There’s Hope #Movies

Potential spoiler. Not giving out the plot, but it may influence your thinking, if you haven’t and are going to watch the movie.

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I watched Baahubali 2: The Conclusion (2017), yesterday. (IMDB has got it wrong; its spelled with two a’s, unless of course, you use the ā, in place of the single a). It was everything that I didn’t expect it to be. Primarily, it was dragged to death and beyond. I am a big fan of the fantasy genre, and I enjoyed Baahubali: The Beginning (2015), a lot. In spite of some really over-the-top stuff in the movie. And given the suspense created in the first movie, I was really looking forward to the second. I’ll stop just short of saying that it fell flat. I’ll concede, however, that watching it dubbed (very badly) in Hindi was a mistake. I should have gone for the original Telugu version. I understand a few words and phrases in Telugu; but that’s not reason: there’s something very disturbing when sound and lip-movements are out of sync. It’s the effect, methinks, that’s diluted in dubbing. Subtitles are a better alternative. And when you are creating an artwork on such a large canvas, that one small thing can ruin the painting. Most of the CGI was impeccable, except for fire. They haven’t mastered that. That was very childish. This isn’t review, just thoughts. Five of my co-cinema-goers were equally (or more) disappointed, so we decided to wash down our dismay with a few beers.

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I have practiced suspension of disbelief much before I learnt what it meant. It has always helped me with imagination. Considering possibilities is exciting. And when you start considering, you can go various places. Including some not-so-nice places. Yet, it is worth the trade-off.

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After mocking the movie over a couple of beers, we asked ourselves if this is the fare that we are doomed for? I didn’t completely agree, but I didn’t say so.

Holding on

A week ago, I watched Poorna (2017). [PS: It’s available on Amazon Prime]

I am a very involved movie-watcher, and I experience the emotions that a director of a movie would like me to. If she is a good director. I laugh and cry wholeheartedly; get angry and afraid as the story asks of me. I do not watch horror movies because I do not like to be terrified. It’s not an emotion I prefer, if I can avoid it. The real-world is terrifying enough.

Poorna is the (real) story of the youngest girl to have scaled Mt. Everest. I’ll just say that. There are other adjectives to the tag line, in my opinion — they aren’t important.

The movie was a multi-layered emotional roller-coaster. The first layer is obvious: it’s her story, and in that sense, a dramatised documentary. But there’s something deeper. And without warning the layers reveal themselves. And it’s less about her and her motivations; it starts becoming about you. It touches your heart. Straight, direct, instant.

There’s hope. There’s proof. Of good movies.

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The Album Tag

I was tagged on Facebook by Amit. Somehow, a tag for me, doesn’t look good on Facebook. I’ve taken the liberty of taking up the tag here, on the blog.

Amit Phansalkar tagged me to create a list of my favorite music, which has made a lasting impression on me. So, here goes.

The rules: Copy this & post as your status, delete my list. List 12 albums in no particular order that made a lasting impression on you, only 1 per band/artist. Tag some friends to do the same (including me, so I can, see what you listed).

6593: My Own Song

  1. Phir Wohi Dil Laya Hoon: This is a 1963 Hindi movie, starring an actor, who is not known for his acting. Yet, all the songs are so wonderful. Perhaps it was a 60s pattern that some of the not-so-good actors got some of the most amazing songs. In particular, the song “Humdum mere khel na jaano” is one of my favourites. There’s a unique essence of romance that’s inescapable. Here’s the playlist of all the songs of this movie. Mohd. Rafi is at his naughty best, in “Phir Wohi dil laya hoon” and “Lakhon hai nigah mein.” Watch/listen to the full playlist.
  2. Nirgun Bhajan: I was introduced pretty late in life to this. Yet, the impression that this album (if you can call it that, as Amit says) is everlasting. The nature of the songs being spiritual/philosophical (#YouPrefer) they suit all times, moods, places, and situations. I remember, listening to about four songs sitting on a London street bollard, while waiting for a friend, a long time ago, on a cool Wednesday afternoon. I am shamelessly using the same link for these songs, that Amit used.
  3. Dnyaneshwari: A 13th C. Marathi translation of the Shree Bhagvad Gita in Marathi, using a poetic metre, very popular in Maharashtra, called an ovi. This translation was done by Sant Dnyaneshwar, a very famous saint of the later Bhakti Movement. It has taken me a while to understand some parts (it is in olde Marathi) – but the lyrical quality, the structure and the wonderful rendition by Lata Mangeshkar is a a treat. Listen to the full album here.
  4. Arth-Saath Saath: Why is this album of two movies? It has perhaps to do with the fact that these movies were released during the cassette-tape era; Side A and Side B. Both movies were released in 1982 and each song is a gem. Unfortunately there isn’t wasn’t a playlist of these songs, so, here is one I created for this post. Most songs in this album are a discovery of finding love, losing love, and knowing love. “Tere Khushboo Mein Base Khat” is an all-time favourite.
  5. Concert in Central Park: By far the best collection of S&G songs, and it’s live. New York often finds mention in S&G songs, but this is a concert that you have to listen to, to feel the spirit of NY alive and kicking, in the concert. Enjoy!
  6. So Beautiful So What: This is the album where I potentially break the rules of this tag. I say potentially because #5 above is an S&G album, and this one is Paul Simon. SBSW is a recent release, and all that is true, wonderful, lovable, heartfelt about Paul Simon comes back to life in this album. It’s different in many ways – but the sense of love is the same. I will not be able to put it in words, so why don’t you go ahead and listen to it. If you have time for only one song, don’t miss “Dazzling Blue.
  7. Essential – Roy Orbison: I admit, I didn’t know of Roy Orbison for a long time. A chance encounter, c. 1999, sitting alone in a place thinking of a love far away, I heard Blue Bayou. I asked the bartender who it was, got myself this album the next day. Since then, it has never let me down. All 36 songs from this double CD set, here.
  8. The Abbey – Monks and Choirboys of Downside Abbey: March 2008; soulful voices echoing through the ruins of Glastonbury Abbey. Enough said? I just could not find the playlist for the album that I have, but here’s a superset, to help you get the flavour of what I enjoy.
  9. Le Nozze Di Figaro: Two words — Shawshank Redemption. Red says, “I have no idea to this day what those two Italian ladies were singing about.Truth is, I don’t want to know. Some things are best left unsaid. I’d like to think they were singing about something so beautiful, it can’t expressed in words, and it makes your heart ache because of it. I tell you, those voices soared higher and farther than anybody in a great place dares to dream. It was like some beautiful bird flapped into our drab little cage and made those walls dissolve away, and for the briefest of moments, every last man in Shawshank felt free.” Never heard opera before in my life. After listening to an extract of one, in the movie, I got the album and it did not disappoint – though I still cannot understand it or tell you why I love it, I do.  Some titles aren’t available in this playlist, but it won’t be too difficult to find the Herman Prey version.
  10. But Seriously: The perfect album to have been released when you are seventeen. This album has been mine, since. And while I may discover and love newer music, this one is rock-solid, always there. And here it is for you.
  11. Pyaasa: No amount words can do justice to tell you what this album means to me. It’s not just the songs, it’s the movie, the man, the method, not in the least – the madness. Listen and lose yourself.
  12. Love, Actually – OST: If we were to ever talk of the best OST of a movie, this would rate way up in my list. Eclectic, evocative, emotional. Listen

Bonus: A Toda Cuba Le Gusta: If, you feel that I cheated with S&G/Paul Simon, here’s another one. This is an album of happiness and joy. Not just Cuba, I feel, everyone in the world loves it. This album is a Star Trek – like – teleporter. It can take you to wonderful places and wonderful times. All yours.

Feel free to take up this tag, and let us know of twelve albums that have had a lasting impression on you!

Play

This tweet made my day!

The play in question was “The Square Root of a Sonnet.” I have been in Achyutha’s town for a while, and while we promised to catch up, we hadn’t. Going to the play seemed like a good excuse to meet Achyutha. It’s not that I was not interested in the play; I was. It was directed by Prakash Belawadi — an actor I have come to admire after I have seen a few of his performances in Hindi movies. Airlift, especially.

I dread going to the theatre. As an audience.

20160916_015919I have always maintained that my place in a theatre was on the stage. I haven’t been to a theatre in a very long time. (Except for one, half a dozen years ago, where I was, technically dragged to it). As much as enjoy to no end, watching a play, the sense that I am always sitting in the wrong side of a theatre bothers me when I enter the theatre and depresses me when I leave it. I am at peace, when I am in it.

I am learning to drown the dread.

It was my first play in Bengaluru. At Ranga Shankara, a compact theatre, which is probably modelled on Prithvi Theatre in Mumbai. Needless to say, it has a sweet and swanky coffee shop. (Yup, those are mandatory in places like these.)

It was a wonderful evening, an evening that I haven’t had for a long time.

It did not end there. That’s what made the evening special.

It was the star-struck me, for the rest of the evening that made it special. And I am not talking only of Prakash Belawadi.

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PS: If you read this in good time, The Square Root of Sonnet is staging tomorrow (Fri, 16 Sep) again, at Ranga Shankara, in Bengaluru. If you cannot make it to this show, lookout for when it shows somewhere near you. DO. NOT. MISS. IT.

 

How Blue Should Be: #Anthem 17

If you have missed earlier Anthem posts, see all of them here.

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51-SPMEH7fLThere may be people in this world who aren’t particularly fond of blue. I have, however, yet to come across someone who despises blue. It is pretty much an inescapable colour.

But how should blue really be?

There is no one answer to that question. Blue is different for all of us – whether we love blue or not. But there’s on shade that Paul Simon talks of, and it is a beautiful shade.

It’s Dazzling Blue.

I’ve always loved Paul Simon’s work, right from Tom & Jerry, Simon & Garfunkel, and later, when he was just Paul Simon. Name an emotion and there’s an S&G or a PS song for it. But Dazzling blue is different. Very different.

It’s a song of culmination, rediscovery, and existence itself. It’s love at its best.

And we wondered why, and imagined it was someday
And that is how the future came to be

There’s a timelessness to the words in this song; it is perhaps more relatable to me due to the use of the tabla. And not just the lyrics, the music is as visual as it can be.

For all the times that all of us have felt it, but never had a song, here it is.

PS: I must say, with some sadness, that the person who started this meme is not blogging anymore. But A’s A, if you are reading this, thank you!

 

I Am Poetry

Structure, perhaps; the magic of how the words at the end, end up rhyming. Or perhaps the metre. The litany that caries us through the verses. In a sense, the only sense that poetry appeals to us is through reading. The text, i.e.

Yet, without warning it evokes a sense of being — devoid of any other sensory perception. In a preface to a Mahakavya (great poem), the stellar poet, Dinkar, talked of realm of an extra-sensory perception. He spoke about it in a different context — love — but the logic — if you would call it that, remains the same.

A poem can never be taught. In teaching, a poem, its meaning is narrowed, to the teacher’s interpretation. A poem has to be owned. Like the life that we live, it has to be lived every day. It has to permeate your every day activity; find a permanent place in your self; become a part of you.

Inner Space

There is no understanding poetry. There is no learning poetry. You can learn the mechanics, tools, methods, and metre. But to to get poetry it has to become an indivisible and integral part of life. I have noticed my attitudes change, in a few aspects of my life, as I carried poetry with me.

In its punctum, poetry makes sense that is obvious (often, not always). It is immediately apparent, but soon lost. Because it is not our own. When a poem is our own, it changes us over time; itself undergoes change.

I am learning that, now.

Arth: A Conversation

When we smile, do we hide a lot? Are our smiles honest? It begets the question, what is honesty, really? When we express ourselves the way we want to — it is honesty. When we express ourselves without intention, that is honesty, too. Is the smile a manner of how we “are,” or how we want to “be,” or how we want to be “seen.”

Honest to whom? To ourselves, of course, I presume. Then, what we project is immaterial, isn’t it? Or is it? I don’t know. What we feel, what we think, what we want to happen, what we want others to think about how we “really” feel is all about being “happy”, with our being, in essence, it seems. So, whether we really feel a certain way of being “happy”, or we expect others to reinforce our own “projected happiness”, to be really happy with our own existence… well, I still don’t know what begets what. “Aankhon mein namee, haseen labon par” [Translation: Moist eyes; yet a smile on my lips]— we all need someone to see that moist eye, somewhere hiding behind the smiling face, I guess?

Are our tears a call for action, from the other, in that sense? When we cry, alone, are we really hoping that someone sees our tears? Not true, always, in my experience. Crying alone has its value; its virtue. Cathartic, some might say. We are to be responsible for ourselves. I am not talking of the social diktat. We have to dwell, twirl, and spiral within all that we feel. Poets, the good ones, have done injustice, for we borrow from them, the meaning and structure of what we feel. I utterly dislike poets. I have perhaps, said this to you before. As much as I love them. The sense of my feelings never seem to be my own.

We borrow, where we fail to express well. However, in essence, the point is that there’s a form and meaning to the emotions that we all feel that these poets provide, so to speak. A vehicle, in a way. But that’s besides the point, no? Are our tears, shown or not shown, a call to action for the other? Well, we want to hide the best we can what we don’t want others, including our loved ones, to judge us on, at any point of time. Point remains – any emotion , when unexpressed, is what we appreciate much more when felt by the ‘other’. As for the expression of these emotions, through those vicarious, or through some ways external to us – like these songs from Arth, are just a channel. In some sense, I feel, it’s useless in way. Because, such oral and obvious expressions are not what we’re looking, for when we expect latent emotions to be really “felt” without specific ventilation on our part. When you lose your primary audience (you know who I mean) and that medium of conversation (with those channels cut off), these songs become your emotional anthems.

So, these songs are our crutches, in some form? They are, perhaps. But, given that these songs are so beautiful, I’d rather not attribute ‘crutch’ to them. But that that’s just me. So, when the lover asks, how could I ever burn those wonderful handwritten letters of yours, he speaks of the dilemma of the beginning and the end at the same time. But the sense of burning never leaves him, for even when he submits her love letters to the Holy Ganges, he speaks of lighting a pyre in that pure water. Purity of fire, meets purity of the Ganges.

“Him”; I think of ‘me’ every single time these words pass through me. Beauty of these words, somewhere, lies in the fact that it’s so close to the feeling of a sense of loss, that you feel, is not warranted. The connection, the emotion, the whole ventilation that goes through you, is what makes these songs immortal, at least as far as I’m concerned. Despite all the things we do in our regular lives, we live for those moments that remain with us. A letter, handwritten, garnished, conceived from start to the end, in the heart of someone that values us for “just existing,” for God’s sake, is something that cannot be burnt. That age-old paper, with that ink, lost in past, with those emotions buried within those strokes of ink, lends you, your life — today. And, that’s a big deal.

“Despite all the things we do in our regular lives, we live for those moments that remain with us.” — well said. I once said, that our lives are just a count of incidents. It’s the same, when you refer to them as “moments.” And, as most corny and cheesy memes on Facebook and Twitter will tell you, it’s these moments that determine our life. I disagree. Moments are so personal, they can never be generalised to a population. When, in “Jhuki Jhuki Si Nazar” – he asks her to count the heartbeats of her young heart and asks for comparison with his own, that’s not his real question — he is seeking a sense of oneness; a sense of a shared, common existence. I go back to my question of the smile. In the song, in the last stanza, he displays braggadocio – but it’s not; he is as much scared in his expression of love as much as she is scared to admit it.

“He is seeking a sense of oneness”. Hoping. That’s what a lover ends up hoping for, and hopes for it to be the truth. I sense; a sense of optimism mixed with romanticism, with a purport of really knowing what the other person feels. You only know if it’s what ‘you hope for’, or ‘is the truth that’s being hidden behind all these facial expressions of casualness’; if you’ve really gone through it with a person yourself. Depending on where you are in any relationship, you could be anywhere in the continuum of possibilities — hope to reality. And, when things in reality don’t really converge with hope, then, you end up blurting out – “vo jo apna tha vohi aur kisi ka kyun hai, yahi duniya hai to phir eisi ye duniya kyun hai, yehi hota hai to aakhir yehi hota kyun hai…”. [Translation: That which was mine, why is it someone else’s; if this is how the world is, why is the world like this] Sometimes, it’s all about hope. Even in despair, poets find a way to find hope. Even if that knock on your door is in your imagination, you seek to open it. Oughta learn?

Are you in love?

A lover is always in.

Haha. Good one, mate. I expected another word to end that sentence of yours. But, by the stroke of slashing that word, you have described a true lover. Love is not about being loved. It is about being “in” love.

Aah, there’s my clue! Did you notice that we have two words – “Lover” and “beloved”. Loving is the action, and that’s the only one that you’re responsible for. Being a beloved is not in your hands. So, yeah, Love is about loving. As for being loved, well, keep hoping. Being loved is not in your hands. So, all you can do is love. And, being beloved? Well….

I like that. Being in love, i.e. It was Voltaire, if I remember well, who said, “it is better to have loved and lost, than not to have loved at all.” And I reiterate — I like being in love. The sheer essence of the feeling makes my world go round (or around, whatever the word is). May there be more who seek love, in the true sense of what it means (and that needs to be discovered, for who knows, what love really means.)

You said it – “Who knows what love really means”. ‘Koi ye kaise bateye ke vo tanhaan kyun hai,..’ [Translation: How does one know if another is lonely]. Who knows whatever ‘whatever’ means. In the end, like Jagjit Singh says… ‘Aas jo toot gayi, phir se bandhata kyun hai…’ [Translation: Why do you try and bind the hope that is broken] – It’s all about hope, mate. Whenever I listen to these songs of “Arth”, I get a sense of melancholy and hope — in love, combined, if it makes sense; that’s what matters, immaterial of the possession of that ‘you’.

I see you, and this thought comes to my mind…

~o~

PS: The above post was a “live conversation” that occurred on a shared Google Doc that I had with Ashish Bhagwat. We were together, facing each other, as this post developed. Before we started this “experiment,” we talked of much, and as a blogging experiment, we had a ‘digital’ conversation. The conversation was centred around the songs of the movie — Arth. No edits were made. This post was linear; one paragraph by him and the next by me. His conversations are in italics; mine are regular. My blogging experiments continue. If you have an idea, let me know: we should experiment more.

Ashish Bhagwat - Co-blogging

Ashish Bhagwat – Co-blogging

Learning Bangla

Circa 1979-80.

The family moved to Hyderabad. Far away from a known language and culture. Far away from roots. Everything’s new. School. Climate. Neighbourhood. Everyone speaks a different language. Thankfully, some folks speak Hindi. I get by. And it happens soon enough; I learn to speak and understand Telugu. I can’t read or write it, but I don’t care much. As long as I am able to say, “it’s my turn for batting” and “let’s meet tomorrow at the same time”, all is well. We spent five years in Hyderabad. When we were transferred out, I was fluent. Spoken. Not written.

Cut to 2016. Circa a few months ago.

Bengali or Bangla is one of the sweetest language that man has ever created. My parents learnt this language a long time ago. And I guess they were good at it. None of their language learning books survive. The yellowing moth-eaten Bangla novels, neatly covered in brown paper by my father, are witness to the progress that my parents made in learning this language. They have become delicate with age, and I am often amused with the reverence with which I handle them.

On my own, I have been discovering the literature of this land, yet it comes to me, second-hand. Some are well-translated, some, ah, well, let’s not talk about them. I’ve heard my Bangla friends speak, and the sounds are laced with the beauty of innocence. It would be good, to be able to speak like that. It would be good, to learn the language, for I already feel the beauty of it. Not that all experience of beauty requires expression, but I am greedy for the experience of that expression.

So I begin. This time, I shall learn a language so that I can read, write, speak, and understand.

Learning Bangla

Learning Bangla

As soon as I am on the third row of practicing the first six vowels of the language, I am already petrified. I am untimely scared of how ugly my Bangla handwriting is. Yes, this is the first time I have written these letters. Yes, I am scared. I am copying from a stroke-cheat-sheet that I found online. Bangla letters too, are artistic. There are soft curves and sharp angles that are fused; topped with flourishes that challenge left-to-right writing. Of course, I have no intention of my Bangla handwriting to look like a system font, but I would like that I get the proportions right. My mother, when she writes in Marathi, has the most decorative flourishes, she tends to swash the last letters of a word, as if they were curious tendrils.

That this script is artistic, it follows that you need a light hand, and a manoeuvrable grip; like an artist holding a brush. Akin, perhaps, to when you write in Japanese. But here I was, like a five-year-old, pressing hard, writing slowly, reverse-embossing the page below. I remembered the time when I was in 3rd, my teacher asking me to write n and r twenty times each, so that they would look different (We used to write cursive, but I used the non-cursive r). One of the slowest days in my life. If I remember well, I made it a point to inward-tendril-ise the end of the r for that imposition. It didn’t work for me, however; later I adopted the cursive r and it has been my ally since, against misinterpreting the n for the r.

Early days still, for my Bangla handwriting. First I need to learn the language. I think I’ll worry about the handwriting a little later.