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| ARTS TRIBUNE | Friday, December 29, 2000, Chandigarh, India |
Cinema year-ender Weddings, festivities made 2000 special WEDDINGS, pregnancies and festivities — all this and more made the year 2000 special for the Indian cinema. The first year of the new millennium started with a bang called “Kaho Na Pyar Hai” which gave to the film industry its brightest and most dazzling star since Rajesh Khanna, Amitabh Bachchan and Shah Rukh Khan. Art & Culture Audioscan by ASC by Amita Malik Well done, women’s brigade SHE might not have got her 30 per cent seats in Parliament, but you can’t really keep a woman down. She swept the boards in the media in 2000.
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Cinema year-ender WEDDINGS, pregnancies and festivities — all this and more made the year 2000 special for the Indian cinema. The first year of the new millennium started with a bang called “Kaho Na Pyar Hai” which gave to the film industry its brightest and most dazzling star since Rajesh Khanna, Amitabh Bachchan and Shah Rukh Khan. Hrithik Roshan’s arrival renewed hope for the film industry. He sustained his streak of success with an impressively controlled performance in journalist Khalid Mohamed’s “Fiza.” Though Vidhu Vinod Chopra’s “Mission Kashmir” proved a non-starter, Hrithik remained the most hysterically feted star of Indian cinema. At the end of the year, when he tied the knot with Suzanne Khan, his fans sighed in happiness. Hrithik and Suzanne’s wedding was the showbiz event of the year followed closely by the engagement of Akshay Kumar to Twinkle Khanna, the daughter of Rajesh Khanna and Dimple Kapadia. Career wise too, Akshay had much to be pleased about as all his three releases during the year — “Jaanwar, “Hera Pheri” and “Dhadkan” — hitting the bull’s eye. And, Raj Kapoor’s youngest son Rajiv Kapoor finally tied the knot with a Delhi girl at a well-attended function in Delhi. Amitabh Bachchan had a spectacular year, with his anchoring acumen on “Kaun Banega Crorepati” turning the televised game show into the biggest source of entertainment in the country. “Kaun Banega Crorepati” has re-defined popular entertainment in India and reaffirmed Amitabh Bachchan’s recently eclipsed iconic status. Bachchan’s son Abhishek made his successful debut in J.P. Dutta’s minutely studied anti-war epic “Refugee.” Though “Refugee” and Abhishek’s subsequent releases during the year — “Tera Jadoo Chal Gaya” and “Dhai Akshar Prem Ke” — were disappointments at the box office and with the critics, he is seen as one of the most popular actors of the new millennium. Though the film industry had much reason to rejoice — what with films like Rakesh Roshan’s “Kaho Na Pyar Hai”, Kundan Shah’s “Kya Kehna”, Aditya Chopra’s “Mohabbatein”, Dharmesh Darshan’s “Dhadkan” and Khalid Mohamed’s “Fiza” proving to be money spinners — a pall of gloom fell over the film industry at the beginning and the end of the year. Just when the Roshans were celebrating their son’s sensational debut in January, Rakesh Roshan was attacked by the underworld. Now, at the end of the year, the film industry’s long-suspected nexus with the underworld has resurfaced when the police recovered substantial taped evidence against a producer. After dominating nearly half of the last century, father Yash Chopra accompanied by his son Aditya Chopra entered the new millennium with a bang called “Mohabbatein.” In spite of widespread flak, the Aditya-directed romantic fluff became the biggest hit of 2000 after “Kaho Na Pyar Hai.” While introducing a handful of bright and sunny newcomers and semi-newcomers, the film reiterated Amitabh Bachchan and Shah Rukh Khan’s status as the reigning superstars of the film industry. Among the ladies, Preity Zinta had unexpected success in “Kya Kehna,” Kundan Shah’s appallingly clumsy study of pre-marital sex and gender equations. Though Preity and to a lesser extent Rani Mukherjee are in demand, the only two heroines who make a difference to the Hindi film industry are Aishwarya Rai and Karisma Kapoor. They both had successes in “Mohabbatein” and “Fiza,” respectively, though the rest of the year was pretty dismal for them. Kareena Kapoor was the most sensational female discovery of the year. After her stunning performance in “Refugee,” all the big banner productions including new films by Subhash Ghai, Sooraj Barjatya and Karan Johar have gone to her, as though by birthright. More and more leading stars, specially the actresses, are anxious to branch out into counter-stagnant avenues. Tabu is one of the saleable leading ladies constantly trying to balance art with market exigencies. In 2000 Tabu balanced an out-and-out commercial film like “Shikari” with an offbeat film like Mahesh Manjrekar’s “Astitva.” A majority of the stars and directors remained over-worked, over-paid and under-successful. Govinda who has been signed by Sony Television at a reported fee of Rs. 350 million to host their new game-show, had a lean year. Among his flops this year were two comedies — David Dhawan’s “Kunwara” and Mahesh Manjrekar’s “Jis Desh Mein Ganga Rahta Hai.” Manrejkar directed and released as many four films in 2000. Of them, only the Sanjay Dutt-starrer “Kurukshetra” made some profits. The year was dull year for action films with even heroes like Sunil Shetty and Akshay Kumar opting for softer wholesome images. With a handful of stars at the top ruling the roost, even veritable newcomers like Fardeen Khan and Aftab Shivdasani have their dates booked until the end of next year. Though film production declined in 2000, the Hindi film industry’s hopes never crashed. “Kaho Na Pyar Hai” and Hrithik Roshan ensured that the industry’s spirits never flagged. —
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Art & Culture “MY work you would choose to describe as a confluence of photography, painting, theatre and literature...”, says Diwan Manna, a freelance photographer who hails from Bareta, Punjab. With several awards and felicitations to his credit, this artist bears a spirit of essential art and aesthetics. Diwan over the years has fulfilled an array of human perplexities and situations that have been reflected in his series on violence, waking the dead and now with the Wheel of Time. Diwan’s companionship with his camera began when he was a student at the local Government College of Art. His experiment with the lens showed remarkable talent when he went to Nepal and took some phenomenal photographs. Since then there has been no looking back for this free-spirited artist. His work cannot be categorised as being singularly contemporary in nature for Diwan transcends all time barriers while doing a shoot. Each frame is drawn from a challenge and a story. He treats his subject with rare sensitivity and uncovers the inner life of what passes for the familiar human reality. The latest show of his work at the Alliance
Françoise, Chandigarh, is yet another thought-provoking and intellectually stimulating display where Diwan has attempted to establish a relation between the “Road, Feet and Man.” In a tete-a-tete with the artist, new aspects of the medium of photography got highlighted. Question:
Why did you choose the title “Wheel of Time”? Answer: I was deeply influenced by the Indian philosophical concept of kaal chakra, the eternity of time and the role that a wheel plays in a man’s process of growth and development. Also, the combination of the three elements — the track, the feet and the individual — provide a fascinating subject for a visual presentation. Time here is not confined to the realms of periods of chronology. It is not specific in its dimensions. Hence, the title. Q:
Does the place and the person affect the disposition of one’s work? A:
Yes, certainly. These pictures have been shot in two different continents, Europe and America. Both places in their respective manner determine the philosophy behind my work and this then gets combined with the individual’s own cultural rooting. Q:
In the photo colour technique that you have used this time, is there anything in particular that you intend to say? A:
Well, the yellow tint in these frames or for that matter any type that I have used in the past too, reflects the mood of my work Q:
How is this show different from your previous displays? A: Not really, in the sense that there is a continuation of the theme. I am still revolving around humans only, but this time their mobility is what I am trying to emphasise through these images. However, the show also reflects another aspect of my personality and this is integral to any presentation of mine. Q:
What is paramount to you as an artist? A: That is a tough one to answer, but I’ll try. I would like the viewer to take back with him an idea or a single thought from the display that he enjoys and cherishes for a long time. My work unfolds like a classical raga, an alaap, you might say. For me, art is much more than mere visual representation of beauty as one perceives. It has to be greatly substantiated with meaning and conceptual essence. Art must be novel and aesthetically relevant in order to remain contextual and appealing for those who are responsive to it. Q:
What exactly do you look for while taking a picture? A: The subject is defined always prior to my undertaking any project. As an artist I do not cater to a seller’s market. I create art to suit my own reflections on life and people. The exhibition, “Wheel of Time”, is on till January 2. |
Audioscan by ASC KAASH (Magnasound): Hariharan’s previous attempts at ghazal albums have not exactly been an outstanding success. Perhaps that is why he maintained a long silence. Now, either he is stung by that lukewarm response or he has decided to prove a point to himself and the world. The present album is a sea change. He not only performs exceptionally well but also impresses with his steadfast commitment to the purity of the ghazal form. The latter achievement is all the more creditworthy at a time when most singers see nothing wrong with converting ghazals into film songs. Because he has not pandered to populism, Hariharan may not be soaring up the popularity chart with this one either, but "Kaash" is a remarkable album nevertheless. Many of the ghazals may not impress you much the first time you hear them but they do grow on you. For eight ghazals, there are as many as seven writers: Tahir Faraz, Munawwar Masoom, Muzaffar Warsi, Wali Arsi, Kaif Bhopali, Quaiser-ul-Jaffrey and Shaharyaar. All of them have penned excellent ghazals. Most of them are simple and poignant. Here is one sample: Aadhi raat guzar gayee/ jaane neend kidhar gayee/ hum sahil pe baithe hain/ duniya paar utar gayee (Quaiser-ul-Jaffrey). Such ghazals are difficult to set to music. Hariharan has done the task himself. With minimal instruments his music is a class apart. It is embellished with the strains of the sitar of Ustad Rais Khan. In Jhoom le hans bol le …, one gets to hear the sarangi of Ustad Sultan Khan. Sivamani has played a range of percussion instruments such as drums, ghatam and the gangira. DHAI LAKH DI (Tips): Jawahar Wattal continues to be the man with the Midas touch. After grooming such stars as Daler Mehndi and Bhupi, he has taken Chandigarh boy Karran Jasbir under his wings. And if the first album is any indication the youth who has made a headscarf his trademark can court success. He has a smooth, chiselled voice. In this album he has sung his own lyrics. While the title song is catchy, the others lag in the lyrics department. Hai ni maaye meriye … is particularly mushy. He will be well advised to sing the songs of established writers, at least to begin with. Meanwhile, his own writing can gain some edge for use later. Most of the songs are dance numbers. Jawahar’s music is boisterous and catchy. KABHI TO NAZAR MILAO (Magnasound): A cassette with this very name by Asha Bhosle and Adnan Sami became quite a hit recently. It has been packed with new songs. Several of these like Pyar bina … and Barsaat … are good. Lyrics are by Riaz-ur-Rehman Saghar. |
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Sight & Sound SHE might not have got her 30 per cent seats in Parliament, but you can’t really keep a woman down. She swept the boards in the media in 2000. A far cry from the days when Dadasaheb Phalke first had to get men to act women’s roles and then had to rope in his own wife and other ladies of the family. And from the days when Devika Rani, grand-niece of Tagore and daughter of a Surgeon-General in the IMS, and Durgabai Khote, from a distinguished Maharashtrian family broke the shackles and entered the world of the cinema in style. Before that women in the cinema and initially women singers in radio were looked on with suspicion as not quite respectable, even when they were top singers or actresses. It was AIR which made the media respectable. Fathers, husbands and brothers who had locked up their women at the very suggestion of entering films, allowed them to enter the portals of All-India Radio because it was a government organisation and government was respectable. Besides, you did not have to be a full-time sarkari naukrani. Reading the news, making announcements, voicing plays and features, well, even a mother of two small children could manage. And earn some useful pocket money for herself and the house. Then came television and Pratima Puri and Co. It soon reached a stage, in the words of a column I wrote at the time, that in Doordarshan one could not see the men for the women. And it has remained that way. And when I say that, I do not mean quantity. It has also been quality. Women have taken up challenges in literally every branch of broadcasting. Anchoring in the moming, women like Shireen and Shivani Wazir, news reporting like all the spunky women in NDTV, anchoring news programmes, like Sudha Sadanand and Sonia Verma, indepth reporting on the sociological scene from the field and very difficult areas, like Shikha Trivedi and Radhika Bordia, they have not only done well they have quite often outshone the men in both sensitivity and compassion. For some odd reason, in programmes like Question Time India, even Prannoy Roy usually has space for only one woman out of four participants, and they more than hold their own. When I went to cover the International Film Festival at Hyderabad for Star Plus, NDTV gave me a team of two women, Arti Jain as producer (she looked like a little pixie but disciplined me like a sergeant-major) and cameraperson Gayatri Bhasin a very beautiful girl who heaved around a heavy camera and did a first rate job, sometimes under chaotic conditions. Hyderabad is not exactly a conservative place and it was an international event but so impressive were the girls that they were photographed for the front pages and many newspapers featured them for their pluck and professionalism. After our footage came late night to Delhi it was edited by Ankur Ahuja who edited it with such finesse that I never discovered what she had cut, and she livened it all with the most clever music. Long live the girls, I wouldn’t exchange them for all the men. Sports reporting is another field where women are shining. Sonali Chanda, Misha Grewal, a particularly good sports reporter-anchor in Doordarshan Sports (they never do flash her name) and their woman tennis commentator are competent, professional and hold their own with ease. And now we come to women who have been successful with serials. And I don’t mean high ratings of the kind scored by superficial serials like Tu Tu Main Main but the ones which try to go in some depth into family problems and back them up with good casting, convincing characterisation, good performances, good scripting, and good dialogue Like Neena Gupta’s Saans (now, alas a bit long in the tooth) and serials such as Kyunki Saas Bhi Kabhi Bahu Thi by a very young woman, Ekta Kapoor, who has scored hit after hit, have opened up new horizons for women. They have been worthy successors to Kavita Chaudhury. They have more than wiped out the silly girls who do cinema programmes while showing bad legs, wearing outrageous clothes (the one on Metro last week had on her tight shirt a large face embossed on each bosom. It looked as crude as her). Then look who won the first Mastermind India Contest on the BBC in the millennium: 25-year-old Priyamvada who aptly works for the Encyclopaedia Britannica and she scored the highest marks on record. A woman also won last year and in Kaun Banega Crorepati, as Amitabh Bachchan himself mentioned in his TV chat with children, some of the best contestants have been women, not all of them from big towns and some have crashed the 25-lakh barrier. Well done the women’s brigade on all fronts. We are proud of you.
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