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Does Big Boss Feel No Remorse In Showing Acts Of Urination On Screen?

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Popular reality TV show Big Boss shows how the weary inmates get up with a slumberous face to Bollywood musical songs and dance to those tunes until the music stops. Is it a novel way to get up from the quota of sleep one secures in one’s daily life?

It has never been included in our indigenous culture. One inmate Srishti Rodhe, after her ouster from the BB house, stated that she would ask her mother to awake her in that particular way. She was supposed to be missing that interesting norm life.

Another astonishing scene erupted during a task performance for the selection of the house captain where the contestants were holding a sword tightly while its blade was encased into solid rock. They were told to anyhow drag it out by applying their respective wits and tactics.

In the middle of the task, one contestant Rohit, who was overheard saying his face was far better than Medha’s, expressed his deep urge to urinate on the spot. He was not permitted to go to the urinal in accordance with the set rules of the task.

Surbhi, the contender, brought the sipper for him and a complete cover of blanket surrounded for him to complete urinating. Bihar’s brainpower Deepak Thakur even advised Rohit to keep his head downwards. He was holding the quilt in an appropriate way.

It was a way to relieve him but there was no need to throw camera focus on this course. Big Boss is a widely viewed television programme, and such an act looked filthy and extremely inappropriate. That was not necessarily needed on a widely viewed reality show.

Though Haryanavi head Romil and ingenious Dipika objected it in their individual style, the Rajasthani girl Somi Khan, who was conducting the task, did not raise her strong voice to this dirty course. Verbal fights and other similar gimmicks could be raising the programme’s rating but how can a covered view of pee do the same thing? Let the bachelor host make it plainly clear.

The post Does Big Boss Feel No Remorse In Showing Acts Of Urination On Screen? appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.


“हत्या के लिए भीड़ को अब नेता नहीं न्यूज़ चैनल उकसा रहे हैं”

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2018 की समाप्ति होते-होते देश पर जो संकट मंडरा रहा है वह संविधान का चौथा स्तम्भ कहलाया जाने वाला मीडिया है। पढ़कर चौंकने की ज़रूरत से ज़्यादा हमें आस-पास देखने और परखने की ज़रूरत है।

आज का माहौल खराब नहीं निंदनीय है। संविधान की शपथ लिए बैठे नेता तो बेकार हो ही गए हैं लेकिन मीडियाकर्मियों की गलती आज देश के लिए घातक सिद्ध हो रही है। बुलंदशहर की घटना चौंका देने वाली इसलिए भी है क्योंकि अब भीड़ से पुलिस भी सुरक्षित नहीं है।

बीते दिन एसएचओ सुबोध कुमार सिंह को गो रक्षकों ने गोली मार दी। सुबोध कुमार एक इन्स्पेक्टर थे और विशेष रूप से वह अखलाक के केस से जुड़े हुए थे। हिन्दू-मुस्लिम बहस ने अब पुलिस को भी नहीं बख्शा और इसका श्रेय किसी नेता के माथे पर नहीं मीडिया को ही जाता है।

इंस्पेक्टर सुबोध। फोटो सोर्स- सोशल मीडिया

मीडिया का काम दूरदर्शन से शुरू हुआ और देश की दूरदर्शिता तक पहुंच चुका है। देश के तमाम मीडियाकर्मी संविधान का रोज़ मज़ाक उड़ाते हुए जनता को गुमराह करते जा रहे हैं। निरंतर बहस का मुद्दा हिन्दू-मुस्लिम पर किया जा रहा है और फर्ज़ी राष्ट्रवाद का झण्डा पुरज़ोर रूप से लहराया जा रहा है।

भारत की पहचान एक धर्मनिरपेक्ष देश के रूप में थी और कुछ पैसों के लिए देश की पहचान को छिन्न-भिन्न किया जा रहा है। आज खबरें सुनाई नहीं जाती बल्कि ज़बरदस्ती का संदेश लोगों के कानों में डाला जा रहा है। देश के अधिकांश लोग टेलीविज़न के माध्यम से ही खबरों का जायज़ा लेते हैं लेकिन मीडिया एक घातक माध्यम बन रहा है।

एक मुस्लिम की पहचान केवल उसकी दाढ़ी व टोपी से तो हुआ करती थी लेकिन उसके खाने को लेकर भी बार-बार बहस की जा रही है। अखलाक की हत्या केवल इसलिए हुई क्योंकि वो मुसलमान था और देश का चौथा स्तम्भ उसकी हत्या पर नहीं उसके मज़हब को लेकर बात कर रहा है और केवल बात नहीं हंस रहा है, हाथ पीटता है या कभी एक हिंदू पंडित को उठाकर बहस करा देता है। जनता बेवकूफ नहीं है लेकिन उसे बनाया जा रहा है।

अगर बात करें तो मुख्य रूप से जिनका नाम इस बेकार की बहस को लाने में है तो वे नाम हैं, अमिश देवगन, रोहित सरदाना, रुबिका लियाकत, सुधीर चौधरी, अंजना ओम कश्यप, राहुल शिवशंकर, नविका कुमार, सुरेश चव्हाणके। रोहित सरदाना का दंगल जिसपर बहस कभी रोहिंग्या मुसलमानों पर होती है तो कभी लव-जिहाद को प्रोमोट किया जाता है और बताया जाता है कि यह बहस कितनी सही है और बाकी ज़रूरी मुद्दे कितने गैरज़रूरी।

अमन चोपड़ा का प्रोग्राम जो कि पहले रुबिका लियाकत भी होस्ट करती थीं उसपर भी हनुमान की जाति तो कभी राम मंदिर पर यह दोनों पत्रकार टेबल पीटते दिखते हैं। यह जानलेवा ज़हर रोज़ आपके टेलीविजन के माध्यम से आपके दिमाग में डालते हैं।

लगभग हर एंकर चाहे वो नविका कुमार हो या अंजना ओम कश्यप, कोई भी इसमें पीछे नहीं हैं। पार्टी के प्रवक्ता को लाना और उनसे सरे आम गाली गलौज़ करना या मौलाना या पाकिस्तान भेज देने जैसे शब्दों का इस्तेमाल करना, आम बात हो गई है। कभी यह एंकर जानबूझकर एक पंडित और दूसरी ओर मौलाना या मौलवी को लाते हैं ताकि बहस को हिन्दू-मुस्लिम के इर्द-गिर्द रखकर टीआरपी बटोरी जाय।

ये पत्रकार नहीं केवल दंगाई का काम कर रहे हैं और ये लोग रोज़ टेलीविज़न पर देश की धर्मनिरपेक्षता की छवि को ऐसी खाई में खदेड़ रहे हैं जिसके कारण कई लोग इसमें झुलस चुके हैं और कुछ आगे भी झुलसे जाएंगे।

देश के लोगों को अब जंतर-मंतर पर प्रदर्शन ना करके मीडिया के दफ्तरों में जाकर करना चाहिए। देश के सबसे बड़े गुनहगार नेता नहीं बल्कि ये सब हो गए हैं क्योंकि नेता केवल कुछ रैलियों तक सीमित हैं लेकिन ये आपके घर रोज़ दस्तक देते हैं। ये कभी हिन्दू-मुस्लिम पर चीखते हैं कभी लव-जिहाद जैसे बेबुनियद मुद्दों पर बहस करते हैं। किसी पार्टी के प्रवक्ता जैसे ये पेश आते हैं और फर्जीवाड़ा फैलाते हैं।

125 करोड़ देशवासियों को तय करना है कि इस खाई से अपने आप को निकाले और सही राह चुने। देश के पास ज़रूरी मुद्दे जैसे शिक्षा, रोज़गार, स्वास्थ्य होने चाहिए लेकिन वह अपने आपको इस बहस का सहभागी बना रहा है। प्रदर्शनकारियों से उम्मीद है अब वो संसद का नहीं मीडियाकर्मियों के दफ्तरों की ओर अपना रुख करेंगे।

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फोटो सोर्स- सोशल मीडिया

The post “हत्या के लिए भीड़ को अब नेता नहीं न्यूज़ चैनल उकसा रहे हैं” appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

देव आनंद की एक ज़रूरी फिल्म है ‘हम दोनों’

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तुम भी सूखी रोटी में यकीन करने वाले हो! जिसने हमेशा पुलाव खाएं हो, उसे सूखी रोटी में कविता नज़र आती है, जो गरीबी से कोसों दूर रहा हो उसे गरीबी में ‘रोमांस’ नज़र आता है लेकिन कविता और रोमांस अमीरों के दिल बहलाव की चीज़े हैं और सूखी रोटी, उसे चबाना पड़ता है, निगलना पड़ता है, पचाना पड़ता है।

गरीबी ज़िन्दगी का एक श्राप है आनंद साहब! जिससे निकलना इंसान का फर्ज़ है, जानबूझकर पड़ना हिमाकत! जो अपने प्यार की खातिर सौ रुपए तक की नौकरी ना पा सका, वह प्यार का मतलब समझाने आया है। तुम आए हो मीता (साधना) से उसका आराम और सुख छीनने, एक सूखी रोटी का वादा लेकर, तो ले जाओ! वह तो है ही नादान। कितने दिनों तक अपने साथ रखोगे, तुम ज़िन्दगी भर उसे इतना नहीं दे पाओगे, जितना मीता अपने एक जन्मदिन पर खर्च कर देती है।

रोज़गार के बिना प्यार मुकम्मल नहीं होगा की सच्चाई आनंद जानता था। मीता के पिता की चुभती बात किंतु ज़िन्दगी की एक हकीकत को अनुभव कर आनंद (देव आनंद) बाहर निकल जाता है। रोज़गार के बिना ज़िन्दगी को जीना कभी मुमकिन नहीं होगा यह सच्चाई और प्यार व ज़िन्दगी को लेकर एक बदलाव उसमें घटित हो गया था। खुद को ज़िन्दगी की हकीकत के लायक बनाने का संकल्प लेकर वह पुराने आनंद को पीछे छोड़ आया था। फौज में भर्ती का विज्ञापन दिखाई देना हीरो के जीवन में नयापन को दिखाने के लिए काफी सटीक था।

Dev Aanad Film Hum Dono Review
फिल्म हम दोनों का एक दृश्य

हम देखते हैं कि आनंद फौज में दाखिल हो जाता है। वहां उसकी मुलाकात अपने ‘हमशक्ल’ मेजर वर्मा से होती है। एक ही शक्ल, एक फौज और एक शहर का संयोग दोनों को नज़दीक ले आता है। इस मोड़ से आनंद व मेजर वर्मा की कहानियां आकर मिल जाती हैं। हमशक्ल होने की वजह से दो अलग इतिहास अनजाने में ही एक दूसरे के जीवन में प्रवेश कर जाते हैं।

आनंद व खुद को एक जगह देखकर मेजर वर्मा कहते हैं-

भगवान में मुझे यकीन नहीं लेकिन किस्मत ज़रूर कोई चीज़ है! वर्ना एक से चेहरे, एक फौज, एक जगह, बड़ी खुशी की बात है!

देश की रक्षा करते हुए, जंग के दौरान मेजर वर्मा गंभीर रूप से घायल हो गए। दुश्मनों के हमलों का डटकर सामना करते हुए इस नाज़ुक हालात को पहुंचे थे। इस हालत में वो अभिन्न मित्र आनंद से अपनी गैर-मौजूदगी या मारे जाने की स्थिति में उनके घर की ज़िम्मेदारी निभाने का वादा लेते हैं। दोस्ती की खातिर आनंद को ना चाहते हुए भी उनकी बात माननी पड़ती है। इस मोड़ से कहानी में नए दिलचस्प मोड़ बनते हैं। उस दिन के बाद मेजर वर्मा यकायक लड़ाई के मोर्चे से गायब हो गए। कुछ दिनों बाद उनके लापता और मारे जाने की खबर मिलती है।

फौज से छूटकर आनंद मेजर और खुद के दायित्वों को निभाने के लिए मेजर के परिवार के पास आया, जहां मेजर की धर्मपत्नी रूमा (नंदा) पति की वापसी का इंतज़ार कर रही थी। इंतज़ार में रूमा बीमार हो चुकी थी। वो आनंद को अपना खोया हुआ पति मान रही, आनंद भी सच नहीं बता सकता क्योंकि रूमा शायद इसे बर्दाश्त ना कर सकेगी। रूमा से हकीकत ज़ाहिर नहीं करना हालात के मद्देनजर उसे ठीक लगा।

Dev Aanad Film Hum Dono Review
फिल्म हम दोनों

अब आनंद को धर्म-संकट से गुज़रना होगा। वो रूमा से पत्नी से ऊपर का नाता रखने का निर्णय लेता है। असली नकली के विपरीत दायित्वों की परीक्षा से गुज़रते वो बहुद हद तक सफल हो रहा था लेकिन इस मोड़ पर एक अप्रत्याशित हकीकत सामने आती है। दर्शकों के नज़रिए से लेकिन आनंद तो उस दिन के इंतज़ार में जी रहा था।

फिल्म के तीसरे हिस्से में मेजर वर्मा को जीवित दिखाया जाता है। मेजर अब वो नहीं रहा, जंग में लापता हुआ मेजर अब अपाहिज था, हारे हुए सिपाही की कमज़ोरी में उलझा हुआ शख्स सा।

बहकावे में व अपनी कमज़ोरी में फंसकर वो रूमा-आनंद के रिश्ते पर शक करने लगा था। पति का मज़ा लेना आनंद की जगह पर होकर आसान था, गलत भावनाएं लेकिन आनंद को डिगा नहीं सकी। वो रूमा का पति नहीं जीवन का देवता होकर जी रहा था। आनंद को इस परीक्षा में सफल होना होगा क्योंकि मीता उसी के इंतज़ार में दुनिया को ठुकराए हुए थी। मेजर को डर था कि अपाहिज हो जाने बाद क्या रूमा अब भी पहले जितना प्यार उसे देगी?

Dev Aanad Film Hum Dono Review
फिल्म हम दोनों का एक दृश्य

असली-नकली या यूं कहें एक जैसे चेहरों के धर्मसंकट से उभरने के लिए आनंद एक योजना बनाता है। हकीकत से रूबरू करने के लिए वो रूमा मीता व मेजर वर्मा को एक जगह बुलाता है। दूसरे की हकीकत से रूबरू होकर पूरी बात को जानना तीनों के लिए ज़रूरी था। स्वयं के प्रति रूमा का असीम समर्पण देखकर मेजर को किए पर पछतावा होता है। सुखद समापन में रूमा को उसका असली पति मेजर वर्मा जबकि मीता को आनंद का साथ मिल जाता है।

साठ दशक में रिलीज़ ‘हम दोनों’ में भारतीय आदर्श व मूल्य कहानी का अहम हिस्सा थे। आस्था-विश्वास एवं पारिवारिक मूल्यों का महत्व बताया गया। दोस्ती वफा में विश्वास कायम किया गया। हमशक्ल के इत्तेफाक पर बनी पटकथाओं में अहम पात्रों के व्यक्तित्व को परखने के लिए कथा में संघर्ष का भाव था। किरदार इसमें विजयी होकर सामने आए। अब उनका व दर्शकों का एकात्म हो गया था। यही खूबसूरती किसी कहानी को सफल बनाती है।

Dev Aanad Film Hum Dono Review
फिल्म हम दोनों का एक दृश्य

यूं तो यह देव आनंद की फिल्म थी फिर भी नंदा व साधना की भूमिकाओं को नज़रअंदाज नहीं किया जा सकता। रूमा व मीता के किरदार आनंद व मेजर वर्मा के किरदारों को मुकम्मल कर रहे थे। पतिव्रता नारी के रूप में नंदा का अभिनय उम्दा था। उधर आनंद की खातिर जीवनभर इंतज़ार करने का संकल्प लिए हुए मीता का किरदार भी।

साहिर के गीतों ‘हर फिक्र को धुएं में उड़ाता चला गया’, ‘अभी ना जाओ छोड़कर’, ‘कभी खुद पर कभी हालात पर रोना आया’ और ‘सदाबहार भजन’. ‘अल्लाह तेरो नाम, इश्वर तेरो नाम’ को बार-बार गुनगुनाया जा सकता है। यह गीत आज भी रेडियो टीवी पर प्रसारित होते हैं। आज भी लोकप्रिय हैं।

Dev Aanad Film Hum Dono Review
फिल्म हम दोनों का एक दृश्य

अभिनेत्री नंदा पर फिल्माया गया भजन हिंदी सिनेमा के बेहतरीन भजनों में एक है। देव आनंद पर फिल्माया ‘कभी हालात कभी खुद’ को भी साहिर के सबसे बेहतरीन गीतों में रखा जा सकता है। जयदेव का संगीत अपने उत्तम स्तर पर था। विजय आनंद की पटकथा हमशक्लों की उलझन को दिलचस्प अंदाज़ में पेश करने में सफल था।

The post देव आनंद की एक ज़रूरी फिल्म है ‘हम दोनों’ appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

Why I Think 2018 Was The Year For Bollywood

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After years of hoping to see magic on screen, 2018 turned the dream into a reality!

The tried and tested formula of Bollywood was revamped, and paved way towards a new theory. The Khan and the Kapoor were replaced by Khurana and Kaushal. The sleazy item numbers were replaced by strong female protagonists, the senseless romantic and action flicks were replaced by thought-provoking and beautiful story-lines. The time had come when our eyes were sick of the same old actors romancing actresses 20 years younger to them, we did not want to see remade versions of iconic art or adaptations (read, ruining) of great novels. We craved for something deeper and meaningful. Cinema is the most powerful form of art; which is why it should be positive. Of course we had some off the edge movies but out of 250-350 movies produced in Bollywood in a year, how many could leave the impact that we craved for? Masaan, A Death in the Gunj, Lakshya, Rang De Basanti were all overshadowed by story-less, objectifying and problematic movies. And this is exactly what differentiated 2018 from the previous years.

The screen was dominated by fresh, out of the box stories and actors. Bold female leads, non-stereotypical gay characters, non-toxic relationships and blissful acting sums up this year. New age directors showcased what Bollywood was truly capable of, heartfelt emotions and surreal biopics left the audience with hope for a brighter industry in the future.

It would be wrong to say that the old formula wasn’t tested again, but it flopped – became a huge box office flop. The item songs, big names, dumb plots and pedophilia romance was not acceptable to the audience; this was an enlightenment not only for the industry but for the viewers who decided that enough was enough!

Online platforms and the quality of media has increased to an unfathomable level. ‘Sacred Games’ and ‘Mirzapur’ have carved a niche for themselves in world cinema, compared to the likes of Narcos and Gangs of Wasseypur, these touched the soul of the Indian youth. Light hearted shows like ‘Lust Stories’ ignited the flame of women representation and provided a large and open platform of accepting women sexual desires. ‘Ghoul’ established itself as coming of the age horror movie.

Millennials have demanded and duly received the cinema they deserve. Acting has taken the supreme seat in the hierarchy of judgement of a movie, followed by a good story. I remember waiting in anticipation to see Pankaj Tripathi and Rajkummar Rao in Mirzapur and Stree. My friends anxiously waited for Nawazuddin Siddiqui in and as MantoKarwaan, Parmanu, Raazi, Tumbbad, Andhadhun, Badhai Ho and the likes go on and we wish that these continue to reach more screens and a greater audience.

It’s time that Bollywood unveils its true capability and we, the people devour it in its true form! 

The post Why I Think 2018 Was The Year For Bollywood appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

6 Reasons Why You Should Be Streaming ‘क Se Crime’

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First: a disclaimer. I am a Mumbaikar and my only exposure to crime stories has to do with Dawood, Chhota Shakeel, Dubai, Cotton Green, Reay Road, and thanks to a decent Bollywood movie on a shootout, Lokhandwala. I don’t know if it was despite or because of my ignorance that I wanted to watch ‘क se Crime’, a documentary series by VICE India, inspired by a new Amazon Prime Original show, Mirzapur. With two punchy episodes out, I am hooked, and can’t wait for more. Stories from smaller towns that I haven’t heard of and of gangs and gang leaders I don’t know of, but with crimes and scams that are unbelievably exciting — are making me wish these guys would put up all the episodes sooner. Here’s why this should be your next binge:


#1: It’ll Make You Wonder Where The ‘Solvers’ Were When You Flunked Your Exam

So, the first episode gives you an insight on how students in UP and Bihar find a way to pass exams. In small towns, government jobs are a gateway to a well-settled life but hardly anyone clears them. This is where the ‘jugaadi kands’ come in, with the Nakal Mafia. I swear I could find myself wishing I could’ve outsourced my final year Business Journalism paper with this type of jugaad. The mafia goes to the lengths of directly contacting the exam centre and even hiring a ‘solver’ aka Mr. Smarty Pants who will go and give the exam on your behalf, maybe even looking like you while doing it. The Solver gets his cut which, TBH, sounds like an amazing way to earn some dough. Knowing how they bypass things like biometrics is amazing.

#2: It’ll Give You Intel On How Gangs Are Formed

I love shows that dive into not just how gangs operate and the racy chase sequences but also the psychology of the criminals, and what goes behind the making of the gangs. The second episode in the series sheds light on the biggest ganglords of the ’90s: Munna Bajrangi, Sri Prakash and Krishnanand Rai. Apart from the spine-chilling events, it gives the viewer facts in a short purview about crimes that have happened in these small towns. At this point, it doesn’t matter where you live or what your background is—true crime and criminal stories like these will have you hooked anyway. 

#3: Your Gun Lingo Will Expand

Before this episode, I had no idea as to what a katta (a small gun) is; it was very popular in the 80s and 90s. I’m enlightened now.

#4: The Writing And Narration Of The Show Are Killer

Vijay Raaz’ narration adds a layer of depth to the riveting info and writing that has gone into the series. You know how you can’t isolate some movies or shows from the voices they feature, because they feel so integral to the package? This is one of them.

#5: It Doesn’t Require A Heavy Investment Of Time

The shows are snappy, ranging from 4 to 8-something minutes. Compared to the long web series that have the potential to hijack our entire lives, I appreciate how these can be consumed quickly and without losing interest at any point.

#6: The Backing Show Has Mad Indie Credit

Just look at the indie gods that feature in Mirzapur (Pankaj Tripathi, Ali Fazal, Vikrant Massey FTS!). To pull off content inspired by a powerful story with powerful characters requires not just guts but great production and research. Thankfully, this delivers on all counts.

Check out the rest of this docu-series on Vice.com.

 

The post 6 Reasons Why You Should Be Streaming ‘क Se Crime’ appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

2018 Was Bollywood’s ‘Karwaan’ Towards Breaking Cultural Stereotypes

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Growing up in the capital, I have lived, breathed and explored every inch of Delhi. Sometimes the representation of Delhi in certain movies irks me to the core. But, sadly, India is dominated by north India and our counterparts in the West, East and South are left behind. Glared with racist and stereotypical remarks and used as an element of fun, Bollywood has done enough injustice to the unique culture that every state of India holds. 

The usual Tier A cities and their glorification has been prevalent for a long time. Very few movies have actually touched upon the lives of rural India and Tier B and C cities. Representation in movies has always been an issue. South Indian films and even Bengali cinema have given the Indian film industry unparalleled movies and gems to cherish. But, the Bollywood has been blatantly copying and remaking these films.

Apparently, every South Indian is a ‘Madrasi’ who is dark and constantly uses ‘Ayyo’ and ‘Amma’ in their conversations. The food habits have been largely offensive and shown in an extremely problematic way. Ra.One, Chennai Express, 2 States are some of the movies which reinforce these stereotypes that have been plaguing the minds of people since eternity.

Karwaan is a 2018 movie directed by Akarsh Khurana and stars Dulquer Salmaan, Irrfan Khan and Mithila Palkar in the lead roles. Avinash (Dulquer) is an IT guy working in Bangalore who embarks on a journey from Bangalore to Kochi via Ooty. Basically, Karnataka, Kerala and Tamil Nadu in a single movie without any stereotypical notions or forced eating. To be clear, I have always cherished my visits to the South, I have been to Andhra Pradesh and Tamil Nadu and have always been fascinated by them; and seeing them unravel on screen was sheer pleasure! The movie imbibed the culture, the grand ‘postponed’ wedding, the big south Indian house; there was something about the places which made me feel a deep and instant connection. The cinematographer, Avinash Arun has done an impeccable job in capturing the true essence of these picturesque landscapes, which are kept hidden under the blanket of North hegemony.

One scene which has particularly stayed with me was the one where the trio go to Nambiar’s house and the man could only respond back with his name due to a large language barrier. There has always been an agitation about adopting Hindi as the ‘National’ language of India. Other than the North, rest of India is not well versed and fluent in the language. This scene particularly houses a deep significance within itself.

2018 has been a beautiful year for Bollywood with stories which have made us evolve into better humans!

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Allama Muhammad Iqbal: An Internationally Acclaimed Personality

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It happens quite rarely when a name actually defines the holder’s attribute or sign. ‘Iqbal’ is an Urdu word which means ‘highness’. Allama Muhammad Iqbal did absolute justice to his name and its worth. He achieved highness in his poetry and his philosophical concepts. His ultimate success made him an inspiring legendary figure. His universal thoughts about mankind, self-awareness and self-development not only inspired Muslims or Eastern regions rather they also seemed to be affecting the whole World. Iqbal’s views on the Western world were appreciated by men including United States Supreme Court Associate Justice William O. Douglas, who said that Iqbal’s beliefs had “universal appeal”.

Soviet biographer, N. P. Anikoy from England wrote:

“Iqbal is great for his passionate condemnation of weak will and passiveness, his angry protest against inequality, discrimination and oppression in all forms i.e., economic, social, political, national, racial, religious, etc., his preaching of optimism, an active attitude towards life and man’s high purpose in the world, in a word, he is great for his assertion of the noble ideals and principles of humanism, democracy, peace and friendship among peoples”

Chinese students of Beijing Foreign Studies (BFS) University took a keen interest in Allama Iqbal’s thoughts and his impressive personality after studying him passionately. They got inspired to the extent that they are willing to become Urdu poets in the coming future. The birth anniversary of Allama Iqbal is celebrated by them every year. Among Chinese Urdu book writers is Zhang Shixuan who happens to be a prominent name, attended that birth anniversary ceremony recently, and told the students about the life, reviews, and services of “The Poet of East” as to how he raised Muslims from abysmal hopelessness.

On 6 November 2017, a three-day conference on Allama Iqbal was held in Islamabad, Pakistan in which many renowned and respectable international personalities participated. Dr. Alan, Abd-al-Haqq Godlas, University of Georgia, USA, Prof. Dr. Hug Van Skyhawk, Department of Science and Religion, Basel University, Germany, Dr. Geldimyrat Muhammedov, Head of the Department of History, Institute of Manuscripts, Academy of Sciences, Turkmenistan, Dr. Zhou Chuanbin, Lanzhou University, China, Dr. Irina N. Serenko, senior research scholar, Institute of Oriental Studies of the Russian Academy of Sciences, Prof. Piotr Kodkowski, Centre for Comparative Studies of Civilizations, Jagiellonian University, Cracow, Poland addressed the sermon and spread light on Iqbal’s concepts about humanity, its untidiness and its peaceful existence. They all stated that the need of today’s hour is to follow these guidelines instructed by Iqbal.

Allama Iqbal’s poetry, which he originally wrote in Urdu and Persian, has been translated into many languages like English, German and French, and have garnered huge admiration. Iqbal Academy Pakistan gathered, sifted and processed the information about all his work written in foreign languages. Moving through a different levelled procedure of judgments, Gabriel’s Wing- A Study into the Religious Ideas of Sir Muhammad Iqbal (1963, rpt. 1989) written by Prof. Dr. Annemarie Schimmel (German Orientalist), was declared the best book on Iqbal for the period 1947-81.

The post Allama Muhammad Iqbal: An Internationally Acclaimed Personality appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

आधे दिल से बनाई गई फिल्म ‘केदारनाथ’इन वजहों से देखी जानी चाहिए

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रॉक ऑन’ और ‘काई पो चे’ जैसी फिल्में बनाने वाले अभिषेक कपूर की फ़िल्म ‘केदारनाथ’ रिलीज़ हो चुकी है। नवोदित सारा अली खान एवं सुशांत सिंह राजपूत के नामों से सजी कहानी केदारनाथ प्राकृतिक आपदा के इर्द गिर्द बुनी गई है। सैफ अली खान एवं अमृता सिंह की बेटी सारा अली खान की डेब्यू के लिए फिल्म का लम्बे समय से इंतज़ार था। फिल्म से गुज़रकर इंतज़ार बेमानी नहीं लगा।

सारा ने पहले ही एफर्ट में काफी प्रभावित किया है। सारा ने सहज-सरल और सुगम अदाकारी की अच्छी मिसाल कायम की है। सारा अली खान सधी हुई अभिनेत्री लगी हैं। सुशांत सिंह राजपूत ने मंसूर के किरदार के लिए काफी मेहनत की है। मंसूर के किरदार में उनका अभिनय निखरा है। सुशांत एवं सारा के लिए फिल्म देखना बनता है। फिल्मांकन भी उसे देखने की एक बड़ी वजह हो सकती है। फिल्म कहने में लेकिन मात खा गई है।

केदारनाथ की जब घोषणा हुई तब एक उम्मीद जागी थी कि हिंदी सिनेमा अब प्राकृतिक आपदाओं को डॉक्यूमेंट कर रहा है। पहली बार भी नहीं क्योंकि इमरान हाशमी की ‘तुम मिले’ में मुंबई की बाढ़ पर फिल्म बनी थी। केदारनाथ आपदा ने कई घरों को उजाड़ा, परिवार बर्बाद हो गए, ज़िंदगियां तबाह हो गईं, हज़ारों हमवतन हमेशा के लिए खो गएं। अभिषेक कपूर की फिल्म ने उसी स्मृति को एक कहानी के ज़रिए अच्छे से जीया है। लव स्टोरी के साथ केदारनाथ के वो मंज़र बड़े पर्दे पर उतारने की कोशिश हुई है। फिल्म को इस नेक कोशिश के लिए ही देखना बनता है।

प्रेम अमर होता है, इसलिए प्रेम कहानियां भी अमर होती हैं। दो पात्र होते हैं, संघर्ष के लिए अलग इतिहास व वर्त्तमान होता है, आकर्षण होता है, प्यार के समानांतर नफरत होती है। पात्रों के परिवेश में एकरूपता का ना होना आम होता है। कभी लड़का गरीब तो लड़की अमीर। कभी लड़की हिन्दू तो लड़का मुसलमान। इनके प्यार के सामने आग का दरिया होता है, परिवार एवं हालात दोनों खिलाफ होते हैं, लेकिन अक्सर अंत तक सब ठीक हो जाता है, सुख देता है।

कहानी ज़िद्दी, खुशमिज़ाज और अल्हड़ मंदाकिनी उर्फ मुक्कु (सारा अली खान) से शुरू होती है। मुक्कु हिन्दू परिवार से आती है, ऊंची जाति वाली मुक्कु को तीर्थयात्रियों को कंधे पर ज़्यारत कराने वाले मुस्लिम लड़के मंसूर (सुशांत सिंह राजपूत) से मुहब्बत हो जाती है। इनकी मुहब्बत में साठ दशक की फिल्म ‘जब-जब फूल खिले’ की छाप नज़र आती है। समाज को दोनों का प्यार पसंद नहीं। प्यार को तोड़ने की भरपूर जद्दोजहद शुरू हो जाती है।

मुक्कू केदारनाथ के सबसे बड़े पंडितजी की बिटिया है जबकि मंसूर मामूली मज़दूर यह प्रेम नामुमकिन सा लगता है। अलग धर्म की वजह से दो प्रेमियों की राह में काफी अड़चनें आती हैं। दो समुदायों का जातिगत व सामाजिक मतभेद खाई बनता है। नफरत की राजनीति के समय फिल्म नेक संदेशों की तरफ की है।

‘केदारनाथ’ पहाड़ों और वादियों में बुनी गई एक नेक कोशिश है। हिमालय की खूबसूरत तस्वीरों को बेहद खूबसूरती से फिल्माया गया है। स्थानीय परिवेश को बढ़िया से रचा गया है। रहने वालों के दरम्यान निराला रिश्ता है। अभिषेक कपूर- कनिका ढिल्लन की स्क्रिप्ट सेक्युलर भाव से शुरू होती है। लेकिन मंदाकिनी व मंसूर का प्यार समीकरण बदल देता है। एक समय प्रेम से साथ रहने वाले लोग मुहब्बत को प्रेस्टिज का विषय बना लेते हैं, धर्म पर आन पड़ी आंच हो मानो। प्रेमियों को अलग करने के लिए पंडितों और पिट्ठुओं के बीच ठन जाती है। इसी बीच केदारनाथ की प्राकृतिक आपदा भी आ जाती है। प्रेम पर होने वाले प्रहार व आपदा में एक संबंध सा था शायद। फिल्म कुछ ऐसा ही इशारा करती है। प्रलय को प्रेमियों के साथ हुए अत्याचार से जोड़ा गया है।

धार्मिक स्थलों पर उमड़ती भीड़, टूरिज्म के लिए होटल और इमारतें, कुदरत का पहलू इन सबको जोड़ती प्रेम कहानी। किसी भी नए कथन के लिए यह चीज़ें कमाल की हो सकती थीं लेकिन हो नहीं सकीं। सम्भावना पराजित सी हुई है फिर से बॉलीबुड में। अभिषेक कपूर की ‘केदारनाथ’ बहुत बेहतर हो सकती थी, जाने क्यूं आधे दिल से बनाई गई।

The post आधे दिल से बनाई गई फिल्म ‘केदारनाथ’ इन वजहों से देखी जानी चाहिए appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.


‘Aankh Maare’ Proves #MeToo Is A Convenience For Society

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In case you didn’t know – and there is every chance you don’t – Mika Singh was arrested and hauled off to jail for sexually harassing a minor in Dubai. Mika is a usual suspect,  he has been involved in two other similar incidents. What’s interesting is that the Indian Consulate in Dubai interfered and has made some sort of respite for him. Meanwhile, a popular radio station is blaring the song that he belted, ‘Aankh Maare’, from the Ranveer Singh, Sara Ali Khan starrer, “Simmba”.

This is quite different from the time that another actor was hit with allegations of sexual harassment – Nana Patekar. Everyone knows that incident by now and everyone knows the aftermath. He had to cancel a press conference, his role in the Housefull 4 film was chopped off. His legacy was questioned, so on and so forth.

For Mika, who is a respondent to a prompt case that will become a global spectacle, the song is still blaring on the airwaves, with nobody asking Rohit Shetty or Ranveer Singh or Sara Ali Khan questions about how can the song still be played. For the record, Ranveer and Sara have no say in this, but let me elaborate.

After the #Nanaspectacle happened, every press conference that I attended had one #MeToo question. Kay Kay Menon was asked this question during the press conference for an ALTBalaji web series. Kalki Koechlin and Gulshan Deviah were asked during the press conference of their web series, Smoke – in the spotlight, under the glaring bulb. It’s been nearly 48 hours that news of Mika Singh being arrested surfaced – and no celeb has gone in a frenzy, radio stations aren’t saying we are not going to play that particular song. Mind, please, Mika Singh was arrested – that means there was proof of a crime committed. Nana’s legacy was questioned because of an alleged incident that happened a decade ago.

Come to think of it, this makes such great headlines. Rohit Shetty is known for his male-dominated films. His screenplays reek of machismo and being gung-ho. He is best friends with some of the hottest guys out there – a boy’s club, if you may. So, why hasn’t any enterprising journalist put 4 and 4 together and made 4 crore? Is it because Rohit is affable and ‘doesn’t seem’ like he’ll condone such behavior? What about Nana Patekar’s charm? Or is it because nobody wants to lose a slice of the Simmba behemoth, that has a blockbuster written all over the trailer itself?

It would be awkward, for celebrities and media personnel to rile up about Mika and then wish Ranveer and Rohit a ‘hearty success for Simmba’. And who wouldn’t want to pose with Ranveer or Rohit while they are off promoting Simmba?

Housefull is very different from Simmba. Housefull is a mad-cap comedy franchise that was on its last legs anyway. Unless Nadiadwala did a publicity blitz, the film would come and go at the theaters and nobody would have bothered. Everyone went hammer and tongs at Nana, knowing that they don’t have anything to lose.

With Simmba, the case is different because every media house wants a post-wedding interview with Ranveer. Everyone wants to know from Sara Ali Khan who’s hotter, Ranveer or Sushant Singh Rajput. Not who’s the better actor, but who’s hotter.

This is what we mean when we say that the #MeToo movement of the West is different from that in India. Kevin Spacey and Harvey Weinstein, both have had their careers decimated. Both have had personal as well as professional losses. Their name is mud. But in India, a respectable actor’s name will forever be attached to the #MeToo movement, but someone who had the audacity to kiss Rakhi Sawant on stage, non consensually, will continue to belt out chart busters.

The post ‘Aankh Maare’ Proves #MeToo Is A Convenience For Society appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

Shouldn’t The Age Of #MeToo Also Make Us Question The Sexism In Popular Music We Enjoy?

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The neighbors might think (Baby, it’s bad out there)  

Say, what’s in this drink? (No cabs to be had out there)  

I wish I knew how (Your eyes are like starlight now)  

To break this spell (I’ll take your hat, your hair looks swell)  

I ought to say, no, no, no Sir (Mind if I move in closer?)  

At least I’m gonna say that I tried (What’s the sense in hurtin’ my pride?)

 The above mentioned lines have been taken from a popular Christmas song ‘Baby, It’s Cold Outside.’

The song created a buzz in the USA after it was banned last week from an Ohio based radio channel Cleveland’s WDOK.

The radio channel claims the song’s lyrics are sexist. The show’s host Glenn Anderson quoted on the station’s website, “I do realise that when the song was written in 1944, it was a different time, but now while reading it, it seems very manipulative and wrong. The world we live in is extra sensitive now, and people get easily offended, but in a world where #MeToo has finally given women the voice they deserve, the song has no place.”  

The controversial ban on the song comes at a time when #MeToo stories are flooding social media and our lives. Anderson is appropriate when he says that 1944 was a different time and the time we are living is completely different. Women have become more aware about the nuances of their identity, more vocal about their rights and their place in the society. A wave against gender biases is rising, stemming from the long fight women have fought, for equality.

The fact can be shocking for today’s generation that the song in question featured in a movie called Neptune’s Daughter and won the Oscar for Best Original Song.

‘Baby, It’s Cold Outside’ is a song that is biased towards the view that every demand of a man should be fulfilled, regardless of a woman’s consent. The woman in the song can heard denying to be with him while the man forcefully insists her to stay. She even clearly states, no, no, no…

 No is a complete phrase in itself.   

It is of no surprise that WDOK has banned the sexist song. What is shocking is that the radio station has been receiving requests by the audience to remove the ban and run the song on-air.   

Like in 1944, even today, most rap and hip-hop songs are usually sexist. Many of them portray a very twisted picture of women. Most popular Punjabi songs in India portray women as greedy and disloyal gold-diggers.

 Who is to be blamed for such issues? Are the songwriters responsible or the audience that encourages and consumes such sexist songs? The issue calls for a debate that explores the problem in-depth, simply because sexism and patriarchy has occupied a rooted place in people’s minds.

Image source: mizodagy/YouTube.

The post Shouldn’t The Age Of #MeToo Also Make Us Question The Sexism In Popular Music We Enjoy? appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

Photography: An Unlikely But Positive Influence On Social Justice And Global Communication

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Social justice must be lived and realized in everyday life, it doesn’t necessarily belong in the courtroom. Social justice must be practised by exercising rights we are entitled to and by realizing the broad constitutional values of equality, freedom, and dignity through proactive action that together contributes to collective justice. Which means each one of us is to stand accountable. But, sometimes we need a mirror to show us the face of justice.

How does a photographer fit into this role? Well, a photographer’s role in society is to bring to the shore the world of people, their spaces and time hitherto invisible to the naked eye. The beauty of a photograph lies in its encapsulation of time but it’s purpose beyond that beauty.

Though, a photographer’s role in society has evolved over time, from documentation, reporting and mere facilitation of information to presenting photographs that tell a story to bring about change and to show the unseen. Photographers have fostered initiatives towards conservation, sustainable development goals and sensitized on global issues of human rights violations.

Picture by Astitva Singh

 

As a child rights activist, I have seen in my everyday work that change in the global ‘post-truth’ society has impacted the nature of global communication in reporting. Pictures supplementing written work, performing the role of ‘giving an account through imagery’ of the event or a particular circumstance is merely sharing of information, whereas the idea of a photograph can extend to substantiating and reinforcing complexities of socio-economic contexts in order to sensitize and mobilize.

For example, the documentation of Bhopal Gas Tragedy by Raghu Rai and Pablo Bartholomew have had a significant role in stirring hearts and turning people’s attention to the horrors of unmonitored commercial and industrial enterprises. Even after 31 years, the photos of Raghu Rai chill our bones in agony and despair for the injustices suffered by the victims of these enterprises.

In an interview, Rai says,“I didn’t want [the moment] to be covered up and buried away because, for me, this expression was so moving and so powerful to tell the whole story of the tragedy.” A campaign for justice for survivors of the Bhopal Gas Tragedy was launched in view of the striking pictures taken at the site of the tragedy.

Photographs are a way of giving back!

The post Photography: An Unlikely But Positive Influence On Social Justice And Global Communication appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

Dear Journalists, Haven’t You Realised India Doesn’t Want To Know What You Want To Show?

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Censorship: The suppression or prohibition of any parts of books, films, news etc. that are considered obscene, politically unacceptable, a threat to society, or subversive of the common good.

Blank space. Backspace. Strikethrough.

Coffee brewed. Diplomatic issues. Prudent avenues.

Deceptive reviews. Rating and revenue. A fabricated world view. Sweet fondue.

Write. Delete. Write. Bleed. And, rue.

Journalism: The activity or profession of writing for newspapers, magazines, or news websites or preparing news to be broadcast.

That is, how ruthlessly the dictionary defines an art that governs our self governance,

that is an echo of our voices in the chaotic oblivion of statistical theses,

that is far beyond just a mechanical preparation of “news to be broadcast”.

Journalism is the known amidst the unknown; it is a pair of watchful eyes staring into the void, for what is an unconscious void to the commoner is a saturated consciousness looming on the brink of devastation to a journalist.

Journalism is a subjective truth,

Journalism is the objective lie,

And, amidst the roars of aggressive activism, it is the heaviness of a helpless sigh.

It is,

The mistress of mayhem,

The custodian of conspiracy,

The curator of controversy,

The sour columns and the syrupy stories,

The Times New Roman, size 9,

The Georgia Print of the uneducated Education Times,

The Verdana dominating the headings, and oh, it looks so fine,

The words all left aligned,

The systematic, symmetrical design, and the frivolous front-page headline,

The defamations, revelations, and mascaras maligned,

The eyes of a child, the frowns of the youth, and the miseries of the benign,

But when those eyes penetrate the pretty paragraphs and the euphemistic chaff, and start reading between the lines,

Dear journalists, that is where it lies, your last deadline.

Until then, take your time.

Write us something juicy and sensationalised.

Distract us from the latest money laundering scam that passed as ‘policy reform’ by publicising a minister blurting words so imbecile.

Tell us about prospective assassinations and 60 years of ruthless domination.

Tell us about the cows and your delicately planned proselytisation.

Tell us about the Hindu-Muslim division and all your fancy-schmancy 1977 anti-nationalism.

Dear journalists, how have you not realised?

India does not want to know what you want to show.

We don’t intend to water the seeds that you want to sow.

We are the ages which seek investigative journalism that preys, hunts, and kills.

We are not the ages which seek diplomatic conversation that suggests, persuades, and deceives.

We breed on news, on information,

We cannot clutch on to shreds of outdated, falsified news while we press the button and cast our vote,

Democracy dies with journalism, quote unquote.

With residents unaware of the man on the pedestal, and residents unaware of the one standing beside them,

Leaders turn into caricatures and cartoons, over breathing human beings, because that’s all that we’ve seen.

And our faith in journalism is slowly chipping away,

It is rusting, eroding, and diminishing until all that exists is the archaic Word with no meaning of its own,

We are only a step away from the calamity when journalism will have no definition and no application, because why refer to it as ‘journalism’ when ‘fiction’ conveys the same?

We won’t know, if journalism is a part of fiction or a part or fact because it would have become too fictitious to be a fact, and too factual to be a tale,

For it would have become so consumed by contradiction,

So choked by restriction,

From the names, to the designations, to the diction,

I’m soaked in the weight of blind regulation.

The clickbait,

The broken business model,

The political propaganda,

The polarisation,

It is maddening, isn’t it? When the length of the knife begins at a carved hollow and ends at the hand that created it, which surprisingly belong to the same body?

And, after delving a knife within your own chassis, you complain about the stench of blood as it trickles down to your feet?

But, I wash these notions away from my aged soul and sip my morning tea.

The headlines printed beside pornographic images, that are seen yet unseen,

The emboldened, italicised red letters that we are too terrified to read,

The lowering intelligence quotients and varying needs traded for the holy currency,

The fingers gliding across phone screens, skimming through their “personalised news feeds”,

The stories stitched around sinister deeds,

The moral immorality, the illegal legality, and the same greed.

The torment of truth withheld and the burden of truth freed.

The crisp sound of freshly printed newspapers, the warm aroma of morning tea, the creaking of old chairs, the footsteps on linoleum floors, and the clatter of ceramic cups,

The nation has risen to read, the entwined tales of dictatorship and democracy,

Only to be fed the incomplete, harrowing language of vacant words and deformed sentences that are printed on thin, white papers with pretty advertisements and flattering agreement,

That have printed upon their translucent surfaces the vivid descriptions of proportionate waistlines, porcelain skin, plumped lips, painted tufts and tresses,

Oh, tell me about the sensational lives of actresses,

The curves of cleavages,

The provocative expressions on young faces,

And the chronological timeline of the latest rape case described with emotionless detail across unending pages,

Tell me about the new saints and sages,

The true journalists imprisoned within bureaucratic cages,

And, this is how the readership suffocates itself with images of red carpets while no one mentions the unpaid minimum wages.

The rebellions with hurricanes of passion, that only leave traces of intentional issues created on unbalanced stages.

The gag, the rope, the noose, the knives, the loaded rifles,

Welcome to the exhibition of all the journalists we stifled.

The pen that shivers and the blots of ink that splatter across plain, white sheets like bloodstains on battlefields.

The crematorium of realities masqueraded beneath a sheet of jargon too soft, too sweet, too cordial with deceit.

I don’t know what we have become and I don’t know what we are becoming,

We are the centuries of audacious poetry compiled into the generations of history, etched across the decades of etymology, and devoured in these years of blasphemy, with writers strangled by censorship, monetary necessity, political popularity, and social media profanity.

We are the months, the weeks, the days, the hours, and the minutes that pass by at the railway station, in the taxi, in the conference room, in the classroom, at the work desk, at the market, and in the seconds before you fall asleep to the distant quiet within your own disquiet, and in the tally of breaths you live by, that are detained within the echoing emptiness of your routine existence,

We have become slaves, not to our suppression but to our own aimless resistance.

We are the helplessness of the poor newspaper seller who reads his time away, in hopes of witnessing change,

We are the suffering of those compelled to dissent on the roads, and we are the privilege of those who lament within air-conditioned condos,

Unknown to the daily rhythms of red tape and money hungry systems, unknown to the dried blood on those government files, ink pens, and sindoor soaked foreheads,

Unknown to the cemetery of men and women who have been buried under these polished marble floors, their recklessness far too intimidating for these hazed hallways, their voices far too loud for these hushed corridors.

Journalism today is a graveyard of all the truths that are not allowed to be spoken.

It is a graveyard, not of the martyrs who died with the bitterness of truth lingering on their lips, but of those who surrendered to the sweet swish of the whip.

It is a graveyard of those who diluted the essence of journalism by never disclosing that oftentimes, the ones who sow flowers on their skin, also submerge their soul in sin.

And so I conclude,

Journalism is an act of war.

If you are bleeding dissertations of destruction,

If you are weeping tragedies of truth,

While having laid your head on the mouth of a guillotine,

While being tied down with the chains of censorship,

Then, aren’t you a soldier too?

The post Dear Journalists, Haven’t You Realised India Doesn’t Want To Know What You Want To Show? appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

सेवा भाव का संदेश देती फिल्म है ‘डॉक्टर प्रकाश बाबा आमटे’

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हम सभी रियल हीरोज़ अर्थात विजेताओं को पसंद करते हैं। यह लोग ही हमारे असल लीडर कहे जाने चाहिए। प्रकाश व मंदाकिनी आमटे एक ऐसे ही नाम हैं। यह दोनों हमारे सच्चे प्रेरणा स्रोत हैं। इन दोनों के जीवन पर बनी समृधि पोरे की ‘डॉक्टर प्रकाश बाबा आमटे’ देखी जानी चाहिए। आदिवासियों एवं मानवीयता के हित में जीवन मोड़ देने की प्रेरणादायक कहानी इस फिल्म का विषय बनी। प्रकाश व मंदा आमटे को सेल्युलाईड पर लाने का सराहनीय काम मराठी सिनेमा की ओर से आया।

फिल्म इंसानियत व सेवा भाव की राह में जीने के मायने समझने का अवसर देती है। एक ऐसा एहसास कि हमारी ज़िन्दगियों में ऐसे ही इंकलाब की ज़रूरत है, क्योंकि मिशन के लिए जीना स्वयं की खातिर जीने से बेहतर हुआ करता है। इंसानियत ज़िन्दगी का एक संवेदनात्मक पहलू है। जीवन को बहुआयामी परतों में देखने का नज़रिया हमें अपने प्रेरकों अथवा आदर्श लोगों से नज़दीकी संवाद का अवसर देता है।

फिल्म डॉक्टर प्रकाश बाबा आमटे का दृश्य। सोर्स- Youtube

संदेश मायने रखता है कि आदर्श व्यक्तियों की ज़िन्दगी सामान्य लोगों से बहुत अलग नहीं होती। फिर भी वो महान रास्ते तय करने वाले होते हैं। हमें भी उनके समान सकारात्मक कार्यों के लिए कदम उठाने चाहिए।

जीवनसाथी के साथ गुज़रा हर लम्हा खूबसूरत नज़रिए की चाह रखता है। समृधि ने हलके व गंभीर लम्हों से प्रकाश आमटे की कथा को आयाम दिया है। यादगार अवसर को उत्सव की तरह गांव वालों ने मनाया। बात पुरानी लेकिन महत्वपूर्ण यह कि गदचिरोली के घने जंगलों में जब रौशनी भी इजाज़त लेकर दाखिल हुआ करती थी, भय व अंधकार के उस ज़माने में नवविवाहित प्रकाश व मंदा आमटे ने जंगलों में जाकर काम करने का हौसला दिखाया। आदिवासियों के उत्थान को मिशन बनाया।

फिल्म डॉक्टर प्रकाश बाबा आमटे का दृश्य। सोर्स- Youtube

इस महान सेवा की इस मिसाल को अमेरिका में भी सराहा गया। आमटे परिवार के सेवा भाव सफर की मंजिलें अभी और भी थी। अबूझमाड़ पहाड़ों की वादियों में बसे हेमलक्सा में आमटे आज भी एक समर्पित जीवन बीता रहे हैं। आदिवासियों का जीवन संवारने की राह में नक्सलवादी ताकतें एक बाधा थी।

गुमराह करने की शक्तियों के बीच आदिवासियों की तरफ खड़े रहना एक कठिन निर्णय था। फ्लैशबैक में कथन से अतीत व वर्त्तमान के दरम्यान फासलों को संकलित किया गया, जो अंततः फिल्म को खूबसूरत बनाती है। इस गंभीरता की दूसरी ओर हेमलक्सा की नैसर्गिक भव्यता से आंखों को लुत्फ मिला है।

सत्तर के दशक के आरंभ में बाबा आमटे डंडाकारण्य व भाम्रगढ जंगलों की एक यात्रा में युवा प्रकाश को साथ ले गए। इन इलाकों में बसे आदिवासियों की बदतर हालात देखकर मन में एक मिशन का जज्बा बना। धरती के पूर्वजों के हित में एक योजना उसी संवेदना का परिणाम थी।

नौजवान प्रकाश बुजु़र्ग पिता के मिशन से भागीदारी की हद तक प्रभावित हुआ। पिता के साथ की यह यात्रा प्रकाश आमटे के जीवन में निर्णायक मोड़ साबित हुई। डॉक्टरी की शिक्षा लेने के बाद धन की बजाए समाजसेवा से नाता जोड़ा। विवाह उपरांत पत्नी मंदा के लिए एक मंज़िल इंतज़ार कर रही थी। कहानी को वास्तविक रखा गया है, व्यक्तित्वों पर आधारित फिल्में इसी मिजाज़ की होनी चाहिए। आमटे दम्पत्ति को घटनाओं व परिस्थितियों के उजाले में प्रेरक दिखाया गया है।

फिल्म डॉक्टर प्रकाश बाबा आमटे का दृश्य। सोर्स- Youtube

किसी के जीवन व कर्म पर आधारित कहानी में यथार्थ बातें होनी चाहिए। स्मृधि ने फिल्म में वास्त्विकता को महत्व दिया है। नाना पाटेकर व सोनाली कुलकर्णी ने शीर्षक किरदारों को बेहतरीन अंदाज़ में निभाया है। इसके लिए दोनों प्रशंसा के पात्र हैं।

नाना पाटेकर की आमटे परिवार से पुरानी जान पहचान रही है। साथ काम करने का अनुभव नाना व सोनाली को यहां काम आ गया। युवा प्रकाश को सुशांत एवं युवा मंदाकिनी को तेजश्री प्रधान ने आवश्यकता अनुसार अदा किया। आदिवासियों के दखल बिना फिल्म बन नहीं पाती, आधार वहीं था। यहां आदिवासी भीड़ नहीं बल्कि कलाकारों की तरह नज़र आए हैं।

आदिवासियों की नयी पौध गुमराह होने में पुलिस के रोल की व्याख्या फिल्म को अभिव्यक्ति का हौसला देती है। दिखाया गया कि प्रकाश आमटे को केवल आदिवासियों के गुमराह होने की चिंता नहीं रही। आप गुमराह नक्सलियों की  वापसी की भी बात करते हैं। प्रकाश जी द्वारा पदमश्री वापस कर देने का प्रसंग भी आप देखें।

प्रकाश आमटे के व्यक्तित्व में शोषण का विरोध था। आपने चिड़ियाघर के जीव जंतुओं पर शोषण का ज़ोरदार विरोध किया। मालूम हो कि पद्मश्री वन्यजीव के हित में आपकी सेवाओं का सम्मान था। समृधि पोरे की यह फिल्म कह रही है कि व्यक्तित्वों पर फिल्म बनाने में मराठी सिनेमा किसी से कम नहीं। यहां दादा साहेब फाल्के एवं बाल गंधर्व पर सफल फिल्में बनाई जा चुकी हैं। आदिवासियों तथा वन्य जीवों की सुरक्षा हित में चल रहे सराहनीय व प्रेरक कार्यों को प्रकाश में लाने के हिसाब से फिल्म ज़रूरी किस्त हैं।

The post सेवा भाव का संदेश देती फिल्म है ‘डॉक्टर प्रकाश बाबा आमटे’ appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

दूरदर्शन के मोगली से अलग है नेटफ्लिक्स के मोगली का संसार

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नब्बे के दशक में दूरदर्शन पर ‘द जंगल बुक’ नाम से शुरू हुए धारावाहिक के बाद ‘मोगली’ का किरदार घर-घर में लोकप्रिय हो गया था। गुलज़ार का लिखा शीर्षक गीत “जंगल जंगल बात चली है, पता चला है, चड्डी पहन के फूल खिला है”, सबकी ज़ुबान पर चढ़ चुका था।

लेखक रुडयार्ड किपलिंग की कहानी ‘द जंगल बुक’ पर आधारित इस किरदार पर हॉलीवुड में पहले भी फिल्म बन चुकी है लेकिन वह ऐनिमेटेड फॉर्म में थी। बच्चों को ध्यान में रखकर बनी थी। अब नेटफ्लिक्स एक नए नाम के साथ मोगली को फिर लेकर आया है। शीर्षक रोल में रोहन चंद ने प्रभावित किया।

mowgli review
मोगली का दृश्य। फोटो सोर्स- Youtube

नेटफ्लिक्स के मोगली में गहरी परती हैं। किरदार में पढ़ने के लिए बहुत कुछ है। संवेदनाओं की परतें दिलचस्प हैं। भारत में फिल्म हिंदी में भी रिलीज़ की गई है। बॉलीवुड के जाने पहचाने नामों ने वॉइस ओवर देकर इसे रोचक बना दिया है। यदि आपने दूरदर्शन के ज़माने वाला ‘द जंगल बुक’ देखा होगा तो मोगली के संसार को बदला हुआ पाएंगे। मूल कहानी हालांकि वही मिलेगी लेकिन बहुत कुछ बदला हुआ है।

एक आदमखोर बाघ के हमले में मारे गए कुछ लोगों में एक छोटा बच्चा किसी तरह बच जाता है। इस बच्चे को बघीरा भेड़ियों के पास छोड़ देता है। भेड़िए इस मासूम की देखभाल व लालन-पालन करते हैं। यही बच्चा आगे चलकर जंगल को शेर से मुक्ति दिलाता है। मोगली कुल मिलाकर दादी नानी के किस्सों सी नहीं, यह एक बच्चे की खुद को जानने की यात्रा है।

मोगली जंगल को अपना परिवार समझता है। इंसान व पशुओं के संवाद हमारे भीतर के इंसान छू जाने का प्रयास करते हैं। मोगली की दिली ख्वाहिश है कि वह भेड़िये के रूप में पैदा हो। कोई भेड़िया इंसान के पास नहीं जाएगा। इंसान को पालतू पशुओं का शिकार मना है। कोई भेड़िया इंसान को नहीं मारेगा क्योंकि इंसान का मरना आफत लाता है। यह आफत जंगल और जानवरों पर बराबर रूप से पड़ती है। यह  मूल आस्था कथा में रुचि का कारण है।

mowgli review
मोगली का दृश्य। फोटो सोर्स- Youtube

फिल्म के संवाद ठीक ठाक हैं। वॉयस ओवर हालांकि बहुत प्रभावी बनते बनते रह गए। मूल जंगल बुक की कहानी में इंसानी बच्चे को जंगली जानवरों ने मिलकर पाला था। बच्चा अपनी प्रतिभाओं के साथ उनका बच्चा बन जाता है। नेटफ्लिक्स की फिल्म में ज़ोर प्रतिशोध पर है। बच्चे की आत्मा का पक्ष बहुत प्रकाश में नहीं है।

जंगल का डरावनापन उसकी नैसर्गिक खूबसूरती से अधिक रच गया है। प्रकृति के नैसर्गिक दृश्यों की यहां कमी खलती है। बहती नदी,पक्षियों के झुंड, दरख्तों का कारवां सचमुच कमाल कर सकते थे। मोगली का दोस्त, नन्हा सफेद भेड़िया आदि आसपास के साथियों में बहुत संभावनाएं थी लेकिन उन्हें ऊपर-ऊपर ही छुकर निकला गया है। मोगली कुल मिलाकर दादी नानी के किस्सों सी नहीं, यह एक बच्चे की यात्रा है, एक आत्मनवेषी सफर। जोकि बहुत सुंदर हो सकता था किंतु बाकी ही रहा।

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नोट- यह लेख पहले jankipul में पब्लिश हो चुका है।

The post दूरदर्शन के मोगली से अलग है नेटफ्लिक्स के मोगली का संसार appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

The Great Walls of Chennai: Name, Fame And Shame

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Public walls often are free display/promotional space for those with muscle power. This story tells you everything that is going right and everything that is stopping things from going right in our public space.

Excited and responsible residents from Chennai’s several neighborhoods gathered over weekends to paint public walls in the city with information on water conservation as part of EI’s Wall.E initiative. This volunteering effort turned out to become a public gathering of a new kind, where strangers started discussing the waterways of their city. Cutting across age and several other social barriers, they worked as a team, planning on what they would paint on these walls. Suggestions ran from leaving hand prints to painting info pieces on conservation. What would have easily taken five to six days of professional work was finished in a matter of two days with 100+ volunteers turning the activity into a celebration.

It definitely was drawing all the right attention located in the midst of a traffic island in the center of Chennai city. So much so that a minister en route to work volunteered with the public.

A conservancy worker commented “finally we get to see something colorful on these walls,” the traffic warden at the junction readily volunteered to manage traffic for both days to ensure that the painting went on with ease. It was an unsaid collaboration, coming together of all those who cared.

Now that’s what is all that is going right about this city, now to all that is hindering the right things. Anniversaries, book launches, television reality shows or a big movie release, all find their promotions done through large posters plastered on most of the city’s walls. These posters are an eyesore and an encroachment of public space.

The Greenways road, Chennai Metro water walls were painted through a public volunteering effort. With permissions from the CMWSSB, paint support from The Hindu Newspaper, several volunteers came together and painted the stretch. These paintings were left untouched for a period of two months, just as the volunteers were relieved that the posters have not come back, it happened on the December 4 all over again.

Giant posters, competitive in nature in expressing their love to their late leader, were plastered on the paintings. The politically important road is the perfect location for these posters.

The first call came from a volunteer, “What is the purpose of us slogging when they can just do this.” This was followed by several angry messages from many others who extended a helping hand. The young coordinator who put together the effort wanted to do something; a bunch of us got together, went ahead and brought down these posters to recover our paintings to a certain degree. Only to send a message to our volunteers that ‘We care for your efforts’.

This is a never ending cat and mouse game, we clean the walls and paint them. They paste posters on and leave, we bring them down to paint again. It’s going to be a cycle until one of us gives up, having known the spirit of volunteering we all know who is going to win in the end.

It’s a painting Vs poster contest; for now the paintings are back in the lead. Until some leader decides to rally to one of the memorials or until another star makes a guest appearance on one of the reality shows.

Through time and effort, volunteers left a piece of art. Political greed for name and fame leaves them with nothing but shame.

 

The post The Great Walls of Chennai: Name, Fame And Shame appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.


Review: 7 Khoon Maaf

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Susanna..
She will be always remembered by the world as a femme fatale, who murdered her husbands like a black widow spider. Her charm, her enigma, her sensuosness and her incessant quest for love. One way of decoding the seven sins could be:
Major Roderiques-          Envy
Jimmy-                               Lazy
Waziullah-                        Wrath
Nikolai Vronsky-             Gluttony
Keemat lal-                        Lust
Dr.Tarafdar-                     Greed
Susanna-                           Pride.
With pride, indulgence in each of the above sins could have been her real sins. Yet, like life those sins are so intricately woven into her goodness that they are inseparable. Perhaps, the murders could have been a form of possessiveness, another kind of love. Even in death, she ensured that her husbands never suffered. By drinking the blood of Jesus Christ ( the holy communion perhaps) she is redeeming her sins. Susanna dies and Sister Anna is born.
Like in Alfred Hitchcock’s Psycho, the mansion has a lot of Psychoanalytic elements in it. With race horses and snakes in a well, the subtle sexual charm is evident. It is a sphere were eros meets thanatos, where there is little distinction between love and death.
The death of Maggi aunty and Galib Khan is infact the demise of Susanna. Yet, Goonga still lives. The 3 servants, mirrors a trinity,though a dark one. One of them takes care of everything, one of them was sacrificed for Susanna’s sins and the other, though mute, broods over everything. Perhaps as Jung quoted in the “Answer to Job”, Susanna represents the fourth dimension to the trinity, the powerful feminine energy.
With a stellar cast and excellent performances, with a splendid script co-written by Vishal Bharadwaj and Ruskin Bond, this was one of the best films in 2011. However, this is surely one of the most underrated films in the Hindi film industry, as evident from the lukewarm reception it recieved, despite positive reviews. If you haven’t watched it yet, don’t miss it.

The post Review: 7 Khoon Maaf appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

मनोरंजन की दुनिया की क्रांति है साल 2018 की ये वेब सीरीज़

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मेरा और वे बहुत से लोग जिनका जन्म 90 के दशक में हुआ है वो आज के नेटफ्लिक्स और अमेज़न की वेब सीरीज़ को एकदम चौंका देने वाला समझते हैं। भारत में जब से इन वेब सीरीज़ का चलन हुआ है तब से लगभग हर वर्ग के लोग इससे जुड़ गए हैं। अगर सबसे ज़्यादा जुड़ाव की बात करें तो युवा वर्ग इसे ज़्यादा पसंद करता है।

मिर्ज़ापुर। फोटो सोर्स- Youtube

इंटरनेट की क्रांति के बाद वेब सीरीज़ भी एक क्रांति से कम नहीं है। अगर बात करें तो कहां हम टेलीविजन पर आए नाटक में उलझे रहते हैं जो कि लगभग एक जैसी कहानी और एक जैसे पात्र हुआ करते थे। यह नाटक सालों साल चलते रहते थे और कहानी कभी भी आगे नहीं बढ़ा करती थी और ना ही कुछ अच्छा व नया परोसा करती थी।

अगर एक शब्द में बयान करूं तो हमारी ज़िन्दगी नीरस हो चुकी थी। इस नीरस सी ज़िन्दगी में दौर आया वेब सीरीज़ का, जिनके ऐपिसोड्स ज़्यादा नहीं हुआ करते और इनके पात्र आपको अपनी जगह से कहीं हिलने नहीं देते हैं।

वेब सीरीज़ में मुख्य रूप से अनुराग कश्यप की ‘सेक्रेड गेम्स’ खूब चर्चा में रही और देशभर में वाहवाही भी लूटी। यह विक्रमचंद्रा के उपन्यास पर आधारित है जो 2006 में प्रकाशित हुई थी। उसके बाद आई ‘लस्ट स्टोरीज़’ जो कि कारण जोहर, ज़ोया अख्तर, अनुराग कश्यप व दिबाकर बैनर्जी द्वारा निर्देशित की गई थी।

सेक्रेड गेम्स।

इस वेब सीरीज़ में नई व खास बात यह भी देखी गई कि यह 4 औरतों की कहानी थी और यह कुछ नया इसीलिए भी थी क्योंकि इसमें औरतों की सेक्सुअलिटी यानी उनकी सेक्स को लेकर क्या राय है उसपर चर्चा की गई। अगर देखा जाए तो आपको वेब सीरीज़ में वे कहानियां मिलेगी जो अक्सर हिन्दी सीरियल्स में नज़रअंदाज़ की जाती हैं।

वेब सीरीज़ में हर कहानी अपनी जगह बनाती है, जिसमें हर किरदार हमारे समाज से जुड़ा हुआ होता है। पुराने नाटकों में हम लेस्बियन व गे रिश्तों को सिरे से खारिज़ कर दिया करते थे लेकिन आज अगर देखें तो वेब सीरीज़ में इनकी भी कहानियां दिखाई जाती हैं और वह भी खूबसूरत अंदाज़ से।

लस्ट स्टोरीज़। फोटो सोर्स- Youtube

अब बात करते हैं वेब सीरीज़ में ज़बरदस्ती की गालियों पर और उसमें दिखाए जाने वाले सेक्स सीन्स की जो कि गैरज़रूरी से लगते हैं। जैसे हम देखते हैं कि सिगरेट व शराब के सीन्स पर एक चेतावनी आती है वैसे ही ऐसे सीन्स पर भी आने चाहिए। कहानियों की बात करें तो यहां औरतें मज़बूत दिखाई गई हैं और उनकी सेक्सुअलिटी और उनकी ज़रूरतों पर बात की गई है लेकिन सेक्स सीन्स बेहद भद्दे लगते हैं और उसमें एक हिंसात्मक पद्धति नज़र आती है। जितने भी निर्देशक हैं उन्हें अगर कोई कहानी दिखानी है तो उन्हें हिंसात्मक सेक्स सीन्स से बचना चाहिए।

नेटफ्लिक्स और अमेज़न ने हमारे देखने के तरीकों को पूरी तरीके से बदल दिया है। आज हम देखें तो बॉलीवुड के सितारे भी वेब सीरीज़ करना चाहते हैं क्योंकि यह सबसे अच्छा माध्यम बन गया है कि वह लोगों से अपने आपको जोड़ सके।

इन सीरीज़ को हम कभी भी देख सकते हैं क्योंकि यह इंटरनेट के माध्यम से सरलता से उपलब्ध है और हमें यह अलग-अलग विकल्प देती है और यह सबसे मजे़दार बात है। यह एक बहुत अच्छा कदम है जो कि सभी लोगों के दिलों में अपनी जगह बना पाया है। चाहे वो सेक्रेड गेम्स के किरदार हो या मिर्ज़ापूर के, दोनों ही खूबसूरती से अपनी जगह बना पाए हैं।

वेब सीरीज़ की सबसे अनूठी बात यह भी है कि औरतों के किरदार पर काम किया गया है चाहे वो सेक्रेड गेम्स की राधिका आप्टे का किरदार अंजलि माथुर हो या लस्ट स्टोरीज़ में कियारा आडवाणी का किरदार मेघा हो, ये दोनों निश्चय ही प्रशंसा के पात्र हैं। निश्चय ही वेब सीरीज़  टेलीविज़न से बेहतर और अच्छा विकल्प है, जहां आपको दुनियाभर के शोज़, कहानियां व किरदार मिल जाते हैं।

The post मनोरंजन की दुनिया की क्रांति है साल 2018 की ये वेब सीरीज़ appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

Discourse, Not Debate: The Way Forward For Quality News Content In India

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Jorge Luis Borges
Jorge Luis Borges

In his great short story titled ‘Funes, His Memory‘, Jorge Luis Borges talks about the eponymous protagonist: bed ridden, and completely incapable of forgetting anything. Funes remembers all the stars in the sky, all the books ever written and many other things I have forgotten. He is unable to think, and doesn’t live long. The story has many layers of narrative stacked above one another including Borges’ fascination with various numerical systems, South American daily life and obviously, the nature of reality. However, one message does particularly come forward – all thinking is forgetting. It’s a message that has lived long enough to be echoed by psychologists, sleep scientists and general observers. An overload of information is deadly to our decision making.

This overload is perhaps what is making our news and personal media bubbles so appealing and harmful. If you took 40 days to find a book in the library of Alexandria, and then came to me with a paragraph that confirmed what you claimed and said ”THIS!”, I’d take you for a learned person.

But there is no glory in googling an article that agrees with you and exclaiming with your preferred pronoun. It’s just thickening your bubble.

A Detour:

Things used to be boring in the past, but boring is better than information on Speed. This is perhaps what the daily news suffers from. News is information, mostly non actionable. Rather, news is information presented to us for a desired effect.

So, you’ve got 24*7 news channels that are primarily competing, not for authenticity, but for our sedated addiction and ad revenue. Then there is a more outdated format, that of TV debates. It is anyone’s guess how much gets done when you allow a person seven minutes to speak, with a bunch of tickers and banners demanding your viewers’ distraction.

There is a third, more respectable format of inviting guests over for a conversation. This could have been the tool to save news, but the funding of news channels by corporation ensures that a certain pre-determined stance is assumed before the conversation begins. However, in an age of new media, this will be the format whose ashes will be revivified to facilitate the discussion of complex issues.

A New Gutenberg Revolution: Long-Form Broadcasting

We have barely scratched the surface with video as an open medium. Speculations that it is as big a media disruption as the invention of printing press are abundant. A tribe of people dissatisfied with the aforementioned narratives has already loosely assembled in the West with leanings from both sides of the aisle. These men and women, just like pioneers of any other movement, have taken to self publishing with almost zero regulations. Everything goes. Dangerous ideas? Yes. Nascent theories? Hell yes. Unpopular opinions that’ll get you banned from public speaking? Looks delicious.

But then, it’s not just the West that needs an Intellectual Dark Web, which I believe will have diminishing returns in the first world countries. India, however, is a different story. With a billion plus numbers, way too many political agendas and segmentation, the landscape of discussion essentially wants to expand itself to accommodate more voices.

The scope of discourse goes beyond a few Twitter famous personalities who may actually have something to say. Not to mention, with all the cringe on news (two hours dedicated to Astrology, really?), the viewers are more than ready to engage in a deeper conversation about how India might need to function. We see a fractured society because no one has changed the lens yet. For the first time since 1947, urban Indians actually have inclination, income and data packs to engage in a discourse.

Long Form Content As A Savior; Discourse, Not Debate:

A podcast that lasts longer than an hour would by nature strip away the veneer of arrogance or deceit from the guest and reveal what he truly means. In a country like ours, which is pretty split (at least intellectually), uniting forces need to work overtime. Kunal Kamra started doing that with ‘Shut Up Ya Kunal’, where he did a commendable job of engaging with Kanhaiya Kumar as well as BJP’s Youth Wing leader. Were it a little less edited, the whole thing would have been brilliant – but it’s a start. However, from The Wire to Swarajya, we seem to be talking in absolutes, and video content, wherein people can sit down, and hear each other out, would perhaps be a way to make our timelines less cringy.

The beauty of discourse is that you cannot dodge a question, or an issue for too long. You’ll circle around and keep coming back to what is important, rather than the frivolous information and whataboutery aiding facts. It will distill the ideas out of information.

And maybe, unlike Funes, we’ll be able to rise above information, and think.

The post Discourse, Not Debate: The Way Forward For Quality News Content In India appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

Is Indian News Elective Or Opinionated?

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While the current waves are all about whose opinion is correct and who isn’t thinking through, I would like to give prominence to who is in the correct place to place the opinion. Long gone are the days when Vividh Bharti and Doordarshan were the only alternative to the newspaper for knowing what is happening around. All the media houses want to release the scoop in hindsight, while the difference between a journalist and a reporter is vanishing as quickly as a flash. The equilibrium maintained to give people space after presenting facts and figures is fragmented over opinions from a plethora of channels websites. Reporting an incident and giving insight about the same are two different things which need to be understood by the reporters.

The most recent elections gave us a large chunk of material to debate upon, talk about and frame opinions for the future of the political scenario, while we discuss this, our reporters are taking the flame for incumbent to-be Chief Minister(s). While it is a clustered opinion in every region, the media was seen enquiring too inquisitively into the wonky new government’s decisions and giving out what according to them should have been done. These instances are often too fine for our minds to get intrigued by what is going on around the information centre and often palimpsest their statements to induce the idea of democracy.

Journalists are often seen investigating, analyzing, and opinionating over the news, and are liable for what they say. While columnists come in view after the news has been reported, everything said, every entity should adhere to the rules of journalism ethics. For spicing things up, the accuracy and the information should never be compromised. Commentary over any issue that involves the nation should be well thought and isn’t another of the maggots decaying archaic view of the analysis. Every discrepancy in information should be bought to notice while people should know the difference between news and muck.

Youtube is another source of degraded orientation of information. Every single wannabe out there wants the attention in the game of likes and comments. The authenticity lacking in there should be judged by us only while the acrimony in the society should be eradicated.

This kind of fecklessness should be disregarded and the race of TRPs should rather be disowned.

The post Is Indian News Elective Or Opinionated? appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

2018: A Year For The ‘Non-Starrers’ In Bollywood

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2018 has not been a conventionally good year as far as Bollywood is concerned. The big, expensive productions, with all their glitz, glamour and star cast, either tanked miserably at the box office or delivered only a brief, flash in the pan hits. It was the smaller movies, with their steady casts and their well-knit narratives, that stole the spotlight completely.

Here are five of the small, independent movies that made a mark this year, some of them giving the bigger productions a run for their money.

Pataakha: The story of two feisty, sparring sisters, adapted from Rajasthani writer Charan Singh Pathik’s short story, Do Behnein, was without a doubt one of the highlights of the year. The raw simplicity of the mise-en-scene, aided by the inspiring performances of the lead characters, engages the audience instantly. The refreshingly sincere narrative makes no effort to sugar coat, drawing us into the lives of the spirited siblings and their never-ending one-upmanship over one another. The film makes no bones about its loud, yet naive rusticity and makes sure that the women remain central to the narrative, never once becoming patronizing. With no major stars in the ensemble, Pataakha came as a breath of fresh air with a clear vision, powerful performances, and a fun, yet compelling watch.

 

Stree: An unconventional horror comedy with a strongly feminist subtext, this film transported us into a society where, for once, it is men who are afraid to leave their homes at night, and the women folk who offer assurance while advising them to stay indoors! As much as we love our men, it would be interesting to have them sense, just for once, the fear and anxiety that has clutched women since eons. Based on the urban folk legend, Nale Ba, the story, told in a refreshing new voice, makes a strong statement on gender rights, with the feminist undertones deftly crafted in amusing dialogues. A fun watch, Stree is definitely one of the most curious movies of the year.

 

Manto: One of the most powerful and deeply poignant films of the year was Manto, based on the life of the Pakistani poet-playwright Sadaat Hasan Manto. Actor-turned-director Nandita Das, an inspiration herself, weaves an unflinching tale of hurt, shattered illusions, communalism and the struggle for freedom of speech and expression, while at the same time leading us back in a different time and place with the help of some master actors who are a hundred per cent invested in their roles.  The stark ambience of the times coupled with the brilliant interweaving of Manto’s stories, the outstanding direction, and the soulful performances makes the film unmissable in recent times.

 

Andhadhun: An intriguing mesh of the comedy noir and a tribute to the 1970s Hindi cinema, reminiscent of a Hitchcockian ambience, with a touch of the theatre of the absurd, Andhadhun gets it right from the get go, never falling apart. While the second half threatens to unravel, it never really goes over the edge, and manages to tie the narrative together into a wickedly clever denouement. Inspired by the French short film L’Accordeur, the masterfully crafted screenplay is a testament to Bollywood’s evolution over the years, especially within the thriller genre, and even more so, in the display of dark comedy. The riveting performances by the ensemble cast, certainly a career-defining one by Ayushmann Khuranna, complement the outrageousness of the plot at every step of the way.

 

Badhaai Ho: An intelligent family drama at its core, Badhaai Ho, deserves special mention amongst this year’s releases, not only for its unusual central narrative but for the sharp social commentary that it handles smartly.  The sweet middle-aged romance, a rarity in Indian mainstream cinema, leaves the audience feeling strangely content, to say nothing of the outstanding performances delivered by cast, especially veterans like Neena Gupta, Gajraj Rao and Surekha Sikri. The narrative is driven by the middle-class elderly couple’s happy yet awkward revelation of pregnancy, and the hilarious uproar that inevitably follows, including the inability of the other family members to accept this apparently uncomfortable truth. The script, although far from flawless, is refreshingly pure.

A few other films like Mukkabaz that revolved around the struggle of an aspiring boxer, Karwaan that told the tale of three people enduring a road trip together for various reasons, and Manmarziyaan, a raw tale of millennial lust and confusion, deserve mention. In a year where Bollywood has disappointed big time, a handful of films with brilliant scripts, strong acting and interesting narratives, kept our hopes alive. As we make way for a new year, we wonder if 2019 will be yet another year for the no-fuss, less starry movies, which personally I would not mind!

 

 

The post 2018: A Year For The ‘Non-Starrers’ In Bollywood appeared first and originally on Youth Ki Awaaz and is a copyright of the same. Please do not republish.

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