Kya khoob us roshan nigah ki jaadugari, Ek nazar dekh le toh savera lage hai mujhe . Nadiya kashti baarish, main aur tum, ye manzar khwab sa lage hai mujhe. Kya janeye Kya nawaz de kismat meri, Waqt ki chal badli
badli se lage hai mujhe. Us ke dar se laute to kuch yoonHua mohsin, har rooh pareshan, har mauj payasi lage hai mujhe. -Vinny
सैलाब तब, जब पहाड़ पर बारिश होती थी , अब्र बहता था नीला नीला , सींच देता था रूहों को, खिल उठते थे दरख़्त सभी, गुनगुनाती थी पूरी घाटी अब, जब पहाड़ पर बारिश होती है, लहू बहता है सैलाब सा, घाटी की तलहटी में ठहरे , उस खूबसूरत फरेब सा, जिसे शहर कहते हैं बड़े लोग, अब बारिश बहा ले जाती है अपने साथ पैरहन भीतर तक उधड़ जाती है, धरती की खाल, दरख्त सब सो गए हैं, कोई जागा नहीं, जो फेर दे सैलाब . .. -विन्नी2013 SAILAB
tab jab pahaadh par baarish hotee thee
abr
behta tha neela neela
seench
deta tha roohon ko
khil
uthte the darakht sabhi,
gungunati thee poori ghati
Ab jab phaadh par baarish hotee hai
lahu
behta hai sailaab sa
ghatti ki talhati main tehre us koobsurat fareb sa jisi shehar kehte hain bade log
My niece and her parents and I , the four of us set off to watch #BajrangiBhaijaan, niece and I reluctantly, her parents, eagerly. We got to he multiplex to discover that there was a simultaneous show of #Massan, which I was longing to watch, and my niece discovered that #Antman was running too! a tussle ensured, we lost and ended up watching Bhai's film.
That #SalmanKhan plays Pawan Kumar Chaturvedi, (the pun on his being a devout Hanuman bhakt, obvious, like everything else about the film), who is something of a simpleton, someone who takes an eternity to finally clear his graduation exams, helps!! Salman fits the part of the somewhat slow, but large heart-ed benevolent small town boy to a T!!
and i am saying that tongue in cheek!
He is befriended for this obvious goodness by a little Pakistani girl lost in India. Pawan true to form, from the #Dabang character who "Ek baar coommitmnent karne ke baad hum apnee bhi nahin sunte hain" takes it upon himself to unite her with her family though he possesses neither a passport nor a visa and nary the means to do so. Well Salman is the super hero, aided by the Lord Hanuman who he believes will help him with every difficulty. The film like all the superstar's films, asks for a willing suspension of disbelief and and a willingness to sit back and enjoy the star's charisma, on ample display on the screen!
The man who does help him in Pakistan inaccessible to Bajrang Bali a land populated with disbelievers , is the highlight of the film, the journalist Chand Nawaz, played brilliantly by #NawazuddinSiddique, who lights up the screen every time he makes an appearance. The little girl #Harshali is sufficiently cute and adequately competent, #Kareena has little to do, except look good, which she does, with aplomb. The great twist in Bajrangi Bhaijaan is in how it renounces the masala formula of good-versus-evil, especially given its incendiary plot built around hostile neighbours. This is no Gadar, and the Pakistanis are not the Enemy. One of them is Chand Nawab (Nawazuddin Siddiqui), a reporter who helps Pawan. Just how good is this actor! He can be subtle. He can be loud. He can play serious. He can play the fool. He can sell punch lines with the best of them. (Just wait till you hear him address Pawan as “Begum.”) Chand is a journalist and he’s trying to sell the Pawan-Munni story to Pakistani television channels, but no one is interested. He tells Pawan, wryly, that it’s easier to sell hate than love. That’s what Anil Sharma did, with Gadar. Kabir Khan, on the other hand, chooses love. There are Rajkumar Hirani levels of goodness in this movie. (And a bit of his sly satire too. When Pawan says Hanuman will help him, Chand asks, “In Pakistan too?”
#KabirKhan, leaves it to the charisma of the superstar to rake in the mullah, which I believe is happening, much to the producers satisfaction. The films seems to ramble on,its trajectory obvious,it could have done with a few effective cuts.however this is a focused film,the romance dealt with quickly and effectively to concentrate on Munni and Pavan. even so its a wee bit long for the simple story it is telling.
The only thing one takes away from the film is the fact that the message is one of peace, peace between the two peoples of India and Pakistan, divided by what is essentially an artificial boundary. 'Mohabbat bechna bahut mushkil hai, nafrat aaraam se biktee hai',Chand says. There are a few nuances, like the atypical Maulwi, who breaks the steoreotype of dogged dogma and choosed to side with goodness, at considerable personal risk. However, the film by and large is pretty straight forward and on the surface. The second half perceptibly better than the first.Salman delivers a Salman Khan film, nothing less, nothing more, with Nawaz ud Din as the saving grace. the music too is forgettable , a few frames from Kashmir enthrall.
Still wishing I had gotten to see Massan!
Vinny
27/715
They are saying that it’s
the biggest blockbuster in the history of Indian cinema, 200 Crores in 5 days,
300 in 9, and the film marches on, irreverently toppling every box office
record in its wake!.
For me its success was
underlined by the comment my mother made as we walked out of the theater, ‘I could
see this one again’, she said! And that in fact was a sentiment I shared with
her! It is a film one wishes to see again, its succeeds in creating a cinematic
experience that transports one to the time and space unfolding on screen, a
place one wishes to revisit, and the multiple nuanced references to mythology
and world cinema, too many for the mind to grasp and for memory to retain in
one sighting!
At the beginning of #Baahubali – The Beginning, we’re shown the lay
of the land. This kingdom lies here, that one there. It’s nothing new as an
idea – we saw this inLagaan, for instance.
But look what the director, #Rajamouli, does,( and this is his film, he is brilliant!!), He renders the map in three dimensions and
follows it all the way to a waterfall, which morphs into anactualwaterfall – and what a splendid waterfall
it is. We see the #Ramya Krishnan character running towards us clutching an
infant – but as she movespastus, we see the arrow sticking out of
her back. We see #Ballardev (Rana Daggubati) preparing for a fight with a
bison-like animal – but it’s only when man and beast are in the same frame that
we register how big the animal is, what a monster it is, that it is not quite
like any animal we see, only adding to the aura of the scene.
There’s a wonderful
revelation at the end involving Kattappa (#Sathyaraj), who has the most moving
part and aces it), and it sets up Part II of the film (expected next year)
wonderfully – but otherwise, this is not the kind of movie you watch for theplot.
Baahubali,
seen as just a story, is as old as the hill that Sivu (Prabhas) wants to climb.
The film takes us back to an era of palace intrigues and deliverer myths, But
Rajamouli makes us feel we’ve never seen anything like it. It’s part Cecil B DeMille and the grandeur of
Ten Commandments and Ben Hur. Even Tolkien is in here somewhere. Along with a
kitchen sink full ofmasalatropes: the long-suffering mother,
brothers-turned-enemies, flashbacks and double roles. All updated with six-pack
abs, computer-generated effects and eye-popping visuals. Cinematographer KK
Senthil Kumar and production designer Sabu Cyril are practically flawless.
Avantika (#Tamannaah), looks
ethereal in white flowing diaphanous robes, literally descending from the
heavens to take Sivu up towards the skies and his goals, like an Indian ‘apsara’
doing her areal act in a Jacky Chang film. She actually plays a guerrilla
warrior and one of Rajamouli’s achievements is that he makes usbuy Tamannaah as this warrior. For, her face
showscharacter. And the
mandatory love scenes are delightfully reimagined. There’s a bit that has to do
with underwater calligraphy.classic taming-of-the-There’s a superb romantic scene whose centerpiece
is a snake twined around an arrow, all very pretty and very different from the
usual fare. however the romance is rough, and that is mu sole complaint with the film. Sivu proceeds to make Avantika aware of her femininity by literally stripping her of the perceived trappings of masculinity, her warrior attire. why was that necessary? after all the director makes a bold assertion about the possibility of feminine power in the character of Shivagami , who literally walks in on a group of men challenging the structure of power in the kingdom, holding a nursing infant and walks out having established herself as the supreme ruler of the realm, still holding on to the nursing infant. 'Those who are with me , come stand behind me', she says, the men snigger, "who will stand behind a woman?" she comes away powerful from that encounter, Durga like, invincible. why then does the Director depict romance and its acceptance as forced upon a woman? or is he simply bowing to viewer appeal? sad that, whatever the answer to that question is.
Prabhas as this savior, has the physicality, essential for the
part. As the film’s title suggests, he’s strong. He keeps lifting things – a
giantlingam, a giant
boulder on a mountain, a giant statue. (In the Marvel universe, he’d be called
Hoist Man.) And he acquits himself well in the action scenes – the one where he
grabs a sword from its scabbard,in midair, is why wolf
whistles were invented, and, in addition, Prabhas looks like a soft romantic
lead, especially when compared to the oak-like Daggubati, who looks like he was
nursed by a dragon. The contrast is deliberate and indicative of character reinforced by #Sivagami’s selection of the
kind hearted Bahu over the ruthless Bhallar, the difference between the benevolent king
and the single minded General. #Ramya’s character is modeled after the Goddess the kingdom
worships, her posture, her stances even the manner in which she sits on the
throne and occupies authority rather than naked power, a magnanimity of thought
woven in with immense strength, virtue, defining and legitimizing the position
she occupies. The classic good vs evil tale told by #Rajamouli on a scale that’s
epic in proportions! This isn’t just about grandeur in visuals. It’s about
grandeur inideas. If DeMille’s
saviour, inThe Ten Commandments,
was transported in a basket as a baby, Rajamouli has the child held aloft by a
hand amidst swirling waters
Everything is reinvented,
Sivu,tells Avantika that he was ‘just a boy telling a woman that he loves her’,
that reminded me of Julia Roberts in #NothingHill, telling Hugh Grant that she
was just a girl telling a boy that she loved him! The kingdom is in hands unfit to
rule,the extraction of surplus from the common folk, ruthless, their labour
forced to execute deeds and purposes undesirable, the building of the giant
statue for example driven by whips. Reminiscent of the film #TenThousandBC? Certainly!
The Prices of the realm, Bahu and Bhalaar, go hunting a spy and the ‘joint’
they visit is reminiscent of the place that #Obewon visits looking for a pilot
in #Starwars!! Replete with strange nefarious characters , flowing alcohol,
dancers emerging out of ropes!! Delightfully fanciful! The war scenes are the
best part of the film, extensive in lay and detailing. The royals watch the
battle from up atop ,much like they do in #Troy with the battle field a
spectacle to them, as it is to the audience, observing the ebb and flow of
victory and defeat, the play of character, the display of strength and
strategy. The references to other films and to mythological characters are
many, an arrow decapitates an evil prince and the headless corpse walks a few
steps even as the arrow flies midair with the head attached! #Indrajeet that!! One cannot forget the brilliant story
teller even in the midst of epic story and larger than life characters, unfolding
on screen!
It’s all delightful!! It’s truly
Indian Mainstream Cinema coming of age!! Can’t wait for part two !! hoping it’s soon!!
तुम और मैं तुम कहते हो कुछ भी तो नहीं, बस हाथ बढ़ाओ और हासिल कर लो, जैसे अपने ही बाग़ में खिले गुलाब , कोई मुश्किल नहीं, कोई शिकवा शिकायत नहीं, खार खार छोड़ दो, फूल फूल चुन लो, मैं, बार बार हाथ बढ़ा तुम्हें पाने की कोशिशों में, ज़ख्म ज़ख्म हूँ, खार को फूल से अलग करना, शायद मुमकिन ही नहीं। . ~ विन्नी ९ /७/१५ Tum aur Main Tum kehte ho Kuch bhi to nahin Bas haath badho aur hasil Kar lo Jaise apne hee bagh main khile gulab Koi mushkil nahin koi shikwa shikayaat nahin Khar khar chod do, phool phool chun lo , Main, Bar bar hath badha tumhen hasil karne ki koshishon main, Zakhm zakhm hoon, Khar ko phool se alag karna Shayad mumkin hee nahin Vinny 9/7/15 #Nazm, #Hindi-Poem
