The Eternal Eccentricity of Mamata’s Mind

January 7th, 1993 – there was a furore at the Writer’s Bloc in (the then) Calcutta. Dipali Basak, a deaf-dumb girl was allegedly raped by a CPI(M) leader.  Ms. Mamata Banerjee had brought the girl along with her and demanded a meeting with the then Chief Minister Jyoti Basu.  After making them wait for many hours, and finding no signs of her leaving, the police were asked to evacuate Mamata from the building. Mamata was unceremoniously dragged down the stairs of Writer’s Bloc.  On 20th May, 2011, she entered the same building, as the first woman Chief Minister of West Bengal, the lady who vanquished the “Goliath” of the Left Rule.  For Ms. Mamata Banerjee it has indeed been a long journey, but just an year into the new rule, and not much seems to have changed in Bengal.  Whether the state moved from the pan to the proverbial fire is to be seen in the coming years. But if the trend of current affairs in the administration of West Bengal is to be believed, the mirage of a good administration may have yet again led the people astray.

Mamata’s political career that began under the auspices of Congress has had a chequeredMs. Mamata Banerjee pattern.  Her fire-brand personality catapulted her to the helm of the Congress party in West Bengal.  Always wont to speak her mind bluntly, Ms. Mamata Banerjee was equally eloquent in her forms of protest to drive the matter across.  When Sri Jayaprakash Narayan visited West Bengal to rally against Mrs. Indira Gandhi, it was Mamata who laid herself down on the path of his cavalcade, blocking the car.  And on this day, she still continues to block every progressive move initiated by the Government – from the Railway Budget to FDI to digitization of the cable TV network.  The sole purpose of her life was to see the downfall of the Left front in Bengal, and whenever the incumbent party at the centre was not game for this, she proved to be quite a thorn in the foot.  After falling out of the Congress party, and floating her own Trinamool Congress, she entered into an alliance with the BJP led NDA. Even there her spanner tactics continued till she fell out of the alliance in the wake of the Tehelka scam. After suffering an embarassing defeat in the Lok Sabha elections of 2004, she returned to the fold of NDA, only to abandon it again in favor of her erstwhile parent party – Congress.  In these years she had already been under various portfolios – Sports, Railways and Coal too.  Her maverick attitude, lacking finesse especially needed in a field such as politics had been evident all through her career. Be it dragging the SP MP by holding his collar for opposing the Women’s Reservation Bill (its really my favorite and I totally support her actions!! ;) ) or hurling her resignation papers at the speaker, she has often seemed attention mongering.  With frequent blackmail tactics of resigning or withdrawing support, she had proved a bane for the NDA and is proving to be one for the UPA.

The Left Front played itself into a corner when it brought matters to a boil at Singur and Nandigram. Mamata seized the opportunity and nailed the final nail to the Left Front’s coffin, thus ending a rule spanning over 3 decades. There is no doubt a lot of respect that I give for her simple living that marks her personality, but I am not sure if an attitude ridden by vindictive mentality can really provide an efficient administration. Needless to say, within a year of coming to power, she has practically blamed every crime and corruption on the Left Front, or sought to give an angle of conspiracy to malign her administration.

Politics is a powerful weapon of change but in the wrong hands, it has always turned into a WMD, especially when coupled with a vengeance.  Sadly that has been the order of Indian politics in many of the primary states.  Of the many, may be Mamata has enough reasons to be smelling a conspiracy theory.  The Left Front has always been at the forefront of crying foul over every administrative failure – right from American underhandedness to aliens from outer space.   The quickness with which they were wont to object to any reforms by the Union Government and their handling of the local matters, got them booted out in both of their strong factions – Bengal and Kerala.  And where CPM was not wanted, Mamata made her presence, and that was the window she opted for in UPA too.  But has her role been any different at the Centre than that of CPM?  While CPM saw a capitalistic conspiracy, Mamata’s misplaced Ma, Maati, Manus  has left a dent on any reforms needed for the Indian economy.  Politics makes strange bed fellows, and it has always remained a love-me-hate-me relationships between the so called “allies”.  The Railway budget was a crucial factor in improving an industry that has long suffered. Agreed that a blanket increase may have cost the poorer sections of the society, but certainly a dialogue could’ve been called for, and the budget terms negotiated.  But Mamata’s behavior in unilaterally recalling Dinesh Trivedi, causing a major embarassment to the ruling coalition is a shameful act.  It reeks of autocratic behavior and is most offensive to a democratic setup.  If sycophancy is celebrated, there can be no greater tragedy needed in the present India which is crying for socio-economic and spiritual reforms all over the country.  Even the movements of Anna Hazare has sadly fallen short of meeting this.  The argument that every major National Party prefers sycophants and their drama is no argument in her defense.  A political or social change can never be brought by being the same as everyone else.  And this is again the reason why Ms Mamata Banerjee’s tenure till now in West Bengal is also a cause for concern.

When the police unraveled the rape case that happened at the Park Street, instead of commending the female officer – Damayanti Sen, she was transferred from her position because “it is the prerogative of my government to get the job done by someone who can perform in a better way“.  Without even batting an eyelid, Mamata had cast aspersions on the rape victim and so did her indigenous minister, but when the police enquiry found otherwise, it ended up as an embarassment to the ‘Didi’.  It is a surprise that this was the Mamata Banerjee who took up the cause of Dipali Basak.  But then, maybe rape victims also turn out to be ploys in the hands of politicians to take on their adversaries?  And the opposition was also put to blame in yet another rape case, allegedly of a CPM leader’s wife. Not to mention that the TMC members beat up an old scientist’s daughter and stripped her naked and left her bleeding on the road, while the police turned a blind eye to the whole incident. The same treatment was meted to another lady who opposed a hooch shop in the village (her husband was from CPM).  If Mamata cries foul about the Center playing truant in the matters of NCTC and using the Central intelligence as its stooge, the state governments have not been any clean and it is evident in her handling of the state forces in West Bengal.

The dictatorial trends are not only limited to the state forces and their functions but it is appalling to realize that the government institutions can also be used to manipulate the general public.  The dictum to abolish the English dailies from being used in the State libraries and controlling which newspaper is to be procured for public reading, betrays a sense of insecurity in the newly elected chief minister, not to mention the enraging arrest of the professors for circulating a cartoon strip on Mamata Banerjee!  While some “commandments” are ridiculous (forbidding TMC members from marrying into CPM households, attending dinner parties or indulging in small talk with CPM members), her opposition to the FDI in retail sector, the sharing of Teesta waters with Bangladesh, Lokpal Bill and in the latest the digitization of cable TV network are grave portends to a set back that the nation as a whole will have to pay for.   There is no single party in the present Indian political scenario that would not fit into the description or the outline that we see in case of Ms. Mamata Banerjee.  The chronic illness that has gripped the political scenario currently is the fact that either a personality or a dynasty has gained predominance over the principles or ethics emphasized by the principal founders.  The centralization of personality and its dominance has resulted in a lack of regional leadership amongst the central parties.  This leads to exploitation on a National scale by petty regional parties much to the chagrin of an entire nation, as was evidenced by the 2G Scam.

What is particularly disappointing about Ms. Mamata Banerjee’s turn around is the hope that was on the high when she assumed her office.  This was an opportunity that was handed over to her with great pomp and glory, a chance to give a new beginning to the people of Bengal, and set a precedence to other regional parties to gain eminence based on good governance.  It may not be too late yet, but it certainly needs a lot of soul searching on her part.  It takes more courage to accept one’s own shortcomings and bridge that gap, than to point fingers and follow the path hitherto taken by her adversaries.  If she wants to carve a niche to herself as a statesperson, it would bode well to set her house in order and take strigent measures to combat the rowdy elements within and outside the party.  Democracy can never function while clouded by the clout of a father figure, or a Big sister, breathing down the neck.

Pic courtesy: wikipedia.

Posted in My View, Personalities, politics & society | Tagged , , | 2 Comments

Ghazals: My List of Favs – Part 1

When I first thought of writing something about my favorite ghazals from the movies, the question that struck me was whether I indeed knew what a Ghazal was! If you are like me (which I find highly unprobable! I am yet to meet a person with a brain the size of a de-hydrated pea!), you’d assume that every song that is sung with a croaking voice that laments, or a crooning voice that sighs at the lover’s sight is a ghazal, or better still – any song sung by the ghazal maestros such as Jagjit Singh, Pankaj Udhaas, Ghulam Ali, Abida Parveen,  Talat Aziz, et al would be a ghazal. As it is clearly evident, I am rather qualified to be an extra-terrestrial in a planet of MENSAns! And many would be interested to study my lack of things! :P

Not withstanding the absence of nitties-gritties, I did the one thing am supremely good at – researching by surfing through the web! So if your jaws drop at the sheer brilliance of knowledge that flows from here on, rest assured you can be sure that it has its origins from the Cloud! For posterity, I shall even quote the sources, so if anything is not right, you know who to beat up, and for the accolades, I shall be plissed to accept chocolates and electronics! Muchas Muchas thunk you!

So coming back to the question of what qualifies a song as a ghazal…. before I get into it, if you are one of those weak hearted blokes (or blokees) who would faint the moment they realized that a lot of what they thought about ghazals was complete balderdash… I suggest you skip the below parts and directly move to the songs.  It was a surprise for me that nearly 90% of the songs I thought were Ghazals didn’t qualify to be one!!!!!!!!! (OK! so it wasn’t such a big surprise for you! But I still stand by the number of !s)

  • A Ghazal is a form of poetry that comprises of a set of couplets.
  • Each of the couplets are in themselves rather independent and can be considered to be Shers. The length of each of these couplets should be the same.
  • The length may be short, medium or long, but whatever it is, they should be the same.
  • The  concluding words on each of the Shers (or couplets) should be the same.
  • The word that comes before the concluding word across the Ghazal should always rhyme.  For example in the 2nd line of the first sher in the ghazal if the word preceding the concluding word is “nazar”, in the subsequent couplet, the word preceding the concluding word (of the 2nd line) can be “agar”, “magar”, “khabar”, “upar”… well you get the idea.
  • The ghazal may or may not contain the pen name of the composer in its conclusion.  The typical example that comes to mind are the compositions of Mirza Ghalib.
  • Also, the first para of the Ghazal must have the concluding word present in both its lines. For example consider the immortal song from Umrao Jaan – “dil cheez kya hai aap meri jaan lijiye, bas ek baar mera kaha maan lijiye”.

After understanding these bare essentials of Ghazals, I set out on the task of closely observing the songs that I had hitherto classified as Ghazals.  And finally the remote corners of my brain started firing up with new realizations or Nirvaana experiences in Music.  And so, my readers are now gonna bask in this radiance.  Here are some of my favorite ghazal numbers. (Note:  They are in no particular order of preference for me. I just love them all equally in different circumstances and situations. Some of them may not confirm to the rules in the strict sense, but they are still there..because… well… for the simple reason that I love them!! :P ). Also for aesthetics I’ve included the youtube links to view some of the songs! Yay!!

Dil Cheez Kya Hai:  I don’t think there can be any other song so deserving of the opening honors.  Umrao Jaan was path breaking for more than one reason, and music was definitely on the top! While Asha Bhonsle provided the voice, Rekha’s captivating eyes provided the visual aplomb that sent hearts racing! Dressed in red, she is art in motion! The composition was by Shahryr and music by Khayyam.  The lyrics revel with tones of mild playfulness and wooing.
Is anjuman mein aapko aana hai baar baar
Deewaaro dar ko gor se pehchaan lijiye
In the video, when Umrao takes her composition to a Maulvi, you can hear the references he makes to the structure (Matla – the beginning of para) and corrects it.  Enjoy maadi :)

In aankhon ke masti ke:  Again from Umrao Jaan. This movie had made a mark for itself amongst the Classics of Indian Cinema. Based on a novel by Mirza Ruswa on the life of a girl who is kidnapped and made into a courtesan, Umrao Jaan gave staunch music lovers a lifetime treat.  Even the 2006 rehash pales in front of the brilliance of the original.  Needless to say, no Aish can ever take on Rekha! The myriad expressions she effortlessly brings out in this song is only matched by the lyrical beauty of the composition. The words garnished with chaste Urdu, flowing from the magnificent Asha Bhonsle have left me stumbling to find words that can describe this masterpiece of Cinematic work. Two lines stand apart in this composition for their poetic grandeur:
Ek sirf hum hi mai ko aankhon se pilaate hain
Kehne ko toh duniya mein maikhaane hazaaron hain

Jhuki Jhuki Si Nazar:  Mahesh Bhatt is a maverick.  His movies used to stand out for their sheer quality in every aspect – acting, music, direction, screenplay and story.  Alas! these days they still do but for the lack of the same factors.  If there is one thing, history shall absolve him for the crap that is being dished out from his production these days, it is for the wonderful movies he gave earlier.  This song is from the unforgettable – Arth.  Jagjit Singh has rendered the voice for the composition by Kaifi Azmi, and music by Jagjit and Chitra Singh.  For those familiar with the story line, this song speaks of the love that one of the characters – Raj Kiran has for the main protagonist female played by Shabana Azmi, who is already married.  The song seeks assurance from the lover that there is atleast some semblance of Love that she feels for him.
teri ummeed pe thukra raha hoon duniya ko
tujhe bhi apne pe ye aitbaar hai ki nahin

Tum itna jo muskura rahe ho:  Watching Shabana fighting to hold back her tears and smile is enough to make any music lover fall for this song.  The depth of expression in this particular song is marvelous and goes to show how simple words can yet have a profound impact. The song is about holding back the emotions and hiding the pain behind the dazzle of a smile. Check out these lines for instance:
Ban jaayenge zeher peete peete
yeh ashq jo peete jaa rahe ho

On a side note it is rather sad that Raj Kiran on who the song has been picturized has been moved to oblivion and living in an asylum suffering from schizophrenia.  I hope life treats him kindly atleast during his last days.  Here’s the video:

Tum ko dekha toh yeh khayaal:  I’ve often marveled at the way Bollywood has integrated many parallels into it simultaneously.  It’s like a pot pourri!  This gem of a song is from the movie “Saath Saath” starring Farooq Sheikh and Deepti Naval. During the 1980s while the ears were assaulted by poor copies of English numbers and Bappi Lahiri-gone-crazy-music, there were also non-commercial and low budgeted movies such as Saath Saath, Ijaazat, which brought a wave of fresh breeze like music with them.  Saath Saath had amazing compositions in it from Javed Akhtar (ye tera ghar ye mera ghar.. being another one) and music by Kuldeep Singth.

Dil Dhoondta hai phir wohi: Another case in point that substantiates what I said above – the movie is Mausam starring Sanjeev Kumar and Sharmila Tagore.  The song has been sung by Bhupinder and Lata Mangeshkar, composed by the master – Gulzar saab and set to score by Salil Choudhry & Madan Mohan.  Another amazing song from this movie is “Ruke Ruke se kadam” sung by Lata Mangeshkar.

Kisi Nazar Ko Tera Intezaar: This ghazal can never go unlisted no matter who would prepare the list. And here it is specially dedicated to Sushma!  I know how crazily she is in love with this song and here’s the video for the song specially for her! the movie is Aitbaar and the song sung by Bhupinder, composed by Farukh Kaiser & Hasan Kamaal, and music by Bappi Lahiri-in-his-sane-mind.

Honton se choolo tum:  There was a time when no Antyakshari would be complete without having sung this song.  The moment the letter “ha” would come, we’d begin to croon this song and soon the chorus of everyone would join.  From the movie, Prem Geet, the song is picturized on Raj Babbar and sung by Jagjit Singh who also composed the music. The ghazal was composed by Indivar.

Tere dar par sanam: Yet another amazing song from the Bhatt clan. Ofcourse cannot say much about the movie.  With the wooden acting of the ever forgettable Rahul Roy, the songs were the only saving grace of this movie and this particular song has remained a haunting tune in my mind.  The song has been sung by Kumar Sanu (one of the few numbers where his nasal singing isn’t really irritating) and music composed by Anu Malik, and the song was written by Qateel Shifayi.

Tum aaye toh aaya mujhe yaad:  Another great movie, great song and great singing dished out by the Bhatt family.  “Zakhm” was one of those rare comebacks that Mahesh Bhatt is famous for.  Again, this song is dedicated to Sushma, she really really really adores this song. Pictured on Pooja bhatt, this song has been sung by Alka Yagnik, composed by Anand Bakshiji and the music by M.M.Kreem.

“ye naina bin kaajal tarse barah mahine baadal barse
suni rab ne meri faryaad gali mein aaj chand nikla”

Hosh waalon ko khabar kya:  Though am not a really great fan of this particular number, it is nevertheless a great ghazal.  The ghazal is from the movie “Sarfarosh” picturized on Aamir Khan and the diva Sonali Bendre.  The ghazal has been sung by Jagjit Singh, composed by Nida Fazli and set to music by Jatin-Lalit duo.

So baccha logs, don’t run away. Yeh toh only trailer hai…. there’s more to come. I wanted to pool in the songs at random but somewhere midway decided to collect a few romantic ghazals and then some of the blues.  Ofcourse, if there are any other suggestions that you feel I’ve unjustifiably left out, pliss to let me know. :)

As promised here are the links that shall give you more idea about Ghazals:

http://smriti.com/urdu/ghazal.def.html —–Amazing write up. Short and easy to understand.

http://en.wikipedia.org/wiki/Ghazal —– Quintessential. But doesn’t contain much about the structure or the intricacies of composition.

http://www.cranberrydesigns.com/poetry/ghazal/history.htm —– Very informative and makes a good read.

Posted in Music, Music Review | Tagged , , | 1 Comment

Movie Review: Memories in March

Indian Cinema is a field of parallels.  We have at one end of the spectrum mediocrity splattered on the screen by the brigade of KJo and the pelvic thrusting oh-am-so-cool-Khan, and at another end, stalwart performers and directors who believe that their audience have sufficient grey matters within the skulls intact. Their movies do not mock but respect the dignity of relationships, they do not overkill on the emotion, but bring a whiff of freshness and celebrate the spirit of being human, in all its pitfalls and glories.  This brigade, more often than not, has consisted of new faces and hidden talents, without the power of big banners or mega stars flaunting behind them and thankfully their movies go easy on the designer labels and main protagonists do not jump off helicopters for family ceremonies.  Director Sanjoy Nag has indeed worked such a wonder through his movie – Memories in March.  Though I had watched this movie last year, and had intended to write a review then, unfortunately my lethargy outsmarted me and it was put in the freeze, till recently when I happened to hear the soul stirring songs from this movie, and before long, here I am, penning my candid feelings about a movie that is a must dekko.  (Statutory warning: Spoilers ahead!)

Memories in March Poster

Memories in March

Movie: Memories in March
Directed by: Sanjoy Nag
Written by: Rituparno Ghosh
Producers: Shrikant Mohta & Mahendra Soni
Star cast: Deepti Naval, Raima Sen, Rituparno Ghosh.
Official Site: http://www.venkateshfilms.com/microsite/memoriesinmarch/

Aarti Mishra’s (Deepti Naval) world is turned upside down as she learns of the death of her only son – Siddharth in an accident.  A divorcee, she is crestfallen and arrives to Kolkata to face the most poignant moment of her life.  As she begins the painful process of coming to terms with the reality, she is helped by her son’s colleague Shahana (Raima Sen).  Aarti stays at her son’s apartment and relives the memories of her son, ardently missing his presence and feeling like a stranger in his apartment.  When she visits his office to collect Siddharth’s personal belongings, she is stopped by the Manager, who politely informs that she’ll receive the belongings later at her residence.  Intrigued and suspecting a foul play, she confronts the manager Arnab (Rituparno Ghosh)  and Shahana only to realize that there was a facet of her son’s life that she was hitherto oblivious to – his sexual orientation.  She breaks down on learning of his relationship with Arnab.  The movie traverses through the warm memories the three protagonists of the movie – Arnab, Aarti and Shahana hold of their dear one, and how the tragedy of losing him, brings them close.  They learn to come to terms with the loss, and accept life and move on, in the process forging a new relationship of trust and friendship between them.  Just as in the movie, Siddharth remains in the minds of the viewers as just a voice, who acquaints himself to us through his voice and letters.

Memories in March, is a movie that is human in every sense of the word.  Dealing with alternate sexuality and portraying the intricacies of its acceptance by a mother is no small task, especially of a mother who has to deal with not only her son’s death but also his orientation.  But the movie excels in this attempt, but not glorifying the tragedy, but by

Rituparno & Deepti Naval

letting the characters accept the inevitable naturally.  The confrontation between Arnab and Aarti, the guilt and the blame, each facet of coming to terms, has been brilliantly captured.  The audience are not tortured by unwanted melodrama, but sensitized and gently led down the path of a natural process of grieving and healing.  Several moments in the movie, such as Aarti and Arnab revisiting the site of accident, discussing Siddharth’s habits, or debating homosexuality and its righteousness are so natural in their development, that it only seems baffling that it is indeed part of a movie, and not a real life docu-drama.  It is this simplicity that leaves an ever-lasting memory in the mind of the viewer, making this movie far superior in class and taste than many of the ‘commercial’ hogwash, with technological crap cast on the silver screen.

Deepti Naval is outstanding by her exemplary performance in this movie.  Raima sen has great camera presence and ofcourse does justice to her supporting role.  Rituparno Ghosh, probably not being a professional actor, stands out in an odd way.  While he seems comfortable in some scenes, its the tragic parts of the movie that shows his acting skills to be wanting.  While in general, the acting, screenplay and direction in the movie are deservedly noteworthy, it is the music that ultimately nails the movie permanently into a sensitive viewer’s heart.  The songs are exquisite and hand picked to stir the strings of the soul and tune the heart to beat to the ebbs and rises of sorrow and joy that spread like a soothing ripple across the movie. Shubhomita who has lent her voice for the songs, is a name to reckon with.  I am so smitten by the soulness of her songs that they’ve been endlessly played all night!  Songs like “Mere lala aaj na jaiyo yamuna ke paar”, and “Badi Manaratha” bring to fore the pent up tears and yet, ring with dignity – like a lover silently suffering the pangs of separation, lest the histrionics may cast a double spell of more misery!  The music by Debjyoti Mishra doesn’t overtake the singer but lends a helpful hand in the background.  Listen to the songs, and I can vouch that somewhere in between, the breathing shall get shallow, and there is a heavy silence that fills the air.  The viewer is also made to face those poignant memories and realize that healing is inevitable.

The characters of Aarti & Arnab are facets that live inside us.  We own our relationships and our memories, treating them with an exquisitiveness that is felt to be our sole property.  But unknown to us, or unacknowledged, the roots of human connectedness spreads far and wide.  Friends, lovers, relatives, and us too, don various roles and spread across the horizon.  None of us can ever assimilate all these memories, but we can certainly share them.  This is the most personal aspect of ourselves that we can always give back to everyone who come to our lives – memories.  If we can strive to keep those memories pleasant and happy, it may indeed make our temporary stay here, worthwhile.  Memories in March, is a movie that is not only a must see, but a must have in every avid movie lover’s collection.

My Rating: 5.0/5.0

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The Anatomy of Power….

2o12 has begun with a bang! It’s not even been 3 months into the new year, and we’ve seen a roller-coaster ride on the political landscape from the National level to my very own Karnataka! From the central budget in Delhi to the goondagiri of the lawyers in Bangalore… from the Didi’s dadagiri to Yeddy’s ‘bhai’giri and behenji’s hafta-wasooli, the intoxication of power and the ego of leadership have done a naked dance of filth, farce and despotism in the democracy of India.

Uttar pradesh has long been glorified as a game changer for the politics of India.  Any party that can come to power in this region, has the clout and the magic ring that can alter the game plan in Delhi’s Parliament.  Congress was desperate to rebuild its image in the aftermath of the blistering scams and the crumbling failure of its policies and changes to which its own ally – the TMC became the legendary spanner in the wheel. If succeeded, this was supposed to be the launch pad for the Congressian prince, and he did pour himself into this – tearing manifestos and thumping the podiums, while the entourage went about with the carrot of reservation on the stick, melodrama of tears in their eyes and vows of martyrdom on their lips.  As the news channels ranted 24 hours on the prospects of each party, one thing was clear, Mayawati was going to be booted.  The idea that dynastic powers were not going to impress people didn’t hold much ground, especially in the post results scenario.  Nor was the show a great empowerment of democracy in my opinion. That the whole of the state could poll only an average of 60% voter turn out is still abysmal. Even though its regarded as the highest so far, it clearly shows the apathy and disinterest of nearly 4 crore voters were just not bothered about the state of affairs.  In a murky world of caste driven politics, where the balance is always swung between the OBCs, Muslims, dalits and a few Brahmins in the tow, needless to say, money and fake promises of security and special previleges are the luring traps set.  It has barely been a few weeks when the victorious SP has reined in the power, and already the sham of their “clean and goonda-less” regimen bluff has been called.  A truck driver was killed by a SP hooligan for not paying his usual hafta! While Congress and BJP are left licking their wounds and whimpering like a kid who’s chocolates are taken by a local bully, the entire nation and its developments shall be at the mercy of few prejudiced and mindless blokes! Case in point, Ms. Mamatha Banerjee. From the FDI to the most recent Railway Budget, Mamatha’s mercurial attitude has only resulted in embarassment at the National Forum.  I term it more like the ‘first-time-power-intoxication’ syndrome, akin to people who get drunk for the first time!  Her prejudice against the Left and even Congress for its erstwhile treament is now brought to fore, as she proves herself to be the thorn that cannot be wedged out, nor borne in!  From thoughtless remarks on rape victims to the overkill on the Railway Budget, she has established that not much has changed between her rule and that of CPM. The BJP without a National leader of the stature of Sri Atal Behari Vajpayee, and Congress with its spineless administration are both proving utterly useless for a country looking to break through the shackles of detrimental policies and get out of ramshackle administration.

Closer home, the same “first-time-power-intoxication” has held the BJP government in its grip.  Those who have tasted the heady mixture of leadership such as Congress and the likes of Deve gowda, though corrupt to the bone, are clandestine about it.  But BJP and former CM Yeddyurappa have no qualms of washing their dirty inners in full public glare. We see history repeating in a span of less than 2 years! When North Karnataka was battered by floods, the troupe of monkeys in the state cabinet were seen frolicking shamelessly in a resort, desperately trying to bring down the CM, and now when the same region is being burnt down by famine, they bundled themselves again to a resort.  Every known shred of decency and respect has been torn and burnt out in their shameless political existence that is now littered with scams ranging from rape to fishy land deals.  Is it then a wonder that even the lawyers meant for public service turn out to be hooligans and hold the city, its residents, media and administration to ransom? There is total anarchy and the legislators are taking turns to ensure there shall be no governance in the state.  The Congress or JD(S) has no charisma or vision to offer to people, except beat the dead horse of corruption against the incumbent government.

Underlying all of this, is the universal hunger for power.  When one reads of stories of demons in mythology, or fantasies like Lord of the Rings, its fascinating to read the adventures the good undertakes to defeat the evil.  But it is afterall, a battle for power! The strength one experiences when vested with the ability to wield their might is so blinding that it deludes the mind to imagine that one single person or a group of them are the sole torch bearers of humanity.  There have no doubt been people who have indeed led the masses towards their liberation or upliftment, but these are leaders who derived their strength from within and from their humility.  They recognized the transcience of external factors and instead developed their self-worth.  The true mark of a leader and a powerful one at that, is his knowledge of his own self-worth and belief in his potential, not withstanding the external circumstances.  This cannot be wrought by the superficial materials of ego, money, manipulation and violence.  This can only breed insecurity and fear, which is the primal cause for what we see as a nation around us.  Unless the younger generation of leaders do not disentangle themselves from the set path of their predecessors and learn to grasp the true pulse of the country and study its people and their day to day lives, we cannot hope to have an administrator who can understand the needs of this Nation.  Unless we as citizens exercise our voting right, shed aside our skepticism, hopelessness and lethargy and teach a lesson and demand action, we shall continue lying in the putrid filth of our own waste, slowly decaying into a dead civilization.  It pains me immensely when I think back to the reasons for my return to India.  It pains me to see where she is heading… state by state… party by party… citizen by citizen…

Posted in My View, politics & society | 1 Comment

An Oscar Weekend

The Academy Awards have come and gone. Personally, the highlight was Meryl Streep. I would’ve hurled every known curse on the committee if they had omitted Meryl this year.  She is one splendid actress, who should’ve broken the record for winning highest number of Oscar Awards by now, but for the ineptitude of the people who vote in these categories! But justice has been done and surely I hope her remark that she’d “not be here again” shall prove be false in the coming years.  Well, having said so much, I guess it was already a bygone conclusion that I’d watch the Iron Lady as soon as it released in India. And finally it did, with the splendid halo of the Oscar Award behind it! And ofcourse the esteemed self went to the movie, where his highness and his troop of friends had gallantly booked an entire row of seats.  We are hardcore fans of the lady! Now to the movie.

The Iron Lady, as the world already knows is a bio-pic about Mrs. Margaret Thatcher, the longest serving and the only woman prime minister of Britain.  To fall back on a bit of history, Mrs. Margaret Thatcher presided over some of the most glorious as well as tumultous years of England. The post World war II Britain was seething with a paralysed

The Iron Lady

Iron Lady - Meryl Streep

economy and growing power of the Worker’s Union, which was constantly at logger heads with the administration. When the Labor party was struck down in 1979, the then leader of Conservatives, Margaret Thatcher became the first woman prime minister of Britain and took several measures to stabilise the economy (such as privatization and cost cutting measures) and also undermine the growing clout of the trade unions. The war with Argentina, over the Falkland Islands, and the subsequent victory launched her to her 2nd innings as the Prime Minister, during which tenure she further tried to tighten the clamps around the Union leaders and brought in a slew of measures tightening the public spending and levying new taxes.  With growing discontentment within the party and outside of it, her leadership was challenged, eventually leading to her resignation from the post of Prime Minister, during her third consecutive victory in elections and 11th year of her tenure.

To play the role of a lady who sternly crushed down not only the male dominated politics of British Parliament but took on a hostile economy, under the cloud of cold-war, is no laughing matter.  And it is just for this reason that none but Meryl Streep could’ve essayed it with the brilliance and justification it demands.  The character of Margaret Thatcher as shown in the movie, isn’t one of the woman who was indeed the Iron Lady, but more of a human being coming to terms with the loss of her husband and her dementia.  The starting scene of her buying a carton of milk, unrecognized by the public sets the tone and stage for a brilliant movie that unravels, in the same way that the character reminiscences her life – the rise of a grocer’s daughter to the most coveted position in British politics. Meryl nails with perfection the emotions of the protagonist, and the tug of war between the reality and imagination - the reality about her personal and political life, with her imagination of it.  The movie toggles between her towering success to her detrimental health, but somewhere the emphasis seems to be laid more on her present condition and portraying the humane side to someone who has long been seen as a ruthless leader.  One of the challenges about making a biographical movie is with the authenticity of the presentation.  The protagonist character can always be shown in several views.  The most heinous of the characters are shown to be humane in some corner of their heart. That is the creative liberty that is vested as the previlege of artists and those in creative fields. While I am not an authority to truly express my views on Mrs. Margaret Thatcher, I certainly can vouchsafe for Meryl Streep. This movie entirely belongs to her and the sheer brilliance of her performance.  The viewer can feel how perfectly Meryl has owned the character of Mrs. Thatcher.  Several poignant scenes moved me to tears.  But it had more to do with the portrayal of it, than the character.  That is the brilliance of an artist such as Meryl.  She has once again floored me and I cannot but bow my head in sheer admiration to this treasure house of talent, that my generation can boast of seeing in person! The movie is directed by Phyllida Lloyd.

One of the best trailer of this movie from youtube: Official Trailer

Well, the same evening, I watched yet another movie that made waves in the 2012 Academy Awards – The Help.

The Help is a movie set in the midst of the Civil Rights Movement in America.  The mid-west region and the Southern American regions took a long time to come to

Poster_The Help

The Help

terms or even agree to the scope of Civil Liberties to the colored people.  The movie set in Mississippi is the tale of a group of ladies – African American, working as domestic help in the houses of the white females.  It is a tale of their relationships and the tribulations they put up with, documented by a sympathetic white female wanna-be writer -Eugenia Skeeter.  The roles of the 2 main colored domestic help – Aibileen and Minny have been essayed by the brilliant Viola Davis and Octavia Spencer respectively.  Eugenia Skeeter, s a college grad hoping to make it big as a writer and takes up the task of writing a book bringing out a view of the American family through the eyes of their domestic helpers.  In a society that applauded racial discrimination and even deemed it essential, this effort though initially met with trepidation, is eventually supported by several Black domestic helpers.  The killing of the Civil Rights movement activist Mr. Medgar Evers also forms a rallying point to them, as the movie progresses.  What is then revealed is an intimate account of the pain and suffering experienced by the helps, and also exposes the sheer hypocrism and hollowness of the social belief system prevalent at that time.  All is not black and white, for many supporting characters are shown empathetic to the cause or treating the colored population as equals, with respect and dignity.  It is a warm movie that prods us to question ourselves whether we do, or do not practise racial discrimination in whatever minute scales even after decades of awareness and education.  The proportions may not be as radical as building separate toilets for the colored help and insisting they use only that, but somewhere in our subconscious, we are biased or prejudiced about people who are different from us – skin color, sexual orientation, citizenship and gender; whatever may be the reason, much as we celebrate the variety in nature, the human psyche does abhor it.  The movie shows strength and resilience in the face of dire circumstances and hope of a new beginning even as some tender relationships are brought to a disturbing end.  All of this, with a touch of humor! :)

Viola Davis is an actor to look out for, and it is not too far a time, before she shall win for herself an Academy Award. She already has 2 nominations – one as a supporting role (for her mind-blowing performance in “The Doubt”) and another as a lead role (for The Help) and shall soon be carrying the golden guy home.  Octavia Spencer who won the Academy Award for Best Supporting Actress has given a stupendous performance.  As the straight-talking maid who doesn’t back off from baking a not-to-be-named chocolate pie to her irritatingly wicked Mistress, Octavia Spencer walked her way to the wall of fame, and bagged her very first nomination as well as Award at the Oscars.  The movie is a must watch indeed.  It is fast paced, and aesthetically handled with respect to the script and narration. The tense moments of Mr. Medgar’s assassination, the social stigma attached to the colored people and their treatment in the society at large are all brilliantly captured.  Some characters do seem quite out of place and even redundant like that of Skeeter’s love interest.  The movie could’ve done more justice to showcasing the cause of the Civil Rights movement, but may have had to barter with the humor.  Somewhere, the humor does seem to dilute the essence of the movie, but it is the sheer brilliance of acting that brings out the dormant emotions to lime light and succeeds in keeping it there. The movie is based on a novel by Kathryn Stockett.  It has been directed by Tate Taylor.

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ನೀ ನಾನಾದಾಗ….

ನಾನು ನಾನು ಎಂಬ ನಾನಾ ವಿಕಾರಗಳಲಿ
ನನ್ನದಿದು ನನ್ನದಾಗಬೇಕೆಂಬ ಕಿಚ್ಚಿನಲಿ
ಸುಟ್ಟಿದೆ, ಕರಕಲಾಗಿದೆ, ನೆನಹಾಗಿ ಉಳಿದಿದೆ
ನಾನು ನೀನಾಗಿದ್ದ ದಿವ್ಯ ತೇಜಸ್ಸು!

ಲೋಗರಾಟದ ಸೋಗು ಹಾಕಿ, ಸಾಧನೆಯ ಅಹಮ್ಮಲಿ ಬೀಗಿ
ಆರುವರ್ಣಗಳ ಬಳಿದು, ಅಳಿದು, ತಿಕ್ಕಿ, ತೀಡಿ
ಮಾಸಿದೆ, ಸುಕ್ಕಿದೆ, ತೊಗಲಿದು ಹರಿದಿದೆ
ನೀನಿಟ್ಟಿದ್ದ ನಿರ್ವರ್ಣ, ಅವರ್ಣವಾಗಿದೆ!

ಒಳಗೊಸರುವ ಹರಣ ಹಾಯ್ವ ಕಷ್ಮಲ,
ಹೊರಗೆ ಶುಭ್ರ ಸ್ಫಟಿಕ ನಿರ್ಮಲ -
ಮಾತಿನೊಸಗೆಯಲಿ ಬೈಚಿಟ್ಟ ಕತ್ತಿಯಲಿ ಕಡಿದಿದೆ
ಕೆಡಹಿದೆ ಹಲವಾಗಿ ಹರಡಿದೆ – ನೀಕೊಟ್ಟ ಏಕವನು!

ಸಾಕಿಂದು, ಸಾಕಾಗಿಹುದು ನಾನು ನೀನೆಂಬ ಭೇದ!
ನಾನೆಂದ, ನೀನಾರೆಂದ, ನಾನೇ ಎಂದ ಹುರುಳಿರದ ವಾದ!
ನೀನಾನಾಗಲಿ, ನಾನಿಲ್ಲವಾಗಲಿ, ನಾನೆಲ್ಲವಾಗಲಿ
ನೀನಾನಾದಾಗಿನ ಹೊನಲಿನಲಿ ಪುನರಾತ್ಮ ಉದಯಿಸಲಿ!

-ಪ್ರವೀಣ

 

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