I didn't want to spoon-feed my audience: Palekar - International Film ...

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a a 4 IFFIDAILY November 29, 2010 uQjr] jaft’k vkSj okluk dh isphnk nkLrku ou MSMyh fQYe izse] lLisal] lkft’k] jaft’k vkSj jksekal dk ,slk laxe ‘kk;n cgqr de ns[kus dks feyrk gS tks bl ckj ds fQYeksRlo esa T;ka csdj dh fQYe *ou MSMyh lej^ esa ns[kus dks feykA nf{k.k Qzkal ds ml NksVs ls ‘kgj esa tc og 19 lky dh deflu vkdj clh rks ‘kgj dh [kkeks’kh VwV xbZA og viuh vnkvksa ls iwjs ‘kgj dks vius iSjksa dh fFkjdu dh uksd ij upkrh gS] rjg rjg dh dgkfu;ka mlds ckjs esa pyrh gSa] gj ;qok mlds ckjs esa viuh rjg ds fdLls xsys tkus okys ykaNuks a ij çdk'k Mkyus okyh ç[kj dgkuh ls vius vfHku; thou dk Jhx.ks'k fd;k gS A tLV ,uvnj yo LVksjh bl o"kZ bQh ds çfr;ksfxrk [k.M ds Hkkx ds :i es a çnf'kZr 3 fQYeks a es a ls ,d gS A vaxz sth es a cuh ;g fQYe dbZ lekjksgks a es a 'kkfey gqbZ vkSj ljkguk ik pqdh gSA U;w;kdZ fQYeksRlo es a loks ZRre fQYe iqjLdkj thr pqdh gS A vHkh rd 27 fQYes a cuk pqds çfl) fQYe fuekZrk riu fo'okl us laoknnkrkvks a ls dgk fd bl fQYe dh rqyuk fo"k;h fQYeks a ls ugha djuk pkfg, D;ks afd ;g ,d ekuoh; dgkuh gS] tks ifjokj ds lkFk ns[kh tk ldrh gS A bl fQYe es lw{erk ls eqís dks mBk;k x;k gS vkSj ,d fQYe ds fuekZrk ds :i es a mUgks aus dgk fd ,d O;Dfr dks og ftl rjg ls jguk pkgrk gS mls ml rjg jgus dh vuqefr nh tkuh pkfg, A ;gh lans'k bl fQYe es a fn;k x;k gS A ;g fQYe 70 lky ls vf/kd dh piy cgknqjh ds thou dh dgkuh ij vk/kkfjr gS A tc mUgksaus fFk;sVj esa ,d ukf;dk dh Hkwfedk fuHkkus ds fy, çflf) çkIr dh Fkh A çkjaHk esa piy ,d efgyk gS tks /khjs&/khjs tSfod :i ls ,d iq#"k 'kjhj ds :i esa rcnhy gks tkrk gS A vius vrhr dh ;knksa dks cpkus ds fy, tc rd vfHk:i lsu tks ,d leySafxd fQYe fuekZrk gS] tks mls o`Rrfp= ds fy, vius osnukiw.kZ dgkuh ds lkjs jkt [kksyus ds cnys ,d cM+h jkf'k dk ykyp nsrk gS ls ugha feyrk rc rd ,d ifjR;Dr thou fcrkrk gS A pfj=ksa ds thou esa ehfM;k Øks/k] Hk;] HkkoukRed }Un vkSj vkd"kZ.k vkfn ?kfVr gksrs gSa] tc rd fd os vius tSlh tfVyrkvksa] foHkkftr oQknkfj;ksa vkSj ,d çseh ihM+r oS/k iRuh ds lkFk leku HkXfuor ca/ku dk lkeuk ugha djrs A lekt esa gkf'k;s ij j[ks x, vkSj vko';d ,dkdh thou fcrkus ds fy, etcwj fd, tkus ij ?kVuko'k vfHk:i viuh cukoVh vktknh ds fy, vkokt mBkrk gS A ;g lkekftd O;oLFkk ds fo#) leySafxdksa ds la?k"kZ dks Loh—fr ds fy, ,d ç;kl gS A fQYe ds ik=ksa esa 'kkfey gSa : piy Hkknqjh] fjrqi.kksaZ ?kks"k] bUæuhy lsuxqIrk] ftLlw lsuxqIrk] pjuh xkaxqyh vkSj jkbek lsu A ;g fQYe dkSf'kd xkaxqyh }kjk funsZf'kr gS vkSj fjrq i.kksZ ?kks"k fQYe ds fuekZ.k funsZ'kd vkSj çksMD'ku fMtkbuj gSa A ;g fQYe caxyk Hkk"kk esa bl o"kZ ds fØlel ij çnf'kZr dh tk,xhA¼ihvkbZch½ Jhyadk ysdj vk;k 9 fQYesa fQYeksRlo ds nkSjku dUVªh Qksdl [kaM esa t‚ftZ;k] eSZfDldks vkSj rkboku ds lkFk Jhyadk Hkh 'kkfey gSA o"kZ 2000 ls 2010 rd dh iqjLdkj fotsrk JhyadkbZ fQYesa bl mRlo dk fo’ks”k rksgQk gSaA bl iSdst esa fn[kkbZ tkus okyh 9 fQYesa gSa—ljkstk ¼eh ekxs laMkbZ] vXfunkgk;k] lqMq dkywokjk] feYys lks;k] bjk efn;kek] mMqxu ;ke;k] vxUrqdk;k vkSj okykirkykA lelkef;d gksus ds lkFk&lkFk Mp lsuk }kjk vkf/kiR; ds nkSjku jktuhfrd v'kkUfrdk fp=.k ¼vXfunkgk;k½ vkSj vaxzstksa }kjk bl }hi ij vkf/kiR; ds nkSjku dh dgkuh ¼lqMq dkywokjk½ fQYe esa 'kkfey fd, x, fo"k; gSaA bl iSdst esa flfoy okj ls yxHkx 20 o"kZ rd ihfM+r vkSj vkUnksfyr lekt dk fp=.k djus okyh bjk efn;kek vkSj mMqxu ;kek;k tSlh fQYesa 'kkfey gSaA ekaMoh ij fc[kjs gSa fQYeksRlo ds vusd jax uezrk ‘kqDyk xksok vius vkfFkR; ds fy, e’kgwj gSA 41 oa s fQYeksRlo esa xksok us vius esgekuksa ds fy, igys ls dgha vf/kd jax fc[ksjs gSaA ekaMoh unh ds fdukjs fdukjs ekuks iwjs xksok dh laLd`fr vius esgekuksa ds Lokxr esa [kM+h gks xbZ gSA nqfu;kHkj vkSj HkkjrHkj dh fQYeks a ds esys dk yqRQ mBkus vk, izfrfuf/k;ksa fQYe txr dh gfLr;ksa vkSj vke n’kZdksa dks vkbukWDl ls ysdj dyk vdkneh ds chp ds jkLrs esa ;g lkaLd`frd >kadh cjcl yksd ysrh gSA xksy xIiksa ds LVkWy] ekaMoh esa rSjrs dSfluks ls mBrs laxhr vkSj jks’kuh dh txex ls fQYeksRlo dk jax fu[kj x;k gSA xksok viuk lkroka fQYeksRlo vk;ksftr dj jgk gS tks vius ‘kckc dh vksj cy rks dHkh gkL; Hkjh rks dHkh vka[kksa dk xexhu djus okyh fQYeksa dks ns[kdj yksx lM+d ij dne j[krs gSa rks xksok ds ikjaifjd laxhr ds Loj] if’peh ikWi] ckthxjksa ds [ksy vkSj Lusge;h tksM+ksa dh pgydneh nwljk gh vuqHko nsrh gSA bl lcls xksok vkSj fQYe izsfe;ksa dks fj’rk vkSj Hkh etcwr gqvk gSA ;g ekgkSy dyk laxhr vkSj laLd`fr ds iwjs ifjos’k esa jpkclk yxrk gSA ,d flusek ls nwljs flusek gky dh vksj Hkkx jgs yksxksa dks ;g ifjos’k ekufld lqdwu nsrk eglwl gksrk gSA
November 29, 2010 gautam valluri Festival Director SM Khan welcoming Freida Pinto on Sunday. IFFIDAILY 5 Project Sangam: ‘Blend of Flamenco dance and a fictional love triangle’ AFIRST-eveR Indo-Spanish co-production project, tentatively titled ‘Sangam’, was announced by the film director Jaime Chavarri, its associate producer Guillermo Rodriguez and producer Beatriz De La Gandara at IFFI-2010 recently. The film, apart from depicting the Indian dance and Flamenco dance, will also have a fictional love story of Flamenco dancer vicente escudero and Indian dancer Uday Shankar with a girl called Kala. “Our film ‘Sangam’ will also have a little fictional angle to it when vincente escudero who had visited Rajasthan to go deeper into the roots of Flamenco dance which he believed originated India. In fact, his research proved that it originated in Rajasthan. At that point of time he had come across a gypsy girl named Kala and fallen in love with her. Ironically, even Uday Shankar had come across Kala and he too had fallen in love with her. So in a way apart from depicting the Indian dance form and the Flamenco dance, I will also play around with this fictional triangular love story between vincente, Kala & Uday Shankar. Right now, I am holed up in Cidade De Goa with my Indian writer Shama Zaidi working on the script of ‘Sangam’ and then we will plan the shooting schedule in Rajasthan,” said Chavarri, who presented his film ‘Camaron’ in the ongoing IFFI-2010. Rodriguez, also the ambassador of Casa De La India (The India House), said their ‘Project Sangam’ will be unique in the sense that it will depict the art of Flamenco dance based on truly and thoroughly researched historical facts. Besides, it will bring together two global icons namely Uday Shankar and Ravi Shankar (who ‘ I would like to clarify right now is that there would be obvious comparisons between Raj Kapoor’s ‘Sangam ‘of 1960 and our ‘Sangam’ which is still in the planning stages and will be released probably in 2012’ represent the Indian dance forms including Kathak and the Indian music respectively) and vicente escudero, who represented the Flamenco dance form in the early 1930’s. He was well known as the most Bohemian dancer. It was he who had introduced the Flamenco Dance form in the mainstream arena. “The film will also depict their friendship, relationship, journey on tour to the US and in Rajasthan and how they were influenced by each other. One more thing that I would like to clarify right now is that there would be obvious comparisons between Raj Kapoor’s ‘Sangam ‘of 1960 and our ‘Sangam’ which is still in the planning stages and will be released probably in 2012. As our ‘Sangam’ means the confluence of Indian and Flamenco dance in tandem with the cultures of the two countries namely India and Spain we had no choice but to retain this title and if any copyright issue arises with R K Films we will resolve the matter by reframing the title as, albeit with an added tagline, “Sangam – The Dance Rajas” as both Uday Shankar and vicente escudero are the global dance kings in their own right,” Rodriguez said. Gandara, a film producer from Spain who has produced 20 films till this date, said: “The complete formalities of forming an Indo–Spain co-production treaty are complete which stated that any filmmaker who wants to make a film in India as a co-production should have a Spanish nationality. And at least one artiste should be a Spanish actor or actress. Not only this, it should also be shot partly in Spain. And this co-production treaty will be totally complete if the project in hand gets the support and subsidy from Spanish Government.” — SHAHEEN RAAJ Actor Rahul Khanna, who stars in Indian Pamorama film ‘Wake Up Sid’, poses on the Red Carpet. Dancing Feet concludes Internationally acclaimed Kuchipudi dance couple, Raja & Radha Reddy performed an impromptu but scintillating item at the final session of “Dancing Feet” at Kala Academy on Saturday. Renowned Kathak Guru Pandit Birju Maharaj too did a tukra. Illustrious Odissi dancer Dr. Sonal Mansingh, the could not dance but showed her prowess, even while sitting in a chair and talking to the audience. The cultural extravaganza which began on November 24, showcased 22 documentaries and biopics on Indian classical dancers and its eminent teachers. The gurus also shared what was passionate and close to their hearts — their up-bringing, Gurukal education, arduous training and accomplishments, at length. The event concluded on a popular note, prompting the Goa CM and delegates to ask the Films Division to come up with yet another interesting package in the next edition of IFFI. THe hallmark of any great artist is that his work comes with a distinctly identifiable stamp, a signature style. No wonder you can spot a v K Murthy shot in any gallery of diverse images. Be it the Christ like framing of the poet vijay in Guru Dutt’s ‘Pyaasa’ (1957), the soft-focus close ups of Waheeda Rehman in ‘CID’ (1956) or that shaft of light IFFI-2010 is paying tribute to Abrar Alvi, the dialogue and screenplay writer of many of Guru Dutt’s classic films like ‘Pyaasa’ and ‘Kaagaz Ke Phool’. Writer Sathya Saran, who has written a biography on him called ‘Ten Years with Guru Dutt: Abrar Alvi's Journey’, remembers the man who directed ‘Sahib, Biwi and Ghulam’ for Guru Dutt Films. History will not forget Abrar Alvi. Though the industry forgot him. When he died on November 19 last year, the man who had been partner, friend, confidant of legendary filmmaker Guru Dutt and had a major role in the creation of his classic films, lived a reclusive life in is flat in Oshiwara. Luckily for the fans of cinema, he shared his memories on filmmaking and his 10 wonderfully creative times during 50s and 60s spent with Guru Dutt Films, in a book. The book was a revelation of the life and times of a man, who not just helped find Waheeda Rehman, the star, but entering the studio floor in the song Waqt ne kiya kya haseen sitam in ‘Kaagaz Ke Phool’ (1959) - Murthy crafted the most breathtaking, iconic imagery Taiwanese director Lee Kang, brother of Oscar-winning director Ang Lee, at the inauguration of Taiwanese New Wave Cinema section if IFFI-2010 on Sunday. gautam valluri You can easily spot a VK Murthy shot among others changed the face of filmmaking in significant ways. Abrar Alvi ran away to Bombay to escape studying law. His father, a strict police officer was a disciplinarian at home too, and the young Abrar sneaked out with his mother’s blessings and 12 annas in his pocket, to catch a train to Bombay and seek his fortune. Fortune came by the way of an introduction to Dutt, who was the hero of a film in which Abrar’s cousin was acting. A dialogue between Raj Khosla, who was helping in writing for the film, and Abrar who was tutoring him off hand on the best way to write a line of dialogue, was overheard by Dutt. And that was the start of a career in films for Abrar. The fact that he had a keen ear for nuances and languages, had MASTERSTROKE: V K. MURTHY His film ‘Pyaasa’ on at 3.30 p.m. today at Inox Screen II in Indian cinema. These sequences were beautiful, artistic compositions in their own right but signified s o m e t h i n g deeper. They were the carri- been a director of plays in college, and had a Masters degree to his credit, helped Abrar to become not just a writer, but an assistant to Dutt. His job then included being present on the sets, and rehearsing his actors, and helping them deliver their lines as he thought best. Over the years, Abrar and Dutt forged a bond of deep friendship, that spilled over into sharing not just technical and film related knowledge but also their personal problems and crises. The multilayered story of ‘Pyaasa’, was one of the major outcomes of the association: the character of Gulabo was based on the real life sex-worker whom Abrar had befriended and who had died of tuberculosis. As the years passed, and Abrar ers of the profound themes of the films, brought out the emotional intensity of the stories and the complexities of the characters and the situations they were caught in. It was Murthy’s camera work that gave these films that special edge. Eminent filmmaker M S Sathyu will introduce VK Murthy at a function before the screening of his films today. The man who helped Guru Dutt find Waheeda Rehman TRIBUTE: ABRAR ALVI worked closely with Dutt and his other colleagues, the director’s faith in his assistant’s abilities was cemented. even as Dutt tried to recover from the crisis that the failure of ‘Kagaaz Ke Phool’, he placed on his writer’s shoulders the director’s mantle for the next film: ‘Sahib, Biwi aur Ghulam’. The film is not only one of the best known films from the Guru Dutt Films’s banner, winning as it did the President’s Gold Medal and entry to the Berlin Film festival, it also proved the true depth of the relationship between Abrar and his actor/director/producer friend. When Dutt committed suicide giving in to the depression that often afflicted him, it was almost the end for Alvi’s career too. Though he ghost directed and salvaged ‘Baharein Phir Bhi Aayengi’, Abrar was never able to rise to the heights of writing or direction that he had discovered with Dutt. In other words, with Dutt’s premature death, the film industry lost not one but two great talents! I am Eklavya, but here to compete with Arjunas: Suneet Arora THe latest entrant into the film world is a highly qualified MBA with an engineering degree, who had his own hardware-software business in one of the Information Technology hubs of India, Bengaluru. Though you may be tempted to call him the Nagesh Kukunoor (‘Hyderabad Blues’) of the new decade, but Suneet Arora, director of ‘Chitkabrey-Shades of Grey’ which was screened recently at Film Bazaar, is confident of going several miles ahead. After the screening of his film, Suneet said, “I always wanted to direct a film and while studying engineering, I decided to fulfill my dream. During my college days, I read and discussed about movie making all the time. As my first preference was to complete formal education, I had no choice but to be ‘eklavaya’. But I am not here to cut my thumb like eklavaya… I want to compete with present Arjuns and present the movie the way I see it. I scrutinised the market convinced my family and then pursued a dream.” Suneet had to get together an ensemble cast for Suneet Arora with Ravi Kissen the film. He got Bhojpuri superstar Ravi Kissen to plays the male protagonist in the first time, while other cast includes Rajesh Shringarpure, Jaspinder Gardner and Amit Bhardwaj among others. ‘Chitkabrey’ made on a budget of around a crore and a half and shot on 16 mm, is all about the intricacies of relationships in a world that is becoming smaller and smaller due to the fastpaced digital and technological revolution, he said. Given his background and study, perhaps he could understand the realms of relationships visà-vis technological progress better. The film traverses different geographies and encapsulates his experience as he travelled from a small-town called Abohar (Punjab) to Bengaluru to study engineering and then came to Mumbai to do pursue MBA. Subsequently, globe-trotter Suneet proceeded to the Silicon valley in California and Canada and several parts of the world. “The complexities of relationships always intrigued me. I have always been an avid learner and observer. Relationships fascinated me even when I started working in corporate houses and then ventured into my own business of computer hardware and later software. During my globe-trotting days too, I was always curious about the extreme variation in the relationships across the globe. ‘Rewind’ is an ode to the experiences that I had while interacting with people across the globe. It’s about all aspects of life that I have seen and encountered,” he said. — JyotHi VENkAtESH
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