DILON MEIN PHASLA NAHIN JAHAN MEIN AISA KAUN HAI, KI JISKO GHAM MILA NAHIN TUMHARE PYAR KI KASAM, TUMHARA GHAM HAI MERA GHAM NA YOON BUJHE BUJHE RAHO JO DIL KI BAAT HAI KAHO JO MUJHSE BHI CHHUPAOGE. JO MUJHSE... TO PHIR KISEY BATAOGE MAIN KOI GAIR TO NAHIN DILAOON KIS TARAH YAQEEN. DILAOON KIS... KI TUMSE MAIN JUDA NAHIN, MUJHSE TUM JUDA NAHIN. TUMSE MAIN JUDA NAHIN, MUJHSE TUM JUDA NAHIN...TUMSE MAIN... KANOONMohanlal Harikishanlal Sibal Presents B R Film's KANOON Ashok Kumar, Rajendra Kumar, Nanda Produed and Directed by: B R Chopra DOP: M N Malhotra Asst camera: Dharam Chopra Music: R K Kaushik Art: Sant Singh Editor: Pran Mehra Sound: J S Worlikar Ballet: Vera Botchanova, Madhuri, Gopi Krishan Produced at: Kardar Studios Processed at: Bombay Lab, Dadar, Bombay 28 CHHOTE NAWABMUMTAZ FILMS CHHOTE NAWAB Mehmood, Nazir Hussain, Achla Sachdev, Kumar, Minoo Mumtaz, Johny Walker, Helen & Ameeta Script and Direction: S A Akbar / Producer: Usman Ali / Music: R D Burman / Asst LP / Lyrics: Shailendra
Song#1 aamchhum aam chhum kalala badam chhum (on Mehmood and kids/ Rafi & chorus)
Song#2 ilahi tu sun le hamari dua hamein sirf ik sahara hai tera (on Mehmood/ Rafi)
Song#3 aaj hua mera dil matwala, gatey chale hum pyar ki sargam toohi bataa hum dum mere, kisne ye jadoo dala (on Mehmood/ Rafi)
Song#4 matwali ankhon wale, o albele dil wale dil tera ho rahega, gar tu ise apna le (Helen, Mehmood/ Rafi, Asha)
Song#5 jeene wale muskara ke ji kushi ke jaam muskara ke pee khabar kisko ki kal kya ho arey ye do din ki zindagi (Helen, Johny Waker/ Rafi)
Song#6 ghar aaja ghir aaye badra sanwariya mora jiya dhak dhak re chamke bijuria (on singing girl, Mehmood, Anwar/ Lata)
Song#7 chura ke dil ban rahe hain bhole, jaise kuchh jante nahi, koi batao ke karen hum kya, wo humko pehchante nahin (on Mehmood, Johny Walker)
PS: bekhudi besabab nahin ghalib kuchh to hai jiski parda-dari hai MANZILKALPNA PICTURES MANZIL Dev Anand, Nutan Director: Mandi Burman / Asst Director: Surendra Mohan / Photography: Nariman Irani / Asst Cameraman: Anwar Siraz / Music: Jai Dev / Lyrics: Majrooh Sultanpuri / Music: S D Burman /
Song#1 yaad aa gayi wo nasheeli nigahein (on Dev/ Hemant Kumar) Partly on piano (dialogue Nutan- waqt aata nahin laya jata hai)
Song#2 dil to hai deewna na, maanega bahana na, ruk jana dil ki baaton mein na aana, deewana to deewana (on Dev, Nutan/ Rafi, Geeta Roy)
Song#3 chupke se miley pyase pyase, kuchh hum kuchh tum kya ho jo ghata khul ke barse rum jhum rum jhum (Dev, Nutan/ Rafi, Geeta)
Song#4 ae kash chalte mil ke, yeh teen rahi dil ke chand aur main aur too (Dev, Nutan/ Manna Dey, Asha)
Song#5 hum dum se gaye hum dum ke liye hum dum ki kasam hum dum na mila (Dev in bar/ Manna Dey)
Song#6 yaad a gayi wo nasheeli nigahein, taro tham lena, tham lena meri bahein jaam kab hamne kiya hai, ye ghame dil ka nasha hai kya janoo gir ke sambhalna aa mere sang sang chalna... yaro tham lena hai... abki nishani ye meri zakhmi jawani main in zakhmon ko see ke kya karoon hosh mein jee ke (Dev/ Hemant Kumar) SAZAASAZAA / Dev Anand Nimmi Produced by: Gopaldas Premanand (G P) Sippy / Directed by: Fali Mistry / Camera: Jal Mistry / Songs: Rajender Kishen / Music: S D Burman / Asst in sound: Wagle / Asst in music: N Dutta / Produced and processed: Famous cine laboratories and studios, Mahalaxmi / Sound on: RCA / Length 10726 ft ----------------------------------------------------------------------------------------------- Song#1 ho gayi re teri ho gayi - 2 pehle hee mel mein, khel hee khel mein kho gayi main to kho gayi... (on Shyama)
Song#2 o roop nagar ke saudagar, o rang rangeele jadugar aa apna rang jamata ja, jadu ka khel dikhata ja (on Gypsies)
Song#3 dhak dhak dhak jiya kare dhak ankhiyon mein ankhiyan dal ke tak...dhak dhak dhak (on unknown actress)
Song#4 aa gup chup gup chup pyar karen chhup chhup ankhein char karen (duet on Dev and Nimmi)
Song#5 hum pyar ki baazi hare, dil roye darad ke marey, balamwa chale gaye meri ashaon ke tare toot gaye sare sajanwa chale gaye (on Shyama)
Song#6 tum na jane kis jahan mein kho gaye hum bhari duniya mein tanha ho gaye (on NImmi)
Song#7 aaja aaja tera intezar hai, tujhe dhoondh raha mera pyar hai (Nimmi) majboor mera pyar hai (Dev) (on Nimmi and Dev)
Song#8 yeh baat koi samjhaye re, kyon aaj nazar sharmaye re (on Nimmi) SANGDILTALWAR FILMS SANGDIL Madhubala Dilip Kumar Produced and directed by: R C Talwar / Editor: Ramanand Sagar / Lyrics: Rajendra Krishan / Music: Sajjad / Cinematographer: Prakash Malhotra / Sound: B N Sharma / Singers: Lata, Talat, Asha, Geeta Roy / Produced at: Eastern Studios, Prakash Studios / Processed at: Bombay Film Lab
Song#1 dharati se door gorey badalon ke paar aaja, aaja basa lein naya sansar aaja (on 2 kids- boy and girl/ Lata, Geeta)
Songs#2 darsan pyasi aayi daasi, jag mag deep jalaye prabhu charan ki dhool miley to jeewan mein sukh paye (on Madhubala/ Geeta Roy)
Song#3 ye hawa ye raat ye chandni, teri ek ada pe nisar hai mujhe kyon na ho teri aarzoo, teri justaju mein bagar hai (on Dilip Kumar/ Talat)
Song#4 wo to chale gaye ae dil, yaad se unki pyar kar, jeene mein kya maza raha, maut ka intezar kar (on Madhubala/ Lata)
Song#5 dil mein samaa gaye sajan, phool khile chaman chaman pyar bhi muskura diya (Lata) mast bhari hawa chali, hasne lagi kali kali tumse nazar mila ke aaj (Talat) (on Madhubala, Dilip Kumar/ Lata, Talat)
Song#6 kahan ho kahan mere jeewan saharey tumhein dil pukare tumhein dil pukare bahatey hain aansoo judai mein teri ye asma bechare ye asma bechare (on Dilip Kumar/ Talat) Black CatG P Sippy Films (P) Ltd BLACK CAT / Length: 4203.5m *ing Balray Sahni, Minu Mumtaz, N A Ansari & Johny Walker Supported by: Shammi, Nelofar, Sheila Kashmiri, Mumtaz Begum, Hari Shivdasani, Kailash, Andul… Tuntun & Lilian Story, Screenplay, Dialogues: K B Pathak Art Direction: D G Bhojwani Photography: K S Jaitly Sound: N S Shah Song Recording: Minoo Katrak Editor: M S Shinde Processing Lab: Famous Lab, Tardeo Processing In-charge: S S Lingayat Make up: Sarang Kumar Production Controller: Kripal R Mirchandani Costumes: Chellaram Produced at: Asha, BT, Mohan, M&T and Ranjit studios Discs on/ recorded on: HMV & RCA Lyrics: Jan Nisar Akhtar Playback: Lata, Mohd Rafi, Suman Hemadi Dances: Satyanarayan Music: N Dutta Produced by: G P Sippy Directed by: N A Ansari
Song# 1 Main Tumhi Se Poochhati hoon, mujhe tumse pyar kyon hai, Kabhi tum dagha na doge, mujhe aitbar kyon hai (Minu Mumtaz, Balraj Sahni/ Lata, Mohd Rafi sings only a short line in beginning) Song# 2 One two three four, dil se poochho Five six seven eight, oh you are great (Restaurant performance - Johny Walker, unknown girl/ Mohd Rafi, Suman Hemadi) Song# 3 Kaun tujhe roke kaun tujhe tokey, Duniya ko diye ja dhoke pe dhoke (Restaurant performance Johny Walker, Shammi/ Mohd Rafi. Suman Hemadi & Chorus) Song# 4 Nashe mein hum nashe mein tum, Kya khabar dil ho gaya hai ghum (Restaurant performance Johny Walker, unknown girl/ Mohd Rafi, Lata) Song# 5 Sitare raah takte hain chale aao chale aao Hazaron dil dhadakte hai chale aao chale aao (Minu Mumtaz/ Lata/ Very good stop frame photography) 5 août Guide with WaheedajiEnlighten, a film society arranged screening of landmark Hindi film ‘Guide’ on Aug 5, 2008 at 12.30pm. They regularly show films on Sundays at 10am. But today’s program was to not a regular one. Guide was being shown in Waheedaji’s presence and she was to be honored with an award from Taj (remember Wah Taj?), after the show. So other than the film itself, seeing grand old lady in person was a tremendous attraction for me. I have seen this film quite recently on DVD. But this is a film that should not be missed, if you have time. I was a little late. As I got inside the theatre the scene between Kishore Sahu and Waheeda Rehman in the ruins was on. There is always something new to learn or discover whenever you see any movie again. I was so thoroughly bowled over by the dialogues of that scene and then every scene. I found the lines are so realistic, sharp, pat on, entertaining and yet within the boundary of the scenes and the characters. In some we notice that comedy scenes are written well, sometimes romantic ones move you; but this film is no ordinary celluloid. It is perfect in all areas, be it different views between Rosie and her husband, Raju and his uncle (mamaji), crowd jeering at Rosie walking with Ghungharoos, Raju pleading with Nalini in the bedroom or a long soliloquy by Raju guide to Rosie. All are T perfect; not a word more not one less. In my life Guide enjoys the status of my maximum viewings, five. No other film has been given that kind of respect by me. And yet it was difficult holding tears back on many occasions. To put it on record my eyes don’t well up always because of emotional scenes; but many times a great shot or perfect strike of a chord on a visual or even a perfect cut can do it. After red color ‘The End’ filled the screen, Waheedaji was made to sit facing Bhavna (Somaiyya, I think). She was barely 6 ft away from me. Bhavna asked her a question which was three times the length of the answer. I have seen it with journalists that they start showing off their own knowledge through their questions. Poor things! Many people did that. Quality of questions was something like this, ‘what did you feel when you signed this film?’, ‘tell us an anecdote while on shooting with Vijay Anand’, ‘how was working those days?’… in fact some commoners poked much better questions than professionals. In a few minutes the setting was moved in the lobby of Cinemax, as next film show was to start. I stood on the side as all the chairs had been taken by the youth brigade reporters. At the back were some 15 DV Cams aimed at the stage. As Waheedaji entered, I heard 15-20 dogs growling and fighting loudly at as if for a single piece of bone. There was chaos. I couldn’t hear anything. Then another young guy took the mike. Young man was representing Cinemax and kept addressing Waheedaji as Waheeda Rehman, without any respectful Indian suffixes, like ‘Ji’. He called the lady Waheeda Rehman more than once in his own American culture or uncultured ways. I asked girl sitting next to me if she knew his name. I just wanted to give ‘a- hole’ a little respect here in my space. Suddenly some people stood up in front and entire gang of dogs took their cameras and moved towards the bone. There was no order left. There was more growling, pushing and shoving. At one point I stood up to ask something, but dogs growled at me too. I gave up. Actually I wanted to ask Waheedaji, ‘if English and Hindi versions were shot together, some of it together or entirely separately.’ Never mind I will find out from some where else. But it would have been nice if she heard me when I addressed her and she addressed me in return, in the bargain I would have got my answer straight from the person involved. At a point she also told the dogs that in India we have to show respect for elders and what she saw was not right. Later the ‘Taj' tea seller or 'chai wala' came up and said that they wanted to give away their first award to a person who would match up to the stature of ‘Taj tea’. That filled up my cup of patience. It was my cue to get up and try to find my way through dangerous pack of hungry dogs. It was dangerous. I looked around and found a safe passage. Chai wala was saying, ‘now I request Waheedaji to come here and accept this award. He couldn’t go to her? The ‘Chai wala’ was handing over a silver kettle to Waheedaji. I felt suffocated. I wouldn’t be surprised if last scene of Pyasa was playing in Waheedaji’s mind. It was in mine. Last thing I remember was, a reporter extending his microphone towards Waheedaji and begging, ‘ek byte ka sawal hai’. 2 août 4 Southern States in 7 daysOn 30 June, 2008, second schedule of the KVK corporate film started. We left for Mangalore by AI, both the Indian airlines are now merged and the new entity is called Air India. It is the first time I was gong to travel to Mangalore. People have been prasing the beauty of the place for long, especially Beena. In fact I had told her that when she goes there next time, i will come with her. Flight took off at 9.20am and landed at Mangalore at 10.35. It was raining heavily there. The plane was parked a little away from the 'Arrival' building. There was no bus to carry us to the terminal; but the staff had made arrangements for the umbrellas. It was like a relay of orange and white umbrellas from airplane to the terminal. It looked so pretty. Once inside, I asked someone if I could click a picture, "NO", was the booming answer. I gave up. Our baggage was getting a bit late due to rain. I was walked off to check out the small airport building. At the other end I noticed that I was hidden from the view of the security. Slyly I clicked a picture. The stream of umbrellas had dried up; but as they say, 'something is better than nothing.' Outside a Toyota, Innova was waiting for us. After loading up, the car took off. In this area people paint their homes with very shockingly gaudy and bright colors. I was finding them very unusual. On the way we took some shot of a green patch. We needed it to show it as a forest in the film. Late afternoon we reached well appointed guest house of KPCL or Kasargod Power Corporation Ltd. Name of this village was Mailotti. We had and freshened up. We were waiting for a signal from the rain to let us shoot. Soon it came and we walked down to the power plant. Once there, we did the outdoor work when it was not raining and when it was, we went in the control room and engine room. We did most of the inside work and wrapped for the day around 8pm. I enjoyed the hospitality of a guest house after very long. In childhood we used to go with our father when he went to tour his 'Tehsil'. We got such royal treatment there. I am happy I got to experience same again. Some of us had a drink. It was a good night after a nice south Indian dinner. Next morning (July 1) again I took some left over shots quickly and started off to our next location, Paschim Hydro Power Plant. It kept raining through out the journey of 3 hours. Finally we read the sign board and followed the mud road to reach the destination. Driver was not happy with the loose surface below the wheels. He said coming up on this will be difficult. Surprisingly this plant faced a gorgeous panorama of a lake and hills and to top it, pregnant clouds were hanging all over those hills. I took many pictures here. It was great to find such a visual treat. Paschim Hydro is new plant, so the engine and control rooms look spanking bright. Name of this village is Kempuhole. This was the only 'hydro power plant' on our shooting schedule. I finished the shoot just when it was getting dark. We were supposed to take shots of the dam which supplies water to this plant, but could not, due to some genuine problems. Firstly the mud road had got a bit washed off, secondly a tree had fallen across the road blocking it and lastly wild elephants were roaming in that area. Hmmm, I thought that were one too many points against me. The driver told most of us to walk the wet road part. We made it easily to the highway. After an hour's drive we reached Hotel Ashrita at Saklespura at 8.45PM. Had a quick dinner and slept. In the morning the weather was exceptionally cold! I saw people wearing woolens going about. What a difference in climate, I thought? Also the water in bathroom taps was muddy brown. I have never seen tap water of that color. Next morning (July 2) after breakfast we started our marathon drive at 8am. We were headed to Nagappattinam. We reached there 11.30pm. I was dead tired. My back and bottom was under a lot of pressure. I didn’t feel too good. 18 hours drive is no joke! We stayed in hotel Sea Horse. Entire staff was asleep. It took them some will power to give us our allotted rooms. I thought a south India cup of coffee would do me some good mentally. I asked the waiter for it. ‘Impossible’ was the prompt answer. It ended all arguments and hope simultaneously. Next morning (July 3) we got up at 6am and again I asked the waiter ‘can I get a cup of coffee?’ ‘Possible’ he said as easily. Oh, I thought this was innovative way to communicate, when there is a lack of vocabulary. As we left the hotel I read a sign saying, ‘Vailankani 5KM’. We had no time otherwise it would not be a bad idea to take quick drive to that famous church. After breakfast in a small restaurant we left for MMS unit-1. I did some detailed shoot of the security staff, also got some long shots of the entire plant, students going to village school and HT transmission towers. We wrapped the location at 11.45am and moved to MMS unit-2. On the way we passed Thiruvarur. The temple and the lake look very pretty. The weather here was totally reverse of Kerala. It was hot and humid. We stopped at a old woman’s shop to have cold drinks. I took some pictures of the temple. We then passed Mannargudi. The temple here was similar but bigger than Thiruvarur. Some one told that it was bigger than Meenakshi temple too. I have not seen that. We did not stop here as we were late and had to finish the shoot of next plant. We reached there at 3.30pm. I used their luggage carrying trolley as out make shift trolley. The shots came out pretty cool. Luckily the floor was reasonably smooth. After covering the usual part of the plant, we moved to a nearby village. Here I took shots of school kids and huts. This area was festered many with small red flags, denoting presence of ‘Maoists’. We got out from here before dark. On our way back I stopped the car to take some pictures. The exposure was down; but I did take a few shots of the temple and the town. From here we drove to Chennai. We reached KVK guest house at 1.30am. It was difficult finding the place. We passed a fresh site of a car accident. The car was lying toppled and a badly bleeding body of young man was sticking out of the door. In the morning (July 4) we left for Chennai station to board a train for Vijaywada. Railway staff hounded and charged us for carrying shooting luggage. I am sure they charged us illegally. Any way I paid 250 and got a receipt. That was not bad. Departure time was 6.40am. We reached Vijaywada at 1.40pm, had lunch and proceeded to Machilipatnam. At 4.30 we kept our bags in the RVK power plant’s guest house and started shooting straight away. I made the unit climb a 10 story high water tank for taking top angle shots of the plant and nearby area. It was getting dark. So I used this opportunity ask them to switch on the plant lights and did more shooting. Those shots came out well too. This was my last power shoot. We did some night shoot in the control room and wrapped up. I drove down to Machilipatnam town for having a hair cut. This is my kink that every little place I visit, I put a stamp of hair cut on me. Next morning (July 5) we shot more of the plant. I went up on the OH crane and took some top angle shots of the engines from the moving crane. We wrapped the location around 11.30am. We moved to Vijaywada and took shots of the bridge on river Krishna. We then took a train at 4pm to Hyderabad. It was not a very long journey. We were in the guest house for dinner. Next morning (July 6) we came down after breakfast and I saw this scene. A 2 year old naked girl was sitting on a auto rickshaw. I clicked her many times; but the best ones I had missed. In the beginning she was sitting on the driver’s seat. Soon her mother came back carrying a baby in her arms and the family walked to an under construction building site. I think these pictures are some of the best visuals that I managed to grab. There was drab shoot at the KVK corporate office. Then we took some shots of Tank Bund, with statue of Buddha. I bought two new types of Mithai. One was called ‘paper sweet’. It was like white paper made of rice. And another one was Cashew nuts coated with jaggery. After returning the guest house we had tea and at 6.45pm left for the airport. Everyone knows about the new Hyderabad airport. It really turned out to be wonderful. In India we are used barely functional airports and railway stations. Expense on the aesthetics was never considered. Hyderabad airport is the face of new India. A little hesitatingly I asked the security staff if I could take a picture here. ‘Any where you like’, he said. |
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