Divya Singh : Aurangabad To Mumbai , A Journey Decoded


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MUMBAI          MAHARASHTRA          INDIA           NOVEMBER  20, 2016          11.45 P.M.

Divya Singh in her latest AVATAR

Divya Singh in her latest AVATAR

Last week a film called ” ISHQ JUNOON ” got released. Critics were not kind to the film. In fact they were indifferent. And before general public could even know about it,  ” ISHQ JUNOON ” was out of theatres. It tanked. And I know, with it tanked many dreams.

So called intellectuals, learned critics, all-powerful producers, mighty directors and film connoisseurs want to see only results.

But for me story of the journey matters and I know the story of the journey. I can visualise the whole scene. I am going to portray the whole picture today.

People in India have no high regards for Bihar.

They may be even oblivious of a nondescript town known as Aurangabad.

But many years back the story began there. In the same nondescript town known as Aurangabad story of DIVYA SINGH started unfolding.

May be one day in the dead of night DIVYA visualised herself on the silver screen. May be one day in the bright morning she gathered all the courage at her command and informed her parents about her decision.

Do so-called intellectuals, learned critics, all-powerful producers, mighty directors and film connoisseurs know what happens when a small town girl starts dreaming about a career in the film industry?

Do so-called intellectuals, learned critics, all-powerful producers, mighty directors and film connoisseurs know what happens when a small town girl gathers courage and informs her parents?

Do so-called intellectuals, learned critics, all-powerful producers, mighty directors and film connoisseurs know what happens when a small town girl decides to come to Mumbai and pursue a career in films?

Do they know the amount of ridicule someone , specially a girl faces in a small town?

Do they know the abuses a girl goes through in a small town?

Do they know how a girl is admonished, ridiculed and made fun of by their non caring, heartless, callous and crude relatives in a small town?

Do they know how a girl is looked down and sneered by her friends and neighbourhood acquaintances when she decides to join the film industry?

No sirs, you don’t.

Here a small town girl aimed for the Everest and tried against all odds.

So respect the struggle and not the outcome.

Outcome can change overnight and yes, it will change.

She is in an august ( Debut Film Flop ) club. Here is the list.

DILIP KUMAR – Jwaar Bhata – Flop

DEV ANAND – Hum Ek Hain – Flop

AMITABH BACHCHAN – Saat Hindustani – Flop

RANBIR KAPOOR – Saawariya – Flop

KAREENA KAPOOR – Refugee – Flop

SONAM KAPOOR – Saawariya – Flop

HARSHVARDHAN KAPOOR – Mirzya – Flop

SAIYAMI KHER – Mirzya – Flop

I would love to quote a song from a 1958 film called ” Phir Subah Hogi ” .

वो सुबह कभी तो आएगी

इन काली सदियों के सर से जब रात का आंचल ढलकेगा
जब दुख के बादल पिघलेंगे जब सुख का सागर झलकेगा
जब अम्बर झूम के नाचेगा जब धरती नगमे गाएगी

वो सुबह कभी तो आएगी ……

जिस सुबह की ख़ातिर जुग जुग से हम सब मर मर के जीते हैं
जिस सुबह के अमृत की धुन में हम ज़हर के प्याले पीते हैं
इन भूखी प्यासी रूहों पर इक दिन तो करम फ़रमाएगी

वो सुबह कभी तो आएगी ……

Yes वो सुबह कभी तो आएगी .

It will come definitely. I won’t be there to see that morning. But today as I write this blog I can see that a painfully long, sad, cold and black winter night is about to end. I can see light emerging at the end of the tunnel. Sun is shinning with all its glory. It’s warmth will mitigate all the miseries and painful memories of past.

And in that shinning brightness I vividly see DIVYA SINGH, the same helpless, dreamy girl from Aurangabad, Bihar, standing and taking her rightful place. And that too without the help of a godfather or a godmother.

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A new NUTAN will be born on that day.

And yes, the world can ridicule her and make fun of her till then.

 

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100 Years of Lalita Pawar – Hindi Cinema’s Unforgettable Doyenne


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MUMBAI – MAHARASHTRA – INDIA           MAY 15, 2016           08.00 P.M.

 

LALITA PAWAR [ 18 April 1916 - 24 February 1998 ]

LALITA PAWAR [ 18 April 1916 – 24 February 1998 ]

On April 18, 2016, Lalita Pawar would have been 100 years old, had she been alive. There were not much coverage in the media. I read just one article in DNA. That’s it.

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Present day media Mughals don’t know her importance. In a career spanning 68 years, she did 700 plus films. She was the only one in Indian film industry, who could play a scheming mother-in-law and a golden-hearted matriarch with equal finesse. She was always portrayed prominently in the posters of her films, though she was not playing the lead. Apart from Lalita Pawar, Ashok Kumar was the only other character artiste, who used to appear prominently in the poster of his films.

With Dilip Kumar in DAAG

With Dilip Kumar in DAAG

 

Poster of Anari

With Raj Kapoor & Nutan in Anari

Apart from her, there were only 3 other Hindi film actors, who worked more than 6 decades. They, apart from Lalita Pawar, are Dev Anand, Pran and evergreen Ashok Kumar. Only these 4 Hindi Film Artists worked till the last breath of their lives.

Lalita Pawar with Ashok Kumar

Lalita Pawar with Ashok Kumar

Lalita Pawar with Pran

Lalita Pawar with Pran

Lalita Pawar with Dev Anand

Lalita Pawar with Dev Anand

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LALITA PAWAR : 68 Working Years – 700 Films

” Raja Harishchandra “ [ 1928 ] to ” Bhai ” [ 1997 ]

DEV ANAND : 65 Working Years – 113 Films

Hum Ek Hain “ [ 1946 ] to ” Chargesheet ” [ 2011 ]

PRAN : 63 Working Years – 350 Films

” Yamla Jat “ [ 1940 ] to ” Kiska Dosh “ [ 2003 ]

ASHOK KUMAR : 61 Working Years – 301 films .

” Jeevan Naiya ” [ 1936 ] to ” Aankhon Me Tum Ho ” [ 1997 ]

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Among all the 4 history making stars, Lalita Pawar was the senior most. Pran was junior to her by 12 years. And the indomitable Dev Anand was her junior by 18 years. Even grand old man of Hindi cinema, the evergreen Ashok Kumar, was her junior by 8 years. Coincidently their last films came in the same year, 1997. Lalita Pawar’s ” Bhai ” [ 1997 ] & Ashok Kumar’s ” Aankhon Me Tum Ho ” [ 1997 ] were their last film. Two immortal legends ended their glorious film journey in the same year.

My first association with her started somewhere in mid 60s. I don’t remember the film correctly, but either it was ” Sampoorna Ramayan ” or ” Jis Desh Me Ganga Bahti Hai “. Later on I saw several films of her and became an ardent admirer.

I am giving list of some of her unforgettable films, which I have seen and fail to forget even today.

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Ram Shastri [ 1944 ] , Dahej  [ 1950 ] , Daag  [ 1952 ] , Parchhain  [ 1952 ] , Shri 420 [ 1955 ] , Mr & Mrs 55  [ 1955 ] , Nau Do Gyarah  [ 1957 ] , Anari  [ 1959 ] , Sujata  [ 1959 ] , Hum Dono  [ 1961 ] , Sampoorna Ramayana  [ 1961 ] , Professor  [ 1962 ] , Sehra  [ 1963 ] , Grahasti  [ 1963 ] , Ghar Basake Dekho  [ 1963 ] , Khandan  [ 1966 ] , Boond Jo Ban Gayee Moti  [ 1967 ] , Aabroo  [ 1968 ] , Anand  [ 1970 ] , Pushpanjali  [ 1970 ] , Gopi  [ 1970 ] ,  Doosri Sita  [ 1974 ] , Tapasya  [ 1976 ] , Aaina  [ 1977 ] , Yaarana  [ 1080 ] , Kali Ghata  [ 1980 ] , Phir Wohi Raat  [ 1980 ] , Sau Din Saas Ke  [ 1980 ] , Naseeb  [ 1981 ] , Bhai  [ 1997 ] .

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It is pertinent to note that apart from Ram Shastri [ 1944 ] , where she played heroine, she played character roles in all above mentioned films. But no film connoisseur can ever forget her. Who can forget GANGAMAI of  Shri 420 [ 1955 ] or Mrs. D’Sa of  Anari  [ 1959 ] , both with Raj Kapoor?

Amba Laxman Rao Shagun from Yeola, Nashik made her debut in 1929 with ” Raja Harishchandra “. At the age of 16, she co-produced and acted in a silent film ” Kailash ” [ 1932 ]. She played a triple role in that film. A triple role in a silent film !! It was 44 years before DILIP KUMAR’s ” Bairaag ” [ 1976 ] & 51 years before AMITABH BACHCHAN’s ” Mahaan ” [ 1983 ]. Both these legends played triple role much later in their respective careers and when they were very mature. DILIP KUMAR made debut in 1944 and played triple role in 1976. That is 32 years after his debut. AMITABH BACHCHAN made debut in 1969 and played triple role in 1983. That is 19 years after his debut. But LALITA PAWAR played triple role in the beginning of her career. 3 years after her debut and that too in a silent film.

Poster of Silent Film "The Lord of the Jungle"

Poster of Silent Film “The Lord of the Jungle”

Poster of "Himmat-e-Marda" [ 1935 ]

Poster of “Himmat-e-Marda” [ 1935 ]

Lalita Pawar in a Silent Film

Lalita Pawar in a Silent Film

Lalita Pawar in a Silent Film of 1940

Lalita Pawar in a Silent Film of 1940

1942 was an epoch-making year in Lalita Pawar’s career. As a part of the scene in a film ” Jung-E-Azadi ” , Bhagwan Dada of ” Albela ” fame was to slap her. Being a new-comer, he accidentally slapped her hard. It resulted in facial paralysis and a vein of her left eye got burst. This incident left her with a defective left eye. But the treatment took 3 years. She lost many lead roles and after her treatment was over, she switched to character roles. The defective left eye, which ended her acting career in lead roles, helped her play cruel, wicked and cussed characters with aplomb.

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Lalita Pawar & Bhagwan Dada

Lalita Pawar & Bhagwan Dada

Lalita Pawar has left us. She no longer exist. But she is still present in the form of her films where she played several unforgettable characters. I offer my tribute and regards to the unforgettable doyenne of Hindi cinema.

 

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[ List of Lalita Pawar’s released films,  dates and other information is taken from Wikipedia. I , on behalf of VIDUR Acting Institute ,  express gratitude. ]

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Feroze Rangoonwala is Gone : A Film Historian Becomes History


Feroze Rangoonwala with his Collection

Feroze Rangoonwala with his Collection

MUMBAI – MAHARASHTRA – INDIA           SEPTEMBER 13, 2015           09.35 P.M.

Eminent film historian Feroze Rangoonwala, credited with having written the highest number of books on Indian cinema, is no more.

Rangoonwala passed away at his residence in Mumbai on August 04, 2015 at the age of 82 after prolonged sickness.

He has left behind a wealth of information on Indian cinema, particularly at a time when efforts are on to save cinematic material for archival purposes.

Rangoonwala was best known for creating the first book of Indian filmography in 1969, Indian Film Index, and his magnum opus, Pictorial History of Indian Cinema, which for its period of issue had a record run in printing. Its Russian translation led to Indian cinema being introduced to the big Soviet readership, which loved Indian films. The book also saw multiple printings.

It came about five years after Indian Film written by an American film historian Erik Barnouw and Indian filmmaker S Krishnaswamy, which was the other major book on Indian cinema at that time.

Rangoonwala wrote 15 major books spanning a career of five decades. These included Indian cinema, Past and Present in 1983, and several monographs on different film personalities including those on filmmakers Guru Dutt and Bimal Roy – some written for the National Film Archives of India. Other books include Satyajit Ray’s ArtSeventy-five years of Indian cinema, and Bharatiya Chalchitra Itihas.

He started as a film publicist in Mumbai in the early 1950s, and soon created a major hobby into a scholastic career. He also collected a large number of film posters and rare photographs. His knowledge of the film industry made him a much sought after person to sit in both international and Indian film juries.

Unfortunately Rangoonwala remained least acknowledged by the Indian government circles and did not receive any accolades.

Rangoonwala finally called it a day in 2006, as illness dogged him.

He sold off his entire collection of Indian cinema memorabilia to a collector of film history and retreated into private life. He also donated some rare photographs from cinema to the National Film Archives of India.

Feroze Rangoonwala

Feroze Rangoonwala

I came to know of him in early 70s. I came across an article written by him in 2 parts in “Star & Style”. It was about Dilip Kumar. It was so well-written that I became a fan of Feroze Rangoonwala. I still have this magazine in the library of my Deoria house. Alas ! I could not meet him ever. I will always regret this.

 

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On behalf of all the students & staff of VIDUR Acting Institute , VIDUR Editing Studio , VIDUR Club and VIDUR Merchandise, I offer my condolences.

May God bless his soul !!

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[ I have taken this article from a website : http://www.indiantelevision.com  I express my gratitude. ]

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Omar Sharif : An Obituary


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MUMBAI – MAHARASHTRA – INDIA           19 JULY 2015           11.55 P.M.

I read about Omar Sharif’s demise on 10th July 2015. It brought some distant memories to my mind. I was not his ardent fan but have very early memory of his film Mackenna’s Gold  [ 1969 ], where he played an outlaw opposite Gregory Peck .

I visited Mumbai [ then known as Bombay ] in June 71. I stayed here for one year. My visit failed miserably because of my inexperience and poor planning. But I remember one film, Mackenna’s Gold , which I saw during my stay. It was running in Strand Talkies, [ now closed ] Colaba in 50th week. A Hollywood film celebrating golden Jubilee in India was incredulous. So I got curious and went to watch it. I was amazed and mesmerized. It got imprinted in my mind and remained in my memory.

After one year I returned to Allahabad to complete my post graduation in English literature. There I watched his debut film Lawrence of Arabia [ 1962 ]. The film was and will always be a memorable film for me. The part he played in Lawrence of Arabia , was originally offered to Dilip Kumar, which he refused and thus became instrumental in Omar Sharif’s Hollywood career.

So when I read about his sad demise, I thought that I must write an obituary.

 

Sharif in Lawrence of Arabia (1962)

Sharif in Lawrence of Arabia (1962)

Omar Sharif

10 April 1932 – 10 July 2015

Omar Sharif was born as Michel Demitri Chalhoub on 10 April 1932 in Alexandria, Egypt, to a Melkite Greek Catholic family of Lebanese descent.

In his youth, Sharif studied at Victoria College, Alexandria, where he showed a talent for languages. He later graduated from Cairo University . He then enrolled himself for acting at the Royal Academy of Dramatic Art in London. In 1955, Sharif changed his name and converted to Islam in order to marry fellow Egyptian actress Faten Hamama.

In 1954, Sharif began his acting career in his native Egypt with a role in Shaytan Al-Sahra (“Devil of the Desert”). In the same year he appeared in Sira` Fi al-Wadi (“Struggle in the Valley”). He quickly rose to stardom, appearing in Egyptian productions, including La Anam (“Sleepless”) in 1958, Sayyidat al-Qasr (“Lady of the Palace”) in 1959 and the Anna Karenina adaptation Nahr el hub (“The River of Love”) in 1961. He also starred with his wife, Egyptian actress Faten Hamama, in several movies as romantic leads.

Sharif’s first English-language role was that of Sharif Ali in David Lean‘s historical epic Lawrence of Arabia in 1962. This performance earned him a Best Supporting Actor Oscar nomination and a Golden Globe Award for Best Supporting Actor – Motion Picture, as well as a shared Golden Globe Award for New Star of the Year – Actor. Sharif was fluent in French, Greek, Italian, Spanish and Arabic , so he managed the accent beautifully.

Over the next few years, Sharif co-starred in other films, including Behold a Pale Horse (1964). Sharif also played a Yugoslav wartime patriot in The Yellow Rolls-Royce (1964), the Mongolian conqueror in Genghis Khan (1965), a German military officer in The Night of the Generals (1967), Rudolf, Crown Prince of Austria in Mayerling (1968) and Che Guevara in Che! (1969).

With Geraldine Chaplin in Doctor Zhivago (1965)

With Geraldine Chaplin in Doctor Zhivago (1965)

In 1965, Sharif reunited with Lean in order to play the title role in the epic love story Doctor Zhivago (1965), an adaptation of Boris Pasternak‘s 1957 novel set during World War I and the Russian Revolution . For his performance, he won the Golden Globe Award for Best Actor – Motion Picture Drama, while the film received ten Academy Award nominations.

Sharif was also acclaimed for his portrayal of Nicky Arnstein in Funny Girl (1968). He portrayed the husband of Fanny Brice, played by Barbra Streisand in her first film role. His decision to work alongside Streisand angered Egypt’s government because she was Jewish, and the country condemned the film. It was also “immediately banned” in numerous Arab nations. Sharif reprised the role in the film’s sequel, Funny Lady in 1975.

Among Sharif’s other films were the thriller Juggernaut (1974), which co-starred Richard Harris, and the romantic drama The Tamarind Seed (1974), co-starring Julie Andrews, and directed by Blake Edwards. Sharif also contributed comic cameo performances in Edwards’ The Pink Panther Strikes Again (1976) and in the 1984 spy-film spoof Top Secret!

In 2003, he received acclaim for his leading role in Monsieur Ibrahim, a French-language film adaptation of the novel Monsieur Ibrahim et les fleurs du Coran, as a Muslim Turkish merchant who becomes a father figure for a Jewish boy. For this performance, Sharif received the César Award for Best Actor. Sharif’s later film roles included performances in Hidalgo (2004) and Rock the Casbah (2013).

 

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[ I have taken few facts of his life from Wikipedia. I express gratitude. ]

 

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FTII : Skeletans Tumble Down


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MUMBAI – MAHARASHTRA – INDIA           JULY 12, 2015           11.50P.M.

Till date I have written 3 blogs about FTII [ Film & Television Institute of India ] Pune. I think this prestigious (?) and premier (?) institute will not be my topic again, at least not in recent future. But if it is prestigious (?) and premier (?) , how can it not seek my attention?

Gajendra Singh row refuses to subside. Each day a new celebrity crows his neck out and dishes out his pious views on this prestigious (?) and premier (?) institute, which has dubious distinction of spearheading more than 50 strikes till date.

Today, while watching news, I came across valuable (?) view of Raj Kumar Rao, who used to be Raj Kumar Yadav. May be according to him being Yadav is not upmarket or glamorous enough, so he got a brand new nomenclature. He opined that students of FTII deserve a Chairman, whom they should look up to.

Wow !! My memory went few years back and intruded into the holy precincts of FTII, when Mr. Rao, as a worthy alumnus of this prestigious (?) and premier (?) institute, used to roam around in the campus. In those pious and holy days Shri Paintal was Head of Department of Acting. He used to call many past alumnus / alumna as guest lecturers. Shri Paintal even called two of my students, who were novice, upstart and inexperienced. Mr. Rao or his other worthy friends never raised their voices against them. All the vocal commies and their friends from AISA were also silent. Mr. Rao also have no objection when these two upstarts mention his name in their website and claim that he has been trained by them in their Mumbai based institute. Mr. Rao and his friends can look up to novices roaming around as Acting Trainers but they can’t tolerate a Chairman , who according to them is a symbol of saffronisation. I denounce these bunch of hypocrites. If they agitate for better trainers, I can understand. But don’t want to even listen to them if they poke their nose in administrative matters.

These filmi Che Guevaras should be weeded out of this breeding ground of communism, known as FTII.

After I finished writing, I read this old news item published in India Express. It substantiates my point. So I am putting it here. Links of my 3 previous blogs are also given here.

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For 13 years, no convocation held at FTII

For over 13 years now, the Film and Television Institute of India (FTII) has not held any convocation to give away degrees. The premier film institute of the nation held its last one December 14, 1997. An RTI query by The Indian Express reveals.Since the last convocation, 177 students have passed FTII courses and though all of them got their certificates, none received them at a podium, at a convocation. In fact, in the last 50 years, only 21 convocations have been held.

Confirming this, FTII director Iftikar Ahmed says, “The set-up at FTII is different. A mere convocation doesn’t decide the merit of students who complete courses here. The main objective is to provide the best training and we have been doing that. Convocation is a minor aspect. In fact, we issue degrees even to students who leave courses midway.”

Ahmed reminds that even before the last convocation in 1997, there was an eight-year hiatus. “The 21st convocation, which was the last, was marred by an unpleasant incident where students wore black armbands and carried placards on stage. It prompted director Mahesh Bhatt to resign as FTII president and veteran actor Dilip Kumar to lash out against ‘this blatant washing of dirty linen in public,'” said Ahmed.

He agrees though that there have been a lot of issues over the last 12 years that have pushed the convocation to the background. “The most important is expansion at FTII. Eight new courses have been introduced in the last 13 years and faculty members have come down. Back then, we had four courses and 55 teachers. Now, for all the courses, we have 20 teachers. During the transition after introduction of new courses and a change in the management, issues like convocation were pushed aside.”

Retired professor of the Film Appreciation Course, Suresh Chabbria, feels that a convocation gives an institute an academic feel and the fact that it has not been held for so long is something that needs to be looked into. “In fact, back in the 60s and 70s, they were regular. Things did change later with courses being overshot and students leaving midway,” he said.

National award winner Dilip Ghosh, former president of the GraFTII, the alumni association, says it is wrong for the institute to punish an entire batch for a few students who did not complete their courses on time. “In 1981, when I was studying direction at the institute, we had a proper convocation. It would be unfair for anyone to say convocations do not happen as courses are delayed or even for that matter students do not ask for them.”

Students of the current batches at the institute say that with issues like completion of the courses on time and shortage of equipment and infrastructure they face, convocation is an issue they have not raised. “That doesn’t mean we do not want one,” says former president of the student body and winner of the national award for direction course, Tathagatha Singha. “It’s just that with these other issues we deal with, the convocation takes a backseat.” he adds.

Actor Mohan Aghashe, who was the director of the institute when the last convocation was conducted, says the attitude of students also needs to be questioned. “When they come here after beating scores of other applicants, they should ask for convocations at the end of the course.”

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On behalf of all the students & staff of VIDUR Acting Institute , VIDUR Editing Studio , VIDUR Club and VIDUR Merchandise, I denounce FTII students, who are behaving like anarchists.

May God bless them with some intellect so they can read the writing on the wall. If according to them, it is saffronisation, they should learn to live with it.

[ I have quoted an old article of Indian Express. I express gratitude. ] 

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An Open Letter To FTII Alumna / Alumnus


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MUMBAI – MAHARASHTRA – INDIA           JUNE 18, 2015           00.30 A.M.

Dear Alumna / Alumnus of FTII, Pune !

I have already written 2 blogs about the FTII [ Film & Television Institute of India ] , Pune. 1st blog was written on March 28, 2010. It was about the declining and deteriorating standards of FTII. The 2nd one was written on October 28, 2012. It was about hubris and high-handed behaviour of students of FTII. Today I am forced to write 3rd blog about FTII.

I am reading in newspapers that alumnus of this so-called premier institute are agitated against Shri Gajendra Chauhan, the newly appointed FTII Chief. Nearly 150 students boycotted classes today and continued their protest for the 5th day.

According to Harishankar Nachimuthu, the President of Student’s Union of FTII, Gajendra Chauhan’s appointment is a conspiracy to saffronise this prestigious ( ? ) institute. He states that he is not going to accept Shri Gajendra Chauhan as Chief of FTII. May I demand to know, who is seeking his acceptance or concurrence?

I came to know that several past students [ who are jobless since time immemorial ] are holding meeting in Mumbai and threatening central government that they will fight against Shri Gajendra Chauhan, “a Narendra Modi stooge” till the end. According to them he lacks stature and administrative experience. May I demand to know, who the hell are they to decide, whether Shri Chauhan has the required stature or not?

In the past Mr. Shyam Benegal, Mr. Mrinal Sen, Mr. Adoor Gopalakrishnan, Mr. Mahesh Bhatt, Mr. Girish Karnad, Mr. Vinod Khanna, Prof. U.R. Ananthamurthy and Mr. Saeed Mirza have served as Chairman of the Governing Council of FTII.  They were appointed by the government of the day. Shri Gajendra Chauhan is also appointed by present central government.

I fail to understand, how can students demand to have a say in the appointment of Chief of FTII. Moreover, what stake do past students have in the affairs of their Alma Mater? Why are they agitated? Why are they threatening to “fight till the end”?

Students and alumnus of this so-called prestigious institute should realize that their job is to get trained and not to decide about the governing council chief or other administrative matters of the institute. They must realize that the golden days of Shri Roshan Taneja are over. Their activism fails to produce a single actor of the calibre of ASHOK KUMAR, MOTI LAL, DILIP KUMAR, BALRAJ SAHNI, SANJEEV KUMAR, AMITABH BACHCHAN, SHAHRUKH KHAN, AMIR KHAN, HRITIK ROSHAN or RANBIR KAPOOR. None of the above mentioned actors are the alumnus of FTII. I also fail to find among your alumna, any actress of the stature of NARGIS, MEENA KUMARI, MADHUBALA, GEETA BALI, VYJAYANTIMALA, WAHEEDA REHMAN, REKHA or KAJOL. And you people are talking about the calibre of Gajendra Chauhan.

I appeal to the alumnus of FTII to first become a world-class actor and then try to be an activist. The most important FTII alumnus and your biggest inspiration NASEERUDDIN SHAH is busy doing “world-class” ( ? ) films like “Sona Spa” and ” Jackpot” and you people are pontificating on the calibre of Shri Gajendra Chauhan and threatening Shri Narendra Modi.

And now a word for failed ex students of FTII. You have no business to meddle in the affairs of your alma mater if you are still struggling to make a mark. No one needs your activism. You roam around in the alleys of Mumbai with stinking body, wilting faces, faded attires and dead and gloomy eyes. I pity your rancid existence and failed journey of life. The government of the day doesn’t need or seek your approval. Leave your hubris. You are not doing any favour to us or humanity if you are an ex students of FTII.

Let me make it clear that your agitation is politically motivated. All the right thinking people know it. If it is not so, why people like Anand Patwardhan and other known left-liberals are joining your band wagon? Why students of JNU [ Jawahar Lal Nehru University ] , a breeding ground of leftist and pseudo seculars, are joining your protest? What stake have they in the FTII?

Instead of protesting against Gajendra Chauhan, try to check the deterioration in the quality of the institute. May I demand to know why “for a 3 year programme, there have been students floating around the campus since 2008? May be they will graduate only when their creative juices start flowing.[ verbatim quote from Hindustan Times – Dated June 17, 2015 – Page 11 / also read the editorial ” The World’s not a stage at the FTII – Page 12]

You resist every change and want to run the institute as per your whims and fancies. When UPA appointed committee suggested running the institute on public-private partnership, you people protested. When UPA tried to make the syllabus more contemporary, you started indefinite strike. UPA government headed by Congress was not saffronising the institute. So it is clear that protests and strikes are in your DNA.

Dear alumnus, if you feel or suspect that the appointment of Shri Gajendra Chauhan is a conspiracy to saffronise FTII, I suggest that you should learn to live with it as soon as possible. It will be better for your future, your health and your well-being.

We have seen enough of your hubris. We have tolerated enough of your pseudo intellectual hypocrisy. It is time to say, ” ENOUGH IS ENOUGH “.

 

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On behalf of all the students & staff of VIDUR Acting Institute , VIDUR Editing Studio , VIDUR Club and VIDUR Merchandise, I denounce you for your hypocrisy, needless hubris and uncalled for activism.

 

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Remembering Krishna Kalle


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MUMBAI – MAHARASHTRA – INDIA           MARCH 30, 2015           06.20 P.M.

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Let me admit that to most of the readers of my blog , the name Krishna Kalle means nothing . Her name doesn’t ring a familiar sound . To general public also , Krishna Kalle remains almost unknown. But for few people like me , who grew in the 60s , Krishna Kalle was a known name in the Hindi film music world. Her name does ring a familiar sound for the music buffs. So when I read about her death, I was saddened. She went unwept and unsung.

She died on March 15, 2015 at the age of 74 in Mumbai.

In the era of Lata Mangeshkar , she , along with Suman Kalyanpur , Mubarak Begam , Kamal Barot and Sharda tried hard to be in the limelight. All the above mentioned five playback singers , who were good in their own way , failed to make any significant mark in the era of a colossus known as Lata Mangeshkar. When even a giant like Asha Bhosle was also struggling to make her mark, what would anyone expect from the likes of Krishna Kalle , Suman Kalyanpur , Mubarak Begam , Kamal Barot and Sharda ?

For me Krishna Kalle is synonymous with few hit songs of 60s and early 70s. Meri Hasraton Ki Duniya  , her duet with Mohammad Rafi in a film called  ” Gaal Gulabi Nain Sharabi ” [ 1974 ]   and Hume Toh Maar Diya  , a duet with Mahendra Kapoor from the film ” Hum Kahan Ja Rahe Hain ” [ 1966 ] are still fresh in my memory. For the connoisseurs of old Hindi film songs, these are unforgettable gems. Other famous films of that era , which have her memorable songs ,  are : Hum Kahan Ja Rahe Hain  [ 1966 ] , Bambai Raat Ki Bahon Mein [ 1967 ] , Raaz [ 1967 ] , Naunihal [ 1967 ] , Shikar [ 1968 ] , Sati Sulochana [ 1969 ] and Gaal Gulabi Nain Sharabi  [ 1974 ]

She was born in Karwar. As her father were serving at Kanpur, she completed her schooling from there . She got the sanskar of Hindi and Urdu over there. At the age of 16, she started singing at Kanpur Radio Station. She sung in various Yatra singeet mahotsav in Uttar Pradesh and got popularity. In 1957, she was honoured with national level youth singing awards by India’s first president Rajendra Prasad and first prime minister Jawaharlal Nehru. The following year, she bagged the All India Sugam Sangeet Award first prize , K.L. Sehgal Memorial’s Golden Voice Award and many others. And after this she got a job with All India Radio in 1960.

Arun Date first heard her voice, when she visited Mumbai . He introduced her to music director Yashwant Dev. This started her journey as Marathi singer.

She was active in the Hindi film industry for about a decade from 1960s to the 1970s. She sang over 200 Bollywood songs, 100 Marathi movie songs, 100 bhajans, ghazals and devotional songs . She also released non-film albums with famous singers like Manna Dey, Mohammed Rafi.

Krishna Kalle has been named for the ‘Lata Mangeshkar Award for Lifetime Achievement’ instituted by the Maharashtra government. Some other personalities who bagged the ‘Lata Mangeshkar Award for Lifetime Achievement’ include : Manna Dey, Anil Biswas, Sudhir Phadke, Khayyam, Mahendra Kapoor, Suman Kalyanpur, Sulochana Chavan, Kalyanji (Shah), Manik Verma and Hridaynath Mangeshkar. Thus getting the above mentioned prestigious award shows her calibre as an artiste.

After her death, I tried to remember other hit songs of Krishna Kalle , apart from above mentioned two ,  but my memory failed me. Suddenly I found a website, where link of some of the songs are given . URL of the website is :

https://www.lyricsbogie.com/singer/krishna-kalle

Here I am posting links of some of her songs from that website :

Songs Sung by Krishna Kalle

 

 

It is sad that today’s generation doesn’t know or remember Krishna Kalle. It is very easy for any upstart to write what Shabana Azmi says about Dilip Kumar and post it on his timeline . They both are legends. everyone knows everything about them . But knowing and writing about a lesser known artiste like Krishna Kalle is the job of a fan , a lover of old film songs and a connoisseur. For people like me she was one of the representatives of the golden era of Hindi film music.

 

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On behalf of all the students & staff of VIDUR Acting Institute , VIDUR Editing Studio , VIDUR Club and VIDUR Merchandise, I offer my heartfelt condolences and pray that her near and dear ones get strength to bear this loss.

May God bless you Krishna ji ! In this life you never got the kind of success you deserved . I pray to God to be more kind to you in your next birth.

 

Farewell madam !! Accept this tribute from an ardent fan .

[ I have quoted some facts of Krishna Kalle’s life from Wikipedia . List of her songs are taken from the website : https://www.lyricsbogie.com/singer/krishna-kalle

I express my gratitude . ]

 

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