An Ode to Mother India - My Thoughts on Mother India (1957)

103 years of Film-making in India have passed by! In these 103 years, the Hindi Film Industry has made history by emerging as the industry which churns the maximum no of films year-on-year, year-by-year. Sadly quality has often be compensated with quantity and as a result, most of the films seem dated. Not only so, often they have logical inconsistencies and plot holes, the size of gigantic football fields. Often they are the butt of the so-called Master Connoisseurs who often worship at the altar of Hollywood and look askance at the achievements of Indian Cinema. And yet when you look behind at the ages that have gone by, you find that such as attitude is not called for. There are many movies in the darkness of the Indian firmament that shine lustrous and illuminate the paths of the realms. These are the Masterpieces of the industry that cannot be forgotten or sidelined.

Masterpieces are not the result of accidents, they are created by geniuses - special people for whom the creation of the masterpiece is the only reason-de-etat of being in the profession. If this is true for all forms of art, it's also true for the greatest art of all, the one that encompasses all forms of art - Movie making. Such is the charisma of some movies that they are destined only to be experienced as what they are - mind blowing masterpieces - and it's hence no surprise that even after a passage of a multitude of years, they still manage to hold their charm in an industry where a movie is considered passé within 3 days of it's release. It is as if Time has no effect on their shelf-life, as if they have crossed the threshold of immortality and become by themselves the standards by which future generations of both cinegoers and moviemakers will be judged. Reviewers still hark towards them to make a point and they become reference points and undulating challenges for the coming generations.

Mother India is one of the frontliners of that genre of films which make you sit up and take notice of the fact that Indians can also produce, direct, script and make films with the same finesse normally associated with the Westerners. It proves beyond a shred of doubt (although the proponents of today's generation moviemakers would beg to differ) that Indian films are in no way inferior to what the West makes. 

On a superficial level, Mother India is the story of a peasant woman, Radha (Nargis in arguably the best role of her life) and the vicissitudes she has to face after her weak-willed husband Shyam (Raaj Kumar in his first major role) leaves her to fend for herself and how she manages to fend for herself and live a life of dignity inspite a host of problems. On the deeper level, this is a movie which brings out in bold relief the problems faced by Indian peasants in the early years of the century at the hands of unsavory moneylenders and the social restrictions of the time.

The movie is also one of the first movies, which allows the female protagonist a role of great substance, such that she casts a deep shadow over all the male protagonists and antagonists in the movie and it's to the credit of this movie that the role of the mother-figure became important in later movies - a role Nirupa Roy made a hallmark of her career 2 decades later in the seventies. In fact, even in movies as late as Vaastav (1999), you see the effects of the movie and the role, as it casts it's formidable shadow across generations.

Nargis as Radha gives a brilliant performance, easily among the best 3 performances by an actress in the annals of Indian movie history and you literally feel smothered down by her grief, exalted at her happiness, frustrated at her helplessness and poignant at her final decision. She captures the emotions of the populace effortlessly and you find yourself in perfect consonance with her actions. It is a surprise to note that Nargis was just 28 years old when she played this brilliant role and not only played, she played it so well, that neither can you stop marvelling at her performance, nor can you but remain stunned at her transformation from a young bride to a grandmother who has seen everything that was worth seeing in her life. No wonder, she chose retirement from the Film Industry after this movie. What else remains to be said after a role such as this, that transcends generations and times!

Radha is not only the role of the mother, it is also the role of the woman. It doesn't define only motherhood but also defines womanhood and the central concept of honour and dignity of a woman. In a telling piece of commentary of the need to respect the honour of a woman, the mother shoots down the same son, she loves above all for the sake of honour. This is important and wish it was taught to all men and women down the ages, that whatever be the reason, the honour of a woman is sacrosanct. Her dialogue .. "Main Beta De Sakti Hoon, Laaj Nahin De Sakti" is a telling reflection of her rockhard commitment to her values

Sunil Dutt as her rebellious son, Birju brings to life the angst of the younger generation at the injustices meted out to them due to social inadequacies. This is not the generation that will accept or tolerate injustice, nor will it wait for legal remedies. It is the generation that believes in instant justice. In one of the few performances, that pre-dates the angry young man of the 70s as well as takes up the challenge of playing an anti-hero in an era when it was frowned upon, to play one, Sunil Dutt brings to life not only the pain and angst of the character but also makes it look sympathetic to an audience that was attuned to watching it's heroes in hues of strict white. Looking at his performance, none can say this was the first major role the actor essayed and that the actor had been playing second leads to vetarans like Ashok Kumar in Ek Hi Raasta (1956). The actor is excellent and the angst is well portrayed. Sunil Dutt performed this role under a handicap as the spotlight was turned onto this role as never before. This was the role the legendary Dilip Kumar was to play and so Sunil had to prove that he was worth his talent in Gold. and prove he did, with such a brilliant performance that even today, he is considered the prototype of the dacoit even after decades of this performance.

Rajendra Kumar as the other son, Ramu also plays his part effortlessly. His is the role which exudes idealism, continuity with and a quiet child-like obedience to his past and he manages to perform the same without any flaw. He represents the multitude of Indians, suffering under oppressive customs but not agreeable to changing the same for fear of loss of moral ground. This is hence a very interesting dichotomy of nature. While Birju represents the Generation that will not bow down to it's moorings but will challenge it to the ground, Ramu represents the other half of the Generation that believes in adhering to the continuity of the narrative.

Looking at the history of the nation, I think it is this dichotomy that has always persisted in the Indian mind - the desire to challenge destiny with the self-effacing hope to assimiliate and change history by it's own hands. Maybe this is why India remained India and retained it's basic structure even when the ancient cultures of the world fell afoul of the latest fads of a dominant culture.

Raaj Kumar as Shaamu is commendable. His frustration and his slow fall into depression have been very vividly captured in the movie. Some scenes like the one where Sukhilala puts the cowbell on his shoulders or the one where in a spasm of cough, the cigarette falls on his shirt and he is unable to dislodge it are scenes which convey a master actor at his work.

 This is the third facade of Indian malehood that has also been shown off in such a beautiful manner - the one that quits! the one that walks away! the one that chooses self-destruction over a face-off. Critics may argue that a crippled man has no options but then, haven't even the crippled performed acts of fortitude. What matters is moral courage and it is moral courage that fails Shaamu in the end. 

Kanhaiyalal as Sukhilala, is excellence personified and its unfortunate that this great actor's exploits have gone highly unnoticed even by the greatest connoisseurs of Indian Cinema and the modern viewer is still ignorant of his great exploits on the Indian screen. What else can be said about this performance but that his performance of Sukhi Lala brought down to tears people in the rural lands of India, where many could watch him and remember someone of his ilk that had been personally responsible for their destruction

Sukhilala is the epitome of usury - the greed of land using high-interest loans that the farmer could never repay that made the moneylender destroy generations of farmers in India in the 18th and 19th century. He still exists today in the banks and other so called financial supports that drive the farmer to suicide day after day and year after year in the hinterlands of India. The government has changed, the flags have changed, the miseries remain the same.

Speaking Of the supporting cast, it's business at usual. Mehboob's favourite comedian Mukri, the versatile Jiloo Bai, the vivacous Chanchal, sweet Kumkum, Master Sajid and Azra are exceptionally brilliant, especially Azra who manages to portray unrequited love quite effortlessly and Master Sajid who plays his role with characteristic élan. 

The talented Azra joins the list of actresses who could have become legends in their own right but who failed unfortunately. Sad is the way of Indian Industry. Azra went on to play brilliant roles in other masterpieces such as Gunga Jamuna (1961) and Junglee (1961) and yet she never managed to get the spotlight that was her right. 

Master Sajid returned to the marquee in the lead role in Son of India (1964) but sadly he also never got his due and vanished in the sands of time. Chanchal managed a brilliant role in Jhumroo (1961) but even she couldn't move ahead. Kumkum did a few roles in the lead but was soon relegated to B-Grade action movies. However, the movie was instrumental in creating the career of all the 3 male leads of the movie who went on to lead the Hindi film industry in the 60s and 70s.

Naushad's music is highly melodious; all the songs of Lata Mangeshkar are outright gems in their own right. Under his masterful eye, Lata graduates effortlessly from a newly-wed wife to a mother and then grandmother effortlessly. Whether it is "O Jaanewaale Jao Na Ghar Apna Chod Ke" or "O Mere Laal Aaja" or "Duniya Mein Hum Aayen Hai To..." or "Nagri-Nagri, Dwaare-Dwaare Dhoondoon Sawariya" each and every song is melody personified.

Shakeel Badayuni, the unsung writer surpasses himself again and again as each song touches deep into our hearts. Manna Dey is excellence personified in "Chundariya Katti Jaaye Re, Umariya Ghatti Jaaye Re" - the one song that portrays the anguish of the Indian peasants. Mohammed Rafi also makes a valueable contribution to the song list with his memorable rendition of "Na Main Bhagwaan Hoon". Shamshad Begum sets the scene alight with her rendition of the marriage song "Pi Ke Ghar Aaj Pyaari Dulhaniya Chali"

Mehboob Khan once again proves that he was, is and shall always remain a front name director in the annals of Indian film directors. The different undercurrents that he weaves in the movie, the helplessness of the matriarch and the widening gulf between the two faces of the new generation as well as the frustrations of a society urgently in need of reform and the resultant discord in the family due to the inherent confusion due to the same is pulsating and well captured.

In all, Mother India is not a movie.. It's a legend and legends never die. 

For Honour and Equality! - My Thoughts on Aan (1952)

A life spent in humiliation and subjugation is worse than a death embraced in an attempt to salvage one’s pride, honour and dignity. No man can consider himself alive if he fails to respect his own dignity and those of his kith and kin, his near and dear ones. For what is life sans honour? Still the battle for dignity is often not won without sacrificing the self. The irony of life lies in the fact that often honour in life is achieved on the altar of death. And what can define this best than the unceasing battle for supremacy between the aspirations of the masses and the ambitions of the elite.

All men were created equal or that is what all books on religion state unequivocally… at least for some time ... at least till some among them decided that they were more equal than the others. And thus began the process of man’s rule over man…. fueling the need for weapons and weaponry to advance the notion of superiority and the birth of totalitarianism and despotism. 

It’s indeed difficult now to go back into the genesis of the birth of slavery but one thing is clear – all slaveries are a function of the power of the sword and the dictum that the law of the land is often the law of the sword. Every totalitarian system - whether naked monarchy or the veiled rule of the elite in the garb of democracy or the one-party rule of self-appointed custodians of communist nations is in itself the most potent face of slavery today for what else can you term a system wherein a few rule others on the basis of  birth, people who would almost always outrank them in merit.

Aan is an attempt by the great Mehboob to juxtapose this ancient wisdom in the face of the battle for supremacy among the ruling elite and the oppressed masses. Each and every character in this timeless classic is busy fighting a battle to preserve his own honour, his own dignity and to carry forward his own version of the truth. Timeless as it is, the movie assumes significance because this movie was released about the time when India had just incorporated the princely states and a party of past rulers and renegades was mounting pressure on the government to reconsider its decisions. Keeping an eye on this background, Aan comes forth as one of the best-made movies of the times that effortlessly blend traditional concepts of chivalry with the overwhelming forces of modernism.

Aan is not a movie; it’s a social statement made in the garb of commercial interests; it’s the retelling of the age-old cliché of ‘Janata Janardhan’ using the garb of fantasy and action – the best fantasy ever attempted in Hindi Cinema. Everything about the movie is on an epic scale, right from Faridoon Irani’s brilliant cinematography to the excellent sword duels in the movie – incidentally among the best sword duels in Hindi Cinema.

Dilip Kumar sets the celluloid ablaze with his exceptional portrayal of the commoner Jai who refuses to let regal arrogance crush his dignity and honour. In a role, miles away from his traditional tragedy roles, the thespian proves his mettle and carries the entire movie on his able shoulders. From the frolicking scenes with Mukri and Nimmi in the beginning to his harmless flirtations and almost obsessive streak (some would even call it stalking) of courtship with Nadira to his sense of hurt dignity and wild anger and revenge on the establishment to the rebellious streak towards autocracy, every nuance is flawless.

As the swashbuckling Jai, the thespian has no equals and is effortlessly perfect in his first attempt at action. The film  and the role would then become the template for the evergreen Azaad (1955) and echoes of it's rustic ambience could be seen as far as Gunga Jamuna (1961) and Sagina (1974) 

Nadira in her role as the haughty aristocrat, Rajeshwari fits into the groove effortlessly. Those raised eyebrows, that deep frown set in arrogance, the voice that reeks of royalty - no one else can play Rajeshwari. It seems as if she was born to reprise Rajeshwari. This was her maiden performance and the actress was all of 15 when she appraised this role but after watching her perform, none can miss the talent and spunk in the debutante.

Sadly, the Indian crowds would not and did not think so. An exceptionally brilliant turn of performance in the classic Shree 420, where she played negative shades effortlessly typecast her and an actress of her calibre was forced to joust for space in the ever-teeming world of second leads and vamps. Her talent sadly remained underutilized

Nimmi on the other hand plays the role of the oppressed maiden to the galleries. A bit of toning down would have done her wonders but sadly, the actress though brilliant at times fails to keep the tempo constant and hams quite a bit when she should have been restrained. 

However, you are tempted to forgive her these tidbits considering that her confrontations with both Jai and Shamsher are dynamite and the actress does exude a rare attitude.

A special mention should be made of the scene where she is forced to choose between her life and her AAN (honour). I have seen many scenes in many movies where the so-called damsel in distress is forced to kill herself but never before have I felt someone thirst for her own death with the passion and intensity of Nimmi. It is as if Life never mattered - not even for a second. For that one intense scene of unrivalled performances, many scenes that feel flawed can be forgiven.

Prem Nath is tyranny personified. As Shamsher Singh, the votary of the Charles I school of thought, the actor is completely in form and effortlessly treads the path of an anti-hero at a time when being an anti-hero was considered hara-kiri. 

The arrogance of the despot is well-documented and his penchant for the sword as the arbiter of all issues is so minutely perfected that the audience can not but help marvel at an actor who could go against the grain and essay a role on the opposite sides of the spectrum at a time when he was at his zenith and the populace unforgiving of such transgressions. Such is his impact that not only does he match Dilip stride to stride, but also manages to leave a strong impact of his own.

It is said Prem was not very much interested in this role and was not comfortable doing this role but Dilip convinced him to do this role. Thank Heavens for such mercies - What would be Shamsher Singh without Prem Nath and what would be Prem Nath without Shamsher Singh

Among the supporting cast Amir Banu as Jai’s mother who values her honour to her son’s life; Mukri, Murad and Cuckoo play their roles with effortless ease; such is the level of performance that you feel drawn into the vertex of their ambitions and aspirations.

Naushad wields the baton as efficiently as a general marshalling his troops. As was his forte, he has used the pristine voices of Rafi, Lata and Shamshad Begum to perfection. So while we marvel at Shamshad giving her rustic voice to ‘Mohabbat Chume Jinke Haath’ or singing with gusto ‘Aag Lagi Tan Man Mein’ one also takes delight in her duel with Lata in ‘Gao Tarane Man Ke’. Lata on the other hand sings the angst filled ‘Tujhe Kho Diya’ with a depth that sears your heart while ‘Aaj Mere Man Mein’ is a harbinger of every woman’s ultimate wishes. Rafi also adds to the party with the frolicking ‘Dil Mein Chupake’, the emotional ‘Takra Gaya Tumse’ and the mischievous ‘Maan Mera Ehsaan” All in all, an album that conquers the spirit of Rajasthan while also paying full attention to modern rules of orchestration. In fact this was the first time an entire orchestra ensemble was used in Hindi Cinema and to what brilliant effect! 

One of the most important songs plays out like a dream and this dream sequence is one of the first to be shot in such impressive condours. Though the dream sequence in Awara beat Aan to the history books, the dream sequence is nevertheless well-shot and frankly speaking, though many will disagree, it seems more at home and can be considered one of the definitive dream sequences ever shot in the Hindi Film Industry.

Mehboob was one director who always wore his convictions on his sleeve. As a man of communist leanings, all his films stood upto the convictions he held in life but at the same time he was also shrewd enough to add on emotional sentiments to keep them commercial and well in the running for popularity. Never before and never since Mehboob has Indian cinema seen a director who could effortlessly marry off art and commerce to bring forth a movie of exceptional brilliance. Aan is similarly a magnum opus… a simple story told in an exceptionally appetizing format with the best-assorted supports (script, dialogue, music, editing and cinematography), a strong line-up of actors and a competent director at the helm. One more interesting tidbit about this brilliant movie is that this was India's first 70 MM movie and I daresay it was 70 MM in every respect!

A movie that not only talks about Aan but also defines Aan with élan.

Remembering Rafi... the Voice of God

When I was young I saw a movie called, 'Krodh' starring Sanjay Dutt..... it's a nice movie, nothing out of the ordinary but what's more memorable is one beautiful song in the movie; sung by Mohammed Aziz and composed by Laxmikant-Pyarelal.... this I think is one of the first songs in Hindi cinema on a singer; if there are others, I apologize for I have not come across them so far

Na Fankaar Tujhsa Tere Baad Aaya
Mohammed Rafi, Tu Bahot Yaad Aaya

No artist of thy compare ever came after thy departure
Mohammed Rafi, we miss you a lot now, here and after

It's so strange to write about some one whom you grew up listening to, though I should confess he had left for the heavenly abode long before I was capable enough to even understand music but right from the first moment of my living life, if there was a song that moved me to tears, if there was a song that filled me with joy, if there was a song that resonated in my pain and if there was a song that spoke to me of my desires, inevitably I would find the magic of Rafi behind it... somehow, he connected with me when I was not even capable of understanding my own self and still does when I am again incapable of understanding myself...

There have been other voices too, each and everyone of them worth it's price in gold and enriched uranium but somehow the range and sweetness and beauty of this one voice is what propels me all the time.... It's futile to fight over who was better or who was worse, what's important is to remember that there could be comparisons and comparisons but what really matters is not those comparisons but the value of that man's brilliance and talent....

A Diamond will always shine and it does not make a difference if the diamond is set in the crown of England or the crown of India..... it will still remain a Diamond....

I am an atheist, a confirmed one but still the voice of Rafi compels me to listen to such beautiful gems as 'Man Tadpat Hari Darshan Ko Aaj' and makes me feel so much as a theist at times.... Bhajans like 'Hey, Naam Re' and   'Badi Der Bhai Nandlala' could make me feel the devotion of the temple-goer and even today I do not find issue with humming these beautiful gems.... neither do I find any issue with the beautiful 'Parvardigaar-e-Aalam' that makes me go gaga over the miracles of a God that I know does not exist....

Or look at the Ghazals like 'Mere Mehboob Tujhe Meri Mohabbat Ki Qasam" or "Tujhe Kya Sunaoon Main Dilruba" ... the pristine nature of love captured in the most beautiful and innocent of ways.....

I can go on and on.... the thumris, the Quawaalis, the songs of romance, the songs of pain, the songs of separation, of pathos and hurt, each and every one of them so painful, so deep; there is no emotion that cannot be captured that escapes the maestro.... he is in his prime in every moment, every second, every tune....

Maybe that's the reason we say..... Mohammed Rafi is the voice of God if he exists!

I agree with what Shankar-Jaikishen composed for Rafi and made him sing...

Tum Mujhe Yoon Bhula Na Paoge
Jab Kabhi Bhi Sunoge Geet Mere,
Sang Sag Tum Bhi Gungunaoge......

I miss your voice sir.... I wish we could have you back here with us

On The Status of Women... a Beautiful Song

As is my normal daily chore, in this silent lonely existence of mine, I was going through the different news stories on the Internet, stories from different places and regions, different communities and religions, watching over the great Tamasha called Life.

One article specifically caught my attention - it was an article from the highly respected BBC, it stated that even the UN had accepted defeat to the evil of sex-trafficking.... Hold on, did you say accepted Defeat?

I was shocked, I was stunned... I was speechless and out of that pain, that shock was born a feeling of severe revulsion and disgust... something which now finds expression in this article of mine...

In 1958, the great Sahir Ludhianvi, a poet of exceedingly brilliant talents and capabilities wrote an haunting ditty on the facts of feminine life in our male-dominated world... a beautiful song that was very beautifully composed by the underrated N Dutta and masterfully sung by the incomparable Lata Mangeshkar for that paragon of beauty Vyjayanthimala.... 

It's sad to note that today, even after the passage of 52 years, still, the song is as true as it was then .... It's a matter of great shame and great pain but the truth remains that we have failed as guardians of the women in our midst....

The song goes as follows:

Aurat Ne Janam Diyaa Mardon Ko, Mardon Ne Ussey Baazaar Diyaa
Jab Ji Chaahaa Maslaa-Kuchlaa, Jab Ji Chaahaa Dutkaar Diyaa

Woman Gave Birth to Man,
Man took her on the path to Prostitution
Oppressed her, Repressed her at His Will
When felt so, kicked her to Oblivion

Can there be a bigger truth and source of shame than this? How do we, the mandarins of society sleep silently and peacefully as such a crime is being perpetrated in our world?

The hand that rocks the cradle, the hand that's supposed to rule the world, is thrown in the dirty streets of the dark corners for the 'crime' of having a vagina!  Is this the way, we treat our mothers.... the ones who carried us in their wombs for 9 long months? 

Is this theur destiny - to be beaten, to be opressed, to be used and abused and then thrown unto the paths of Oblivion? Where are those that claim women's liberalization?

Tulti Hai Kahin Deenaaron Mein, Bikti Hai Kahin Baazaaron Mein
Nangi Nachvaai Jaati Hai, Aiyyaashon Ke Darbaaron Mein
Ye Wo Be-izzat Cheez Hai Jo, Bantt Jaati Hai Izzatdaaron Mein

Measured in Gold, Sold in Market Places
She dances naked, in the Pervert's Palaces
An undignified piece of Lard, that's shared among Dignified Faces

The honour of the poor woman is no honour, since long have the rich measured it's worth in Golden Coins, to be sold as deemed fit in Market places and the practice still continues in the name of sex-streets..... The woman that clothes us in our childhood is forced to dance naked for the pleasure of the King, the mighty and the high... the Mandarins of Society, for whom Shakespeare said "And they are all Honourable Men" showing their honoured dignity by robbing a poor, unfortunate being of her dignity!

Is her naked body, without rights? Does she have no right to her own dignity, for she possesses a vagina and not a penis? If someone is a prostitute by her right, it's her choice, but by what right do we choose to take away one's dignity, if she does not wish to be in that profession? Is she a piece of lard for being a woman and only a woman?

Mardon Ke Liye Har Zulm Ravaan, Aurat Ke Liye Ronaa Bhi Khataa
Mardon Ke Liye Laakhon Sejen, Aurat Ke Liye Bas Ek Chitaa
MardoN Ke Liye Har Aish Kaa Haq, Aurat Ke Liye Jeenaa Bhi Sazaa

For men, every crime forgiven; for women, even tears, a crime dire
For men, every bed is strewn with pleasure, for women, only one funeral pyre
For men, sleeping around, a right; for women even life a quagmire

It's indeed a sad world that differentiates so deeply between men and women... a world where there are glass ceilings for personal growth, a world where a woman is blamed for being raped.... we live in a world, where women are expected to follow a set pattern and any query is considered insubordination!

If a man indulges in sexual misdemeanor, he's just sowing his oats around! If a woman does it, she's a SLUT! Welcome to the world of double-standards

Jin HoThon Ne Inko Pyaar Kiyaa, Un HoThon Kaa Vyopaar Kiyaa
Jis Kokh Mein Inkaa Jism Dhalaa, Us Kokh Kaa Kaarobaar Kiyaa
Jis Tan Se Uge Kopal Ban Kar, Us Tan Ko Zaleel-o-Khaar Kiyaa

The lips that whispered love to you, those lips are being traded
The womb that gave you life, that womb is being exploited
The body on which you lent for support, that body is being humiliated

What else can be said that's worse than this.... the lips of a woman are the ones that speak to the baby, tender words of love in his innocence, and those lips are being sold today for pleasure..... the womb which was your home for 9 months, today you exploit it for personal gains.... the body that you held on to, while learning your first steps, today, you ravish that same body!

And you call yourself, the image of God.... Is this the Image in which God fashioned Man? Thank you, God, I am an Atheist!

Mardon Ne Banaayee Jo Rasmen, Unko Haq Kaa Farmaan Kahaa
Aurat Ke Zindaa Jalane Ko, Qurbaani Aur Balidaan Kahaa
Qismat Ke Badle RoTi Di, Aur Usko Bhi Ehsaan Kahaa

The rules made by Men-folk, are for women Truth's Proclamations
The burning of Women at Stakes, are Sacrifices in our God's Religions
Food in exchange for Bondage, And call it Society's Benedictions

These are the truths of Social mores; we made the rules and enforced them, calling them the way of the world, the way in which we should live and by which we should live... We burned women accusing them of witchcraft, we burned them in the name of Sati.... we burned them at name of our religion and called it sacrifice!

We put restrictions on their movements and in exchange gave them security in form of Food.... and then we were shameless enough to call it a Benediction! All our abuses are women-based, all our honour women- based, and yet women live life worse than animals in many of our societies!

Sansaar Ki Har Ik Besharmi, Ghurbat Ki God Mein Palti Hai
ChakloN Hi Mein Aa Ke Rukti Hai, FaaqoN Mein Jo Raah Nikalti Hai
MardoN Ki Havas Hai Jo Aksar, Aurat Ke Paap Mein Dhalti Hai

Every shame of this world is born in Poverty's Frustration
Brothels are the final resting places of the march of Starvation
It's the Lust of Man that becomes the Stigma of the Woman

And this is the most telling point of the poem.... The poet says that the shame of the brothel, is not born of choice but of grinding poverty that forces a woman to sell her dignity to the highest bidder... that Brothels are the final points of a voyage that begins with the untolerable pain of Starvation.... 

The so-called stigma of being a single mother is no stigma at all, it is a reflection of the Lust of the Incompetent. Cowardly male who could indulge in Lust but has no guts to take responsibility of his actions!

So who is a prostitute? The woman who has been stigmized or the man who ran away after his lust was satisfied!

Aurat Sansaar Ki Qismat Hai, Phir Bhi Taqdeer Ki Heti Hai
Avtaar Payambar Janti Hai, Phir Bhi Shaitaan Ki Beti Hai
Ye Vo Bad-Qismat Maan Hai Jo, Beton Ki Sej Pe Leti Hai

A woman is World's destiny, but has been removed from her own future
Gives birth to Prophets, but it called the Devil's Daughter!
She is that unfortunate, who's being ravished by sons begotten by her.....

This is the telling comment that pains me...... it's said that the Mother is who guides the future generations but is herself clueless of her own future.... she has given birth to all prophets from Ram and Buddha to Jesus and Mohammed and suckled them at her breast but is often referred to as, Satan's daughter... as the one responsible for the first Sin! Can there be a worse indictment than this? Can there be a grosser case of impropriety and miscarriage of Justice?

It's high time we think of these before we are submerged in a tsunami that's born of her tears.... Beware, mankind, you cannot succeed by putting your counterpart in chains.... it never worked, it never will!

I am a Man and I am really sorry!

Where is Comedy?

Comedy as an art is dead.... to be precise, it's very rare to see a movie which can actually qualify to be called a comedy.... all we have have today is those slapstick nonsense that goes on in the name of Comedies... inane comedies that embody more vulgarity than comedy, and situations that are more ironic than comic..... maybe it's because the ability to understand and appreciate real comedy is dead.... and why not, when mankind itself is no longer capable of staying true to it's own words and ideals, wherein shalt remain the talent to make and appreciate real comic situations...... it would be so embarrassing to laugh at one's own self, if it would remind on of the hypocrisy of his or her own character; and trust me hypocrisy is something common to our ilk.

And  the worst part of comedy in films today is the stupid mindless thought of trying to squeeze out the last tang from a used lemon.... you make a good movie, the movie makes money or entices laugh and you are out to mess up with it by making a sequel or prequel or a franchisee..... that too, with no sense of propriety or sensibility.... it seems that 'Brevity is the soul of wit', that great statement by the inimitable William Shakespeare has been forgotten by the denizens of the film world.... And I don't blame them - in a film industry where Golmaal series is considered comedy, where is the place for the old Golmaal (1979) that was more of a true comedy than all the 3 namesakes combined!

Look at Hera Pheri, a movie that defines comedy in it's own way.... and look at Hera Pheri 2 - a rape cannot be more gruesome! Now here comes Bheja Fry to fry my 'Bheja' all the way..... thank God, there was no Jaane Bhi Do Yaaro Part 2 ..... or else I would have definitely had second thoughts on my deferred suicide!

The art of the beautiful is the art of brevity and the look of a comedy should always be a look at freshness.... it's lacking like hell .... No Entry is about womanizers, it's a hit and suddenly every comedy is about womanizers..... Saajan Chale Sasural is about a guy who loves and marries 2 women and suddenly every movie is about a man stuck between 2 women..... Hello, what happened to originality?

The best comic movies have always been the stand-alones.... Charles Chaplin never had a need to repeat a story and look at his repertoire - Gold Rush, City Lights, The Kid, The Last Dictator, so many of them and each one of them, a classic! and just look at the subjects.... awesome! This is what I am talking of, a comic movie need not have 'the usual suspect' circumstances, 'the usual suspect' characters and 'the usual suspect' scenarios.... comedies can be created out of everything .... Cases in point, 'Tere Bin Laaden', a brilliant and humourous take on Terrorism, 'Welcome to Sajjanpur', a humourous look at life in Rural India and 'Well Done, Abba', one of the best films on Corruption and of course, who can forget 'Peepli Live!', one of the best black comedies made in recent times.....

Comedy is strong when it also shows the beauty of other emotions, of pain, of loss, of betrayal..... Charles Chaplin was the master of this beautiful masala mix.... Look at City Lights, no film shows better how a woman uses a man for her own needs and then conveniently forgets him and this beautiful complex emotion is shown in just one scene at the window.... Look at The Kid, the scene wherein the kid is taken away from Charles leaving him all alone in this world is one of the most powerful scenes in entire cinemadom.....

Coming closer to home, have a look at Kunwaara Baap, and Mehmood makes you cry and laugh with his performance of a surrogate father of a lame child..... This is the power of Comedy ... this is the power of Filmdom; films are made of moments such as these, that burn on your conscience and consciousness for all times to come....

I hope the art of comedy will survive; I hope we will all be treated to more beautiful comedies in the future; I hope there will be movies, capable of standing on their own.... I know I am hoping against hope but then, a guy can hope... Can't he?