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Cinema@100

Justjoo jiski thi…

Shahrayar, the lyricist of Umrao Jaan was, at heart, a lonely and pained man who could have been a star.
by Humra Quraishi

I vividly recall meeting the late Aligarh-based poet and academic Shahryar (his complete name was Akhlaq Mohammad Khan Shahrayar) here in New Delhi in 2004. This was the first time I had met him. We’d met around the outer lawns of the India International Centre. Incidentally, his family also belonged to my ancestral qasba Aonla. Also, he knew my Aligarh-based younger sister, Habiba.

Shahrayar had shot to fame as the lyricist who penned the soulful, deeply philosophical songs of the 1981 hit, Umrao Jaan. Combined with Rekha’s mujras on the big screen and umraojaanKhayyam’s unmatched musical score, Shahrayar’s words continue to strike a chord with listeners even today.

The man himself, though, was as deep as the poetry he penned. It is possible, even when being celebrated by everyone around, to feel lonely and depressed. And if fate intervenes and plays tricks, one begins to feel victimised by life’s ways.

Shahrayar was one such person.

When I was introduced to him as ‘Habiba’s sister’, he was completely taken aback. My sister and I don’t look like each other at all. “You? Habiba’s sister?” he exclaimed.

“Yes, I am. She’s my younger sister.”

“But you look so different! She covers her head and you…” With that, he looked rather disapprovingly at my hair and the sleeveless shirt I was wearing. “You two are real sisters?”

“Yes, we are real sisters,” I replied.

“From the same father?”

“Yes, of course.”

“Same father?”

“Yes. At least, that’s what amma told us.”

ShahrayarHe guffawed at my answer. The man had a great sense of humour himself, though he had suffered a lot of emotional pain in his life before undergoing a messy separation from his wife after 23 years of marriage. Was it this same pain that stirred the depths in him when he wrote his haunting verses and lyrics? Throughout our conversation, he spoke about tanhaee (loneliness) and the emotional vacuum he was going through. He also kept referring to “Allah’s ways.”

A few years ago, I was to attend a mushaira in which Shahrayar was participating, and I was to interview him after it was over. Sadly, I could not make it to the event because I fell ill. After it was over, he called me. After I had apologised for not being able to attend and interview him, he laughed and said, “It’s okay. Allah’s ways.”

He must have been a deeply lonely man, unable to adjust to his single status, finally conceding defeat to a life that had admittedly been hard on him. He continued our conversation on the phone for a long time, dwelling at length on what being alone means and how life can be unfair. He also hinted darkly at the obstacles life threw his way, which may have stopped him from becoming a celebrated legend. “Whenever I felt that I was going ahead in life, Allah seemed to pull me down,” he sighed. “But those are His ways, who can question them? But one thing is certain – the minute you move forward, the minute you are about to taste success, hurdles are thrown in your way. I have seen this happen in my life.”

He continued talking about the difficulties he was facing as a single man at his age. I was struck anew by the pain the man was carrying in his heart, how bitter he was about life, but how brave he was trying to be about it.

Watch ‘Yeh kya jagah hai doston…’ from Umrao Jaan (1981) penned by Shahrayar:

 

(Pictures courtesy www.iefilmi.eu, thehindu.com) 

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Cinema@100

‘Bollywood cannot contain the complexities between India and Pakistan’

In conversation with Mahesh Bhatt, on building bridges with Pakistan and talking peace and art with the neighbours up North.
by Humra Quraishi

He is perpetually in the news, and most recently, he has been embroiled in a controversy over his film Arth (starring Shabana Azmi and Kulbhushan Kharbanda) and his decision to give Pakistani actor-director Shaan the rights to remake the film in Urdu. But this isn’t the first time Mahesh Bhatt has shown an affinity with Pakistan – he is probably Bollywood’s only producer to have given several Pakistani artistes a break in Hindi films.

mahesh-bhattI met him just after the end of the Kargil War, and tensions between India and Pakistan were at an all-time high. And it was around this time that a handful of artistes from India, most notably Mahesh Bhatt, came to be known as Pak sympathisers, because they relentlessly espoused the cause of an artistic collaboration between India and Pakistan, be it in films or music. I interviewed him in 2009. This is the piece that was published post this interview.

‘Even in these surcharged times, a small group of enthusiasts travelled from here to across the border, to try and bridge gaps, and get people-to-people contact going. And film-maker Mahesh Bhatt was one amongst them, and spoke out on his return from Pakistan.

I heard him talk at the IIC but there seemed little time for an elaborate interview as he had to catch the next flight to Mumbai; so I did the next best thing: a telephonic interview with him. These are the excerpts from the interview:

Do you feel that these people-to-people contact travels do actually help in lessening the ongoing strain between the Governments of the two countries, India and Pakistan?

We underestimate the contribution of a few sane people…of their relentless commitment to the peace process. Also, the history of any nation is always carved by a handful of people.

What’s been actually happening in Pakistan? Can you tell us your own observations whilst you were there?

Pakistan is going through birth pangs. The old is not dead and the new is not born. It is going through a painful process, but anything that is painful is creative…its urban population has this thirst for the rule of law and there is that spirit which is vibrant. I saw it in that ‘long march’…

In your opinion, why is there a growing anti-Pakistan stand here in India, not just at the political level but even amongst the bureaucracy?mahesh-bhatt-read

That is because a hate industry is on, the hate mongers are interested in creating an enemy and there is active politics on both sides. It is sad, because the problems are similar in both countries; yet so much of hatred is being generated by a full-fledged hate industry.

Have you been worried about being questioned by the IB (Intelligence Bureau) or any other intelligence network, because of your frequent visits to Pakistan and your friends and contacts there?

No, I’m not scared… after all, I’m born in this country created by Nehru, Gandhi and Maulana Azad. To see peace prevail here and in this subcontinent is my birthright. This is what Gandhiji believed in…No, I don’t fear at all and I would never buckle down.

Do you feel that SAARC (South Asian Association for Regional Cooperation) has been a flop show in this context of the growing tensions in the subcontinent?

Yes; for it hasn’t delivered anything, and hasn’t lived up to what it was created for.

In your opinion, what’s to be the fate of this subcontinent? Are the Governments of the countries of this region (including ours) swayed by the US policies and its dictates? Will the situation get more complex?

We have to seek a regional response to our problems and we will be doomed if we rush to Washington. We will be doomed if such a day comes when we rush to Washington for seeking an approval for this or that. Right now, there’s some sort of a high and low going on (with respect to Washington).

Do you think that Kashmir is the only cause of friction between India and Pakistan or do the problems run deeper?

You cannot look away from the Kashmir issue and a solution has to be found. The problem has to be seen, and you cannot pretend that there’s no problem.

Are you planning to make a film on the situation in this subcontinent?

No, because I don’t think that Bollywood can contain the complexities in the relationship that exists as of today between India and Pakistan

(Pictures courtesy www.hindustantimes.com,  www.starbuzzonline.com, movies.ndtv.com)

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Enough said

Petty speeches and hard talks

This week saw some low-level political discourse at one end of the spectrum, and an illuminating talk on the other.
Humra Quraishiby Humra Quraishi

Look at the irony. Tomatoes and potatoes are selling at astronomical prices, but politicians are going cheap – for just Rs 5.

Truly gone are the days of Gandhi and Nehru, when their mere words stirred the masses into action. Today, politicians are catering to the lowest common denominator, with crude and crafty speeches laced with ideas that should not enter a decent person’s thoughts, let alone creep into his public speech.

This freedom of expression cannot be used to borderline vulgarity, to say the unthinkable. Where are the leaders who unite the masses narendra modithrough stirring speeches and debates? Instead, we’re left with people who will say and do anything to make the news, who firmly believe in the adage that ‘any publicity is good publicity’. When was the last time we heard a really profound speech from a politician?

In the backdrop of these political shenanigans, last week there was a talk by noted academic Dr Vasudha Pande at the Nehru Memorial Museum and Library (NMML). The very focus of her talk should get the Uttarakhand Government focussing on what the erstwhile kings of the region did to harness their resources – terraced cultivation to save agricultural land and crops.

Dr  Pande is currently a Fellow, NMML, researching the environmental history of Uttarakhand. I quoting this abstract from her talk at the NMML:

“Katyuris are the much celebrated kings of Uttarakhand. The narrative of the Katyuri state marks the shift from pre-history to history – with copper plates, inscriptions, architectural works and folklore. Despite the great interest expressed in the Katyuri state system, little attention is paid to the most momentous contribution of the Katyuris—the shift to settled, terraced cultivation and the emergence of petty peasant production.

uttarakhand“Since Uttarakhand as defined today as a specific construct, the presentation will not restrict itself to this geographical unit. It will explore regions contiguous with present day Uttarakhand –Nepal in the east, Tarai in the south, Tibet in the north and Himachal in the west. Articulated in terms of river valley systems it will extend from the Karnali in the east to Kali, to Ganga, to Yamuna up to Sutlej in the west. By spreading the net wide, we hope to document the gradual, piecemeal change in terms of resource utilisation by hunter gatherers, fishing communities, pastoral groups, and those practicing trans-humance in this part of the Himalayan mountains.

Katyuri period, roughly defined from the 9th-14th CE as a momentous conjuncture which successfully stitched together the various food production systems then prevalent in the Central Himalayas. This brought about an increase in population and productivity. The emergence of agriculture is transformative and the result of many cumulative changes in production strategies, technology, demography, and adaptation to specific niches. How did this happen, what precipitated this transition? The Himalayas provide a wide variety of habitats across different altitudinal zones, what kinds of adaptive strategies did humans adopt in this landscape? How did these then interact with each other?”

Humra Quraishi is a senior journalist based in Gurgaon. She is the author of Kashmir: The Untold Story and co-author of Simply Khushwant.

(Pictures courtesy www.thehindu.com, ibnlive.in.com, www.images22.com)

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Cinema@100

Saira Bano and the summer of ‘99

She felt that the film industry never stood by anyone. Sairo Bano has been Dilip Kumar’s ‘voice’ for years now.
by Humra Quraishi

She has been the unofficial spokesperson for her illustrious husband for years now. And this was a role probably given to her by him in the first place.

dilip kumar and saira banoIn 1999, I knew that the yesteryear golden couple of Hindi cinema – Saira Bano and Dilip Kumar – were in New Delhi. I was keen to interview them, so I tried all the possible sources that could connect me with them. But the closest I could get by way of a source was a homoeopath who was treating the couple. And the closest he could get by way of helping me get an appointment with them was to tell me that they were staying at the Le Meridien Hotel, in a particular suite.

I landed at the hotel lobby, but before I could move towards that particular floor, I could see Saira Bano and Dilip Kumar in the glass lift descending to the lobby.

I rushed towards them, heart beating fast, but before I could begin with my well-rehearsed lines, introducing the homeopath connection by way of introduction, I could see a frown spread across Dilip Kumar’s face. It was obvious that he hated this intrusion, and in chaste Urdu – well, Urdu so chaste that it seemed out of place and filmi – he said that I should have come only and only with a prior appointment, and they being so very busy here in New Delhi, did not have the time to say even a word.

What’s more, he said, if any words had to be spoken, only Saira would do so, not he.

He continued out of the lobby, with his wife and several others who had gathered around to hear him. I believe the two were meeting several important people in Delhi at the time.

It was the summer of 1999. It was a crucial and tense phase for the couple – that was the year of the big political controversy surrounding Dilip Kumar and the Nishaan-e-Imtiaz, which the Pakistani Government had bestowed on him, and which he refused to return. I remember this meeting in great detail even today, particularly in the current political climate.

When I next got a chance to speak to Saira, this was my first question to her. “Why doesn’t your husband return this award? Why keep it when it is causing so much tension?”

She’d replied, “Return it? Are we living in a democracy or is it some sort of dictatorship? How much we are being bullied! Tell me how much of a mess can you take in your life? After all, this award was not given to him now, but it was given last year, in March 1998. Even then, Dilipsaab was so cautious, that he first took permission from our Government and from the Prime Minister.”

I said, “But your critics are crying themselves hoarse, saying that this is 1999, there’s a war with Pakistan so the scenario has changed…”

To that, Saira Bano said, “Tell me, do we now go looking for all those trophies, awards and citations that our cricketers and sportspersons received when they had played in Pakistan? saira and dilipShould we ask them to give back all those awards they’d received earlier? I’m  told that even LK Advani sahib had got some citation from Pakistan…all this talk of returning awards seems petty.”

“Your husband’s critics also point out that Rabindranath Tagore had returned the title that the British had bestowed on him, and in keeping with that action, Dilip Kumar should return this Award,” I said.

“Rabindranath Tagore returned it on his way on a certain occasion. He wasn’t labelled anti-national, nor was he bullied and threatened, like we are being bullied and threatened,” was her terse reply.

“It is said that certain Right-wing political parties in Mumbai are not happy with the social service work you undertook after the Bombay riots of 1992-1993. Is this why you are facing this backlash?” I queried.

She said, “There is a communal trace to the whole issue, but let me add that I do social service for all people, people from different communities. I try to reach out to whoever is in need…And I do so with a group of close friends who belong to different communities; in fact, most of my friends are Hindus. We are not high profile at all, but try to serve in a quiet way…I feel very upset by what’s been happening. Witnessing those riots was a nightmare, and the growing fascism and communalism has hurt me, shattered me. I feel grieved, as though my dream has been broken, my glass been shattered. One hopes that common sense prevails and this growing communalism gets controlled, so that we can all coexist in peace.”

dilipsaira-dec11I mused on this for a while, observing the still beautiful woman who gave interviews in place of her husband, who spoke with such eloquence about facing censure. She often spoke of him as a “man of honour who was bound to be honoured.” Then I reflected, “Usually film stars stand united in times of crisis, but in this present crisis that you and your husband are facing, film stars are maintaining a studied silence. What do you think of this?”

“Have they stood by anyone? Nobody takes a stand these days! Even when Sanju (Sanjay Dutt) was being harassed, the only two people who spoke for him were Shatrughan Sinha and my husband. Even when the film Fire was in trouble, only my husband spoke out on the matter,” she said.

(Pictures courtesy www.merepix.com, ibnlive.in.com, www.bollywoodshaadis.com, photogallery.sandesh.com)

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Enough said

Two books, two important issues

Why you need to read a new book on terrorism and ten volumes on India-Pakistan relations, both released this week.
Humra Quraishiby Humra Quraishi

With terror gaining ground in the country, this book probably comes at an appropriate time. Terrorism Explained: A Graphic Account is not a typical tome on terrorism acts, but is packed with illustrative visuals and several backgrounders that serve as vital basics to understanding today’s terror acts.

Authored by academic Ram Puniyani (he was with the IIT, Mumbai earlier), the book has illustrations by Sharad Sharma, founder of the World Comics Network. Terrorism Explained: A Graphic Account was launched in the capital city this week. As Ram says, “Our book deals with the theme of terrorist violence, globally and locally. It narrates some of the major events related to terrorist acts, goes on to discuss the stereotypes associated with terrorism, takes up the genesis of global terror with politics of oil, takes up Hindutva terrorism and the ideology guiding that…”

He adds, “While acts of terror have been recorded in recent history from the last several centuries, this phenomenon has come to prominence from the ghastly tragedy of 9/11, 2001. With this, the American media popularised the words ‘Islamic terrorism’, and worldwide, this propaganda against Islam and Muslims picked up. Al Qaeda, a product of US policies to control of oil wealth in West Asia, has been the major tormentor of people and its worst victims have been people of India and Pakistan.

“Parallel with this, the likes of Sadhvi Pragya Singh Thakur and Swami Aseemanand also came up with the goal of ‘Bomb for a bomb’ and for pursuing the politics of Hindu rashtra. It Ram Puniyanifocusses on the definition of terrorism, and the genesis of Al Qaeda through indoctrination in the specially set up madrassas by America in Pakistan. The phenomenon of Osama bin Laden and his support by US is presented in the book.”

The book also takes a look at the theory of ‘clash of civilisation’ and its fallacies. The series of blast from Nanded 2006 to the Ajmer and Malegaon blasts are also analysed. “The book demystifies the phenomenon of terror and shows that terrorism has nothing to do with religion but there are political goals behind the same,” Ram says.

Another 10 volumes have just been released on Indo-Pak relations, encapsulated in India-Pakistan Relations 1947-2007. They have been put together and edited by Avtar Singh Bhasin, who has worked in the External Affairs Ministry. It was after his retirement that he published a series of volumes on India’s Foreign Policy.

These 10 volumes are one of the most detailed and significant works on the subject, covering each aspect from the political relationship to defense issues, the nuclear factor, trade and financial issues, borders, minorities and evacuee property and of course, foreign  policy.

Humra Quraishi is a senior journalist based in Gurgaon. She is the author of Kashmir: The Untold Story and co-author of Simply Khushwant

(Pictures courtesy www.anonlineindia.com, muslimmirror.com)

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Cinema@100

The science behind Bollywood’s stereotypes

A research study shows how communities and castes have been stereotyped consistently across our small and big screens, for years.
by Humra Quraishi

pervez dewan There’s something about Parvez Dewan (see pic on left), the J&K cadre IAS officer who is currently officiating as the Secretary, Tourism (Government of India). He has authored several books, written lyrics and undertaken offbeat research on various topics. You can’t not take this man seriously.

Several years ago, he was so intrigued by certain projections of people that he saw on the big and small screens of India, that he undertook a research study to get to the bottom of it. This was 20 years ago. He began collecting data vis-à-vis the media’s portrayal of the various castes and religious groups of the country.

His study was based on 786 Hindi films, 300 episodes of popular television serials and 300 commercials. And the groups that dominantly emerged from the study were Sikhs, Christians, Muslims, Tamilians, Scheduled Castes and Tribes, Sindhis, Marwaris, Parsis, Hyderabadis, Chinese settled in India and Maharashtrians. A study of his research yields some interesting results.

What did Pervez find?
His findings showed that in a great majority of Hindi films, the Christian men are unattractive and invariably seen clutching a bottle of alcohol. “They are also portrayed as petty criminals, as against the gang leaders who are almost always Hindi-speaking Aryan caste Hindus. That presumably signifies power. A Christian man will rarely marry a caste Hindu woman and when he does, the marriage will end in a disaster. On the other hand, Christian women are projected as fair-skinned and generally with loose morals – the smoking, drinking types,” he said.

Muslim men are shown in typically ‘Muslim’ attires. “They are either old, handicapped, subordinate, sterile, impotent or stereotypes in hindi filmshomosexual. If they are not any of these, then they are often fathers of too many children. Less than 20 per cent of the Muslim men are portrayed as young, but even in this category, they are depicted not only as backward but as fundamentalist, mazhab ke pakke types, so much so that many of the opening shots of several films start with a Muslim offering namaaz,” Pervez found. Another trend noticed and a trend which seemed to increase since the release of the film Tezaab, is the portrayal of Muslim men as terrorising the local population.

Sikhs are generally portrayed as well-meaning dullards.

stereotypes in hindi films2Also in all romantic affairs between a Muslim/SC/ST/Christian girl and a caste Hindu boy, it is she who chases the boy and not the other way round. On the other hand, some Muslim film producers/directors have portrayed prostitutes and ‘fast’ women as chaste Hindu women in the films directed and produced by them. Some of the Muslim producers/directors like Nadiadwala, Mehboob and KA Abbas have also portrayed upper caste Hindus as oppressing the lower castes.

Parsis are invariably portrayed as silly and old. The Chinese settled in India are usually evil and shown as gangsters.

Dewan’s findings  also focussed on the biased projection that wasn’t limited to religious minority groups, but included the non-Hindi belt. By and large except for the Hindi-speaking Aryan caste Hindu, nobody seemed to have been spared. And even in this category, the Kayasthas and Kshatriyas seemed to be the safest.

On the other hand, the depiction of Tamilians in the media was perhaps the worst, for they were not only referred to as ‘idli dosa types” but lately they stereotypes in hindi filmsbeen to be shown as dons. And Dewan argued that this is/was factually incorrect, as his survey established that the great majority of dons and bootleggers were not Tamilian Hindus nor Tamilian Christians and Muslims.

His findings also brought into focus the stereotyping of Sindhis and Marwaris as miserly folk. Scheduled Tribe women were often depicted as desperate to get the higher caste Hindu hero. But whilst the ST women are portrayed as clean and forever bathing near river banks, the men were shown as unattractive and dark. Hyderabadis were invariably portrayed as clowns and made the butt of many a joke. Maharashtrians were shown either as domestics or police inspectors.

What do you think of Pervez Dewan’s findings? Tell us in the comments section below.

(Pictures courtesy www.madaboutmoviez.com, movies.ndtv.com, www.santabanta.com, www.screenjunkies.com, www.balconybeats.com, www.lemauricien.com)

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