Vidur’s Film Diary – July 2016


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MUMBAI – MAHARASHTRA – INDIA           August 28 , 2016           10.30 P.M.

[ MILESTONE : With this post, Vidur’s Film Diary enters in the 8th year of its existence. In all these 8 years, I have endured my journey with truth, tenacity and belligerence. ]

Satyameva Jayate

 सत्यमेव जयते

In the era of falsehood, Vidur Acting Institute has chosen the tortuous path of truthfulness. In the season of deceit, Vidur Acting Institute has taken the pledge of being factually correct. You can go through the below mentioned facts of my success story and can check and verify them.

But do check the tall claims of so-called “Best Acting Institutes of Mumbai” or “Best Acting Institutes of India”. Grill the so-called “Best Acting Trainers of Mumbai” or “Best Acting Trainers of India” and you will see through their hollow claims. Hold a second, they can even claim that they are the “Best Acting Trainers of the World”. My God ! anything is possible in the unethical world of ACTING TRAINING in India.

As an ACTING TRAINER my success rate was 40% in the year 2013 – 2014 . It jumped to 55% in 2014 – 2015. And in 2015 , it zoomed up to 62.35 % . This is unprecedented for any ACTING INSTITUTE or ACTING TRAINER across the world.

 

VIDUR ACTING INSTITUTE

SUCCESS RATE : 2012 to 2015

Success Rate : 2012 – 2013 = 40 %

Success Rate : 2013 – 2015 = 55 %

Success Rate : 2015= = = = = 62.35 %

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For the full understanding of my body of work in 2013 – 2014 / 2014 – 2015 2015 – 2016 , please watch my videos on my YouTube channel. Here is the link : www.youtube.com/ividur Link of the latest video is posted below :

1 : ” Jai Ho “http://youtu.be/cZzBa4sHXMQ
2 : ” One By Two “http://youtu.be/0WCMfQiPdGI
3 – ” O Teri “ & ” Main Tera Hero “
4 – ” Khatron Ke Khiladi – 5 “
5 – ARMAAN JAIN
6 – ” JUNOONIYAT “ : https://youtu.be/IZBLxUy4IOI
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Obituary :

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Omprakash Sonik :

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Omprakash Sonik , better known as Omi, of the well-known duo Sonik-Omi passed away on July 07, 2016 in a private hospital following cardiac arrest.

A widower, he was 77 and is survived by his son Som and daughter Sudha.

 Omi was the nephew of the blind music director Master Sonik and together they formed the noted Sonik-Omi team which provided music to nearly 125 Bollywood movies in the 1950-1980s.

Born and raised in Sialkot (now in Pakistan), they moved to India after Partition in 1947 and lived mostly in Delhi.

In 1950, the visually challenged but great singer Master Sonik arrived in Mumbai with his young nephew in tow, hoping to make a career in the film industry which was on the threshold of what was later known as ‘golden era’ of its music.

With many stalwarts already holding sway over the listening audiences, the Sonik-Omi duo faced an uphill struggle, fighting near-starvation at times, Omi even joined in a female chorus group to afford a square meal and the uncle-nephew lived in a tiny slum room on the outskirts of Thane.

In the early 1950s, Master Sonik got a break to direct music for films like Mamta, Mehfil and Ishwar Bhakti, but their music failed to catch the ears of the listeners.

They were reduced to near-paupery and doing odd jobs merely to survive, till a few years later when the late Madan Mohan offered Master Sonik the crucial job of music arranger and the late S. D. Burman also followed suit.

The young Omi also got an opportunity to assist the legendary composer Roshan for films like Taj Mahal, Aarti, Barsaat Ki Raat and many others.

The big break came in 1965 from film-maker G. L. Rawal of Rawal Films, for his new venture, Dil Ne Phir Yaad Kiya and the musical track composed by the Sonik-Omi team became a rage. AAJA RE PYAR PUKARE ……… by Lata Mangeshkar / DIL NE PHIR YAAD KIYA …… by Mohammed Rafi , Mukesh & Suman Kalyanpur / KALIYON NE GHOONGHAT KHOLE …….by Mohammed Rafi / YE DIL HAI MOHABBAT KA PYASA ……. by Mukesh / LO CHEHRA SURKH SHARAB HUA …….. by Mohammed Rafi are still loved by music connoisseurs.

A couple of years later, Rawal offered them for Aabroo whose music also proved immensely popular and Sonik-Omi became a noted name in Bollywood.

Later, they composed music for films like “Mahua” (with the haunting Dono ne kiya tha pyar magar), “Dharma” (the famous qawwali Raaz ki baat keh doon to, jaane mehfil me phir kya ho), “Raftaar” (Sansar Hai ik Nadiya, Dukh Sukh Do Kinare Hain),  Truck Driver, Mehfil, Beti, Dharti Ki God Mein, Umar Qaid, Chowki No. 11 (which had the memorable hit number sung by Shobha Gurtu, Kahin ho na mohalle me halla) and Ladki Pasand Hai.

Over the years, the uncle-nephew pair made a formidable reputation for themselves with compositions in over 125 movies.

While Master Sonik passed away in 1993, Omi continued to compose music and his last musical track was for the film Biwi No. 2 in 2000, after which he eased into retirement.

In the past few years, Omi largely remained away from Bollywood but composed certain non-film and private albums, religious music and other genres of music.

 

Mubarak Begum  :

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Mubarak Begum, an acclaimed play back singer started her career with light music recitals performed for All India Radio. Her career as a playback singer began in 1949 with the Indian, Hindi-language film Aaiye. It was the Indo-Pakistani composer Nashad who gave Mubarak Begum her first break. The first song she recorded for films was “Mohe Aane Lagi Angrayi, Aja Aja Balam” (Aaiye, 1949). She also sang a duet with the then upcoming Lata Mangeshkar in the same film. A major hit in her career was the song “Kabhi Tanhaiyon Mein Yun” for composer Snehal Bhatkar in Kidar Sharma‘s film Hamari Yaad Aayegi which is, till this day, regarded as a classic rendition.

Mubarak Begum died on 18 July 2016 at her residence in Jogeshwari after a prolonged illness.

List of most popular songs recorded by Mubarak Begum.

Mubarak Begum has sung a total of 178 songs for Hindi films during her career, and the total number of films where her songs have appeared is 115.

  • “Mujh ko Apne Gale Lagalo, Aye Mere Hamrahi” (Hamrahi, 1963)
  • “Kabhi Tanhaiyon Mein Yun, Hamari Yaad Aayegi” (Hamari Yaad Aayegi, 1961)
  • “Neend Ud Jaaye Teri, Chain se Sone Wale” (Juaari, 1968)
  • “Woh na aayenge palat ke” (Devdas, 1955)
  • “Hum haal-e-dil sunayenghe” (Madhumati, 1958)
  • “Wada humse kiya, dil kisi ko diya” (Saraswatichandra, 1968)
  • “Be-murawwat bewafa begana-e dil aap hain” (Susheela, 1966)
  • “Ae dil bataa hum kahan aa gaye” (Khooni Khazana, 1965)
  • “Kuchh Ajnabi se aap hain” (Shagun, 1964)
  • “Ayji ayji yaad rakhna sanam” (Daku Mansoor)
  • “Shama Gul Karke Na Jao Yun” (Arab Ka Sitara, 1961)
  • “Sanwariya teri yaad men ro ro marenge hum” (Ramu Toh Deewana Hai, 1980)
  • “Humein Dum Daike” with Asha Bhosle (Yeh Dil Kisko Doon, 1963)
  • “Yeh moonh aur masoor ki daal” with Sharda (Around The World, 1967)

 

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Hindi Films in July & Vidur Acting Institute :

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First Week – July 01

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1 – Shorgul ………………………………………………………………. Jimmy Sheirgill

……………………………………………………………………………………….. Eijaz Khan

………………………………………………………………………………………. Sanjay Suri

………………………………………………………………………………….. Hrishita Bhatt

2 – Dil To Dewaana Hai ……………………………………………………………………. X

3 – Hawas Ki Inteha ………………………………………………………………………… X

4 – Hot Teri Deewangi …………………………………………………………………….. X

5 – Kerry on Kutton ………………………………………………………………………… X

Second Week – July 06

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1 – Sultan ……………………………………………………………… Anushka Sharma

………………………………………………………………………………………… Amit Sadh

……………………………………………………………………………… Shekhar Ravjiani

 

Third Week – July 15 
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1 – Great Grand Masti ………………………………………………… Vivek Oberoi

……………………………………………………………………………….. Urvashi Rautela

……………………………………………………………………………….. Darshan Rathod

 

Fourth Week  – July 22
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1 – Madaari …………………………………………………………….. Jimmy Sheirgill

2 – Ishq Click ………………………………………………………………………………… X

3 – M Cream …………………………………………………………………………………. X

Fifth Week  – July 29
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1 – Dishoom ……………………………………………………………… Varun Dhawan

…………………………………………………………………………………. John Abraham

………………………………………………………………………………… Akshay Khanna

……………………………………………………………………………………….. Rahul Dev

………………………………………………………………………. Jacqueline Fernandez

2 – Love Ke Funday ………………………………………………………. Shaleen Bhanot

3 – Mission Tiger ………………………………………………………………………… X

4 – Thunder Madhuri …………………………………………………………………. X

 

In total ………..……… 14 ………..….. films got released in July 2016 . Out of these ……………..….. 14 …………………… released films ………………….. 06 ……………………… films have …………… 17 ……………. artistes , who are trained by me .

Out of these ………………… 17 ………………… persons , …………… 15  ……… are actors and the remaining …………. 02 ……………… Shekhar Ravjiani & Darshan Rathod are Music Directors of  ” Sultan ” & ” Great Grand Masti “ respectively.

 

 

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TV Trivia in July & Vidur Acting Institute :

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1 – Archana Taide is acting in “Santoshi Maa” on QTV.

2 – Manav Gohil is acting in “Khidki” on Sab TV.

3 – Amar Upadhyay is acting in “Saath Nibhana Saathiya” on Star Plus.

4 – Nakkul Mehta is acting in “Ishqbaaaz” on Star Plus.

5 – Angad Bedi is acting in “24” on Colors TV.

6 – Sikander Kher is acting in “24” on Colors TV.

7 – Kamalika Guh Thakurta is acting in “Yeh Rishta Kya Kehlata Hai” on  Star Plus.

8 – Akasa Singh is acting in “Angels Of Rock” on MTV.

9 – Shekhar Ravjiani is judging “The Voice India Kids” on & TV.

10 – Jacqueline Fernandez is judging “Jhalak Dikhla Ja” on Colors TV.

11 – Ganesh Hegde is judging “Jhalak Dikhla Ja” on Colors TV.

12 – Karishma Tanna is judging “Jhalak Dikhla Ja” on Colors TV.

 

My ……………. 12 …………..….. students in ………………… 09 ……………. TV shows .

 

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Theatre in July & Vidur Acting Institute :

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1 – Daisy Shah is playing lead in ” Ek Aur Begumjaan “.

2 – Amita Pathak is playing lead in ” Mr. & Mrs. Murarilal “.

3 – Payal Goga Kapoor is playing lead in ” Hello Darling “.

4 – Kishwer Merchant is playing lead in ” Selfie “.

 

My …………. 04 ………….. students in ………… 04 …………. plays .

 

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Commercials in July & Vidur Acting Institute :

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1 – Sonali Bendre is the  Brand Ambassador of  ” Revital “.


My ………….. 01 …………… student in …………… 01 …………… commercial campaign .

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Summary of July 2016

My 17 students appeared in 06 films , 12 students in 09 TV shows , 04 students in 04 plays and 01 student appeared in 01 Ad .

Thus total number of students working in the month of July  2016 comes to 34

 

Vidur Acting Institute Logo

 

On behalf of all the students & staff of VIDUR Acting Institute , VIDUR Editing Studio , VIDUR Club and VIDUR Merchandise, I congratulate my above mentioned 34 students .

May God bless them for making me proud and they shine in their chosen field .

[ List of released films,  dates and other information have been taken from http://www.bollywoodhungama.com 

Information about Late Mubarak Begum & Late Omi is taken from Wikipedia & http://www.news18.com

I am indebted and I express gratitude. ]

VIDUR

MUMBAI – MAHARASHTRA – INDIA

www.vidur.co.in

www.viduractinginstitute.com

www.facebook.com/vidur.chaturvedi

www.vidurfilms.com

www.youtube.com/ividur

www.twitter.com/VidurChaturvedi

google.com/+VidurChaturvedi

Mr. Karnad’s Speech at Lit-Fest , Mumbai


MUMBAI – MAHARASHTRA – INDIA           NOVEMBER 07 , 2012           11.45 P.M.

This is the text of GIRISH KARNAD‘s speech at the Mumbai Literature Festival, as compiled by Outlookindia.com from various sources.

 

English: Girish Karnad visited Cornell Univers...

Girish Karnad visited Cornell University in Ithaca New York for screening one of his old movies – Kanakapurandhara on October 29, 2009. (Photo credit: Wikipedia)

 

On Friday afternoon at the Tata Literature Live! festival in Mumbai, playwright Girish Karnad surprised audiences with an unexpected and spirited critique of Nobel laureate Vidia Naipaul. Naipaul was awarded the Landmark and Literature Alive’s Lifetime Achievement Award on October 31. Karnad was originally supposed to talk about “his life in theatre” in his session, but instead launched into a scathing critique of Naipaul and the conferring of the award to him

This is what he said at the festival, as reported by Sify:

At the Mumbai Literature Festival this year, Landmark and Literature Alive have jointly given the  Lifetime’s Achievement Award to Sir Vidia Naipaul.

The award ceremony held on the 31st of October at the National Centre of the Performing Arts coyly failed to mention that Naipaul was not an Indian and has never claimed to be one. But at no point was the question raised.

The words Shashi Deshpande, the novelist, had used to describe the Neemrana Festival conducted by the ICCR in 2002 perfectly fitted the present event: “it was a celebration of a Nobel Laureate…whom  India, hopefully, even sycophantically, considered an Indian.”

Apart from his novels, only two of which take place in India and are abysmal,  Naipaul has written three books on India and the books are brilliantly written—he is certainly among the great  English writers of our generation.

They have been hailed as a continued exploration of India’s journey into modernity, but what strikes one from the very first book—A Wounded Civilization—is their rabid antipathy to the Indian Muslim.

The ‘wound’ in the title is the one inflicted on India by Babar’s invasion. Since then, Naipaul has never missed a chance to weigh in against the ‘invaders’, accusing them of having savaged India for five centuries, of having brought, among other dreadful things, poverty into it and destroyed the glorious ancient Hindu culture .

A point that strikes one immediately about these books is that there is not a single word in any of them on Indian music.

Given that music defines our daily existence… you find it in the streets, in the restaurants and so on… you would expect an exploration of India to comment on that. Now Mr Naipaul has written three books on India, three very big books… and not one of them contains any reference to music. He has gone through the whole of India without responding to Indian music.

Now I think this only means he is tone-deaf. That’s my reading of the situation but then there’s no reason why he shouldn’t be tone-deaf. It is a constitutional right we all have. But what happens is that if you don’t understand music, if you don’t respond to music, you can’t respond to Indian history because the real development of Indian culture has been through music. This explains his insensitivity  to the intricate  interweaving of  Hindu and Muslim creativities, through the Bhakti and Sufi movements, that gave us this extraordinary  heritage, alive in the heart of every Indian  home.

What Naipaul’s virulence against Indian Islam conceals is that he has borrowed his model of the history of Indian culture from the British musicologists of the eighteenth and nineteenth centuries, like William Jones. These scholars were acquainted with many other ancient civilizations, such as the Egyptian, the Greek and the Roman. But they were mystified by the fact that while the musical traditions of these civilizations were entirely lost, the Indian musical tradition was alive and thriving.

They decided that this once pure-and-glorious music must have been, at some point during the course of its long history, corrupted and mauled—and they found the villain in the invading Muslim. So, according to them, once upon a time  there was a pristine Indian musical culture, which the  Muslims had disfigured. They therefore ignored the music that was being performed around them and went in search of the true Hindu music.

The foreigners come, they look at Indian culture, they see pristine Hindu culture, they see that it’s corrupted and it’s corrupted by Muslims. So you see, anyone who has read Naipaul’s book will immediately recognise this matrix, which actually he claims that he arrived at through himself but it is already there in any Indological study long before.

In his analysis of Indian culture Naipaul simply borrows this line of argument and reemploys it—as his original perception. And not for the first time.

Naipaul accuses R.K. Narayan of being indifferent to the destruction and death symbolized by the ruins of Vijayanagar, which to him was a bastion of Hindu culture destroyed by the marauding Muslims. But again he gets this interpretation of the history of Vijayanagar  readymade from a book by Robert Sewell called  A Forgotten Empire, published in 1900.

Naipaul, as always in awe  of his colonial sources, simply accepts this picture as the unadorned truth and recycles it wholesale as his own. That historians and archaeologists working on the site during the last century have proved the situation to be much more complex and have shown that religion had little role to play in the conflict is irrelevant to him.

Now again, what he says is predictable, which is that the Muslims destroyed Indian architecture, that everything went to pot. They were the raiders, they were the destroyers, and you have to look at any building to see what happened during the Muslim regime. And here is what he said about the Taj when people argued with him: “The Taj is so wasteful, so decadent and in the end so cruel that I found it painful to be there for very long. This is an extravagance that speaks about the blood of the people

None of us, if we were at the Taj, would think of the extravagance that speaks about the blood of the people! That’s why you get a Nobel Prize, you know.

He brushes off historian Romila Thapar’s argument that the Mughal era saw a rich efflorescence of the mixture of Hindu and Muslim styles, by attributing her judgment to her Marxist bias  and says, ‘The correct truth is the way the invaders look at their actions, They were conquering. They were subjugating.’

To Naipaul, the Indian Muslim remains an invader for ever, forever condemned to be condemned, because some of them had invaders as their ancestors. It is a usage would yield some strange results if applied to the USA.

As for Naipaul’s journalistic exploration of modern India,  mainly in the form of a series of interviews conducted  with Indians right across the board, one must confess they are supremely well written and that he is a master in drawing sharp and precise visuals of the people he talks to and of the places he visits.

What begins to bother one after a while however, is that he  invariably seems to meet brilliant interviewees whose answers to his questions are expressed with a wit and elegance that match his own mastery of the language. Even half-literate interviewees suffer from no diffidence in their expression.

How reliable are the conversations he records?

In a well-known essay Naipaul describes his visit to the National Institute of Design, Ahmedabad, where he stayed with his friend, Ashoke Chatterjee, the Director of the Institute.

In a recent email to me, Mr Chatterjee said, that Naipaul’s essay was “a scenario that could have been, but was not what he actually saw. Fragments of reality, selected and put together, into a collage of pure fantasy.”

Chatterjee’s friendship with Naipaul came to an abrupt end when Chatterjee told Naipaul that his book, A Wounded Civilization, should be classified as fiction.

In a recent book, Naipaul takes up for examination the autobiography of Munshi Rahman Khan, who emigrated to Suriname at the end of the nineteenth  century, and contrasts it with Gandhi’s.

Sanjay Subrahmanyam, the historian, has reviewed the essay in the London Review of Books and it doesn’t take him much effort to establish that Naipaul could only have read a third-hand, truncated translation of the text: “It is as if a reader in Gorakhpur was reading Naipaul in Maithili after the text had passed through a Japanese translation.”

That doesn’t prevent Naipaul from commenting even on the style and linguistic usage of Rahman Khan.

The question surely is by giving him the Lifetime Achievement Award, what statement is being made by the award-givers?

As a journalist what he writes about India is his business. No one can question his right to be ignorant or to prevaricate.

But the Nobel Prize has given him a sudden authority and his use of it needs to be looked at.

One of the first things Naipaul did on receiving the Nobel Prize was to visit the office of the BJP in Delhi. He who had earlier declared that he was not political, “that to have a political view is to be programmed”, now declared that he was happy to be politically “appropriated”.

It was then that he made his most infamous remark: “Ayodhya”, he said, “is a sort of passion. Any passion is creative. Passion leads to creativity.”

Salman Rushdie’s response was that Naipaul was behaving like “a fellow-traveller of Fascism and [that he] disgraces the Noble Prize.”

In the wake of Ayodhya close to 1500 Muslims were slaughtered in the streets of Bombay alone. I was attending a Film Festival in New Delhi when the riots broke out  and received anguished  calls from my friends in Bombay to say Muslims were being pulled out of their homes or stopped in the streets to be killed.

I rang my Muslim editor to say he and his family could use my flat, in a predominantly Parsi building, until the situation became safe.

The great Marathi actress, Fayyaz, whom I finally located after a week in a corner in Pune where she had fled in distress from Mumbai, described how Shiv Sainiks had thrown fire bombs into Muslim slums and how, when the inmates of the houses rushed out in terror, they were shot down by the police as trouble-makers.

Seven years later, in cold blood, Naipaul was glamorising  these  events as “passion”, as “a creative act”.

It is significant that this part of Naipaul’s sociologising was not mentioned in the citation of the Award, or by Farrukh Dhondy, who while  interviewing him, mentioned the book, Among the Believers and then quickly moved to a long-winded account of how he had helped Sir Vidia adopt a cat which thirteen years later was put to sleep lying on his lap—giving  Naipaul another chance to burst into sentimental tears.

Presumably Dhondy was trying to prove how ‘human’ Naipaul was.

But Landmark and Literature Alive who have announced this Award have a responsibility to explain to us where exactly they stand with regard to these remarks by Naipaul.

Naipaul is a foreigner and can make pronouncements as he wishes. But do they mean to valorise Naipaul’s stand that Indian Muslims are raiders and marauders? Are they supporting his continued insistence on  Muslim buildings in India being  monuments to rape and loot? Or are they by their silence suggesting  that these views do not matter?

The Award givers have much to answer for.

 

English: English:An image of most famous India...

An image of most famous Indian Muslims (Photo credit: Wikipedia)

 

[ I have taken this entire piece from the blog of Mr. Shivam Vij dated November 03 , 2012 . It was posted on http://www.kafila.org . I repost the entire speech of Mr. Girish Karnad for the friends and students of my Acting Institute Vidur’s Kreating Charakters , who visit my blog space . I express my gratitude to the writer and kafila.org . ]

Mr. Girish Karnad : Denunciation Continues


MUMBAI – MAHARASHTRA – INDIA           NOVEMBER 06 , 2012          05.30 P.M.

English: Girish Karnad visited Cornell Univers...

Girish Karnad visited Cornell University in Ithaca New York for screening one of his old movies – Kanakapurandhara on October 29, 2009. (Photo credit: Wikipedia)

Today while sitting in the office of  Vidur’s Kreating Charakters , my Acting Institute in Mumbai , I checked my twitter handle as usual . Mr. Kiran KS , whose twitter handle I follow , has posted 12 tweets dedicated to the V. S. Naipaul and Girish Karnad controversy . I was amazed because of the information I got .

These tweets are based on the article of Mr. Pratap Simha in today’s Kannada Prabha , a leading Kannada daily . Mr. Kiran KS has translated the information in English for the sake of non – Kannadigas and tweeted them .

View summary

1) A brilliant article in Kannada Prabha by @mepratap . For the sake of non-Kannadigas, will tweet excerpts now. #Karnad and Naipaul topic.

2) #Karnad calls Naipaul a Muslim virodhi, because of A Wounded Civilization book. The book explains the 5 centuries of invader atrocities.

3) So Mr. #Karnad , what’s wrong in Naipaul telling about the “wound” on a Hindu civilization caused by invaders Ghazni, Ghori, Babur etc?

4) Mr. Girish #Karnad , if Babur cared so much about his birth country Uzbekistan, he could have “developed” that instead of India. Right?

5) In “Thoughts on Pakistan” book, Dr. Ambedkar talks about Muslim mentality,like Naipaul. Will #Karnad oppose Bharat Ratna to Ambedkar too?

6) Naipaul calls Taj Mahal a symbol of invasion. Pooh-pooh’s Romila Thapar’s Hindu Muslim “bhai-bhai” symbol talk. #Karnad , is that wrong?

7) Tell us Mr. #Karnad , fanatic Aurangzeb ordering destruction of Kashi Vishwanath temple in 1699.. was it Hindu-Muslim “bhai-bhai” event?

8) Tell us Jnanapeethi #Karnad, fanatic Aurangzeb ordering Jaziya tax on Hindus… was it Hindu-Muslim “bhai-bhai” event? Why blame Naipaul?

9) #Karnad says Naipaul failed to grasp India as books didn’t cover Indian music. So Karnad, why your books didn’t cover Indian Shilpa-Kala?

10) #Karnad, u criticize Naipaul (not born in India) of not grasping Indian samskriti. But ur book Anju Mallige is about sister-brother sex!

11) Mr. #Karnad ,you got to fame directing SL Bhyrappa’s stories. But once he exposed your Tipu “facts”, you termed SLB books as “ordinary”!

12) When VS Naipaul got nobel, #Karnad termed him the “greatest living literateur of Indian origin”. Now suddenly he’s a Muslim-virodhi??

1st edition (publ. André Deutsch)

1st edition (publ. André Deutsch) (Photo credit: Wikipedia)

Mr. Naipaul’s book ” India : A Wounded Civilization “ is now very much in focus . Mr. Kiran KS has given enough logic in favour of the book and Sir Vidia’s viewpoint . I don’t have any more logic . And I think I don’t have anything new to say about Mr. Girish Karnad and Sir Vidia controversy . I have already posted a blog about it :

Shame On You , Mr. Girish Karnad http://wp.me/ptyXI-2rQ

I , amazingly , got many responses for my blog . Some were in support and some were harsh . Few were very balanced . It’s wonderful to get connected to so many people having such diverse views .

[ I have re – tweeted from the twitter handle of Mr. Kiran KS . These tweets are based on the article of Mr. Pratap Simha published in a leading Kanada daily Kannada Prabha . I express my gratitude to all of them . ]

VIDUR

MUMBAI – MAHARASHTRA – INDIA

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Shame On You , Mr. Girish Karnad


MUMBAI – MAHARASHTRA – INDIA          NOVEMBER 05 , 2012           01.00 A.M.

English: Girish Karnad visited Cornell Univers...

Girish Karnad visited Cornell University in Ithaca New York for screening one of his old movies – Kanakapurandhara on October 29, 2009. (Photo credit: Wikipedia)

In recently held Mumbai Literary Festival , Sir Vidiadhar Surajprasad Naipaul a.k.a. Sir V. S. Naipaul got Lifetime Achievement Award . And then in the same festival he was attacked by Mr. Girish Karnad for being a right – winger and for propagating a skewed interpretation of Indian History . According to Mr. Karnad , Sir Vidia’s view of history is biased , twisted and un Indian .

mayaro, easter 2007 109.jpg

mayaro, easter 2007 109.jpg (Photo credit: vicarsh)

It was shocking and totally unwarranted . Mr. Girish Karnad was invited to speak on his life in theatre . Instead , he went off – topic and criticised Sir Vidia S. Naipaul for being anti muslim . According to Girish Karnad , Sir Vidia is blind to architecture and deaf to music . For being blind to architecture , he quoted Sir Vidia , ” …….. Taj Mahal conjured the toil , sweat and blood that had gone into this vain construction , a monument to death and the memory of a tyrant . “

If this is the cause of lampooning Sir Vidia , then what is Mr. Girish Karnad’s opinion about Sahir Ludhianvi ? Sahir , a Urdu literary figure , wrote a very disparaging nazm about Taj Mahal . I am quoting the nazm with the help of my fading memory .

Sahir Ludhianvi

Sahir Ludhianvi (Photo credit: Wikipedia)

ताज तेरे लिए इक मजहर – ए – उल्फत ही सही ,

मुझ को इस वादी – ए – रंगीं से अकीदत ही सही ,

मेरी महबूब कहीं और मिला कर मुझ से ।

बज़्म – ए – शाही में ग़रीबों का गुज़र क्या मानी ,

सब्त जिस राह में हों सतवत – ए – शाही के निशाँ ,

उस पे उल्फत भरी रूहों का सफ़र क्या मानी ?

मेरी महबूब पस – ए – पर्दा – ए – तश्हीर – ए – वफ़ा ,

तूने सतवत के निशानों को तो देखा होता ,

मुर्दा शाहों के मकाबिर से बहलने वाली ,

अपने तारीक मकानों तो देखा होता ।

अनगिनत लोगों ने दुनिया में मुहब्बत की है ,

कौन कहता है कि सादिक न थे जज्बे उनके ,

लेकिन उन के लिए तश्हीर का सामान नहीं ,

क्योंकि वो लोग भी मेरी ही तरह मुफलिस थे ।

मेरी महबूब उन्हें भी तो मुहब्बत होगी ,

जिन की सन्नाई ने बख्शी है इसे शक्ल – ए – जमील ,

उन के प्यारों के मकाबिर रहे बे नाम – ओ – नुमूद

आज तक उन पे जलाई न किसी ने किंदील ।

ये चमनज़ार , ये जमना का किनारा , ये महल ,

ये मुनक्क़श दर – ओ – दीवार , ये मेहराब ये ताक़ ,

इक शहंशाह ने दौलत का सहारा ले कर ,

हम ग़रीबों की मुहब्बत का उड़ाया है मज़ाक़ ।।

Sahir was a known left – winger and himself a muslim . And he was more strident in criticising Taj Mahal . Mr. Karnad never felt any need to condemn Sahir . But he fired his salvos towards Sir Vidia . Therefore I am forced to believe that it is not for the love of Taj Mahal , but it is sheer jealousy and inferiority complex of Mr. Karnad . Or should I say , it is appeasement of worst order .

Mr. Karnad’s another contention is that Sir Vidia is deaf to music . No one can deny the contribution of muslim singers and musicians in the field of classical music . But along with many muslim classical singers , there are others also like ; Pandit Ravi Shankar , Pandit Hari Prasad Chaurasia , Pandit Shiv Kumar Sharma , Pandit Panna Lal Ghosh , Pandit Jasraj , Pandit Onkar Nath Thakur , Pandit Bhimsen Joshi , Kishori Amonkar , Shobha Gurtu , Rajan Mishra , Sajan Mishra , Jagjit Singh and above all the etherial Lata Mangeshkar and M. S. Subbulakshmi .

If I appreciate the above mentioned singers and artistes , I can’t automatically become a right – winger or a chauvinist or a Muslim – hater .

I denounce Mr. Girish Karnad for being a left – winger . I denounce him for being anti national . I denounce him for being a pseudo – secular and crypto – marxist . I denounce him for being anti – Hindu , and that too unnecessarily . He is himself an okay writer and a third – rate actor . All his Hindi films are testimony to this contention . It is sheer jealousy that he criticized a Nobel Laureate Sir Vidiadhar Surajprasad Naipaul .

He should know that his leftist leaning is exposed . His bias and appeasement is now known to all . His pseudo – secular credentials are condemned .

On behalf of me and my Acting Institute Vidur’s Kreating Charakters , I denounce him in strongest terms .

Shame on you Mr. Karnad !

VIDUR

MUMBAI – MAHARASHTRA – INDIA

www.vidur.co.in

www.kreatingcharakters.net

www.vidurfilms.com

www.twitter.com/VidurChaturvedi

www.jaibhojpuri.com/profile/VidurChaturvedi

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