by whatsonsidsmind

Tunes of the Maestro | Tribute | My Top 15 AR Rahman Songs

topimg_19278_ar_rahman.jpg

By Siddhartha Krishnan . 10 Min read

Please note: This article contains links (look out for song titles and words in italics) which will direct you to the appropriate songs on YouTube or source materials.

In a quaint little village of Tamil Nadu, blessed with many natural wonders, the sun rose and draped the sky in mesmerizing shades of red, orange and yellow. However, with the rising sun, emerged an unusual tune, the likes of which had not been heard—at least not in Indian cinema!

The year was 1992 and the song I am referring to is “Chinna Chinna Aasai” (Dil Hai Chota Sa – Hindi version) from the Tamil film “Roja”. The Hindi (dubbed) version of the film had not released by then and I was watching it on a 14-inch BPL colour television at my Grandfather’s house in Kerala. I vividly recollect, even today, my aunt going gaga over the songs, while a 9-year-old me, was left to wonder what the fuss was all about?

However, once I was done watching the film, the infectious frenzy got the better of me!

dil hai chota sa - sound cloud

A still from the song “Chinna Chinna Aasai”

The film’s music was so alien yet so refreshing that it captured the imagination of not just me but an entire country. Its songs were composed by a soft-spoken and unassuming 25-year-old debutante music director called Allahrakha Rahman (birth name A.S Dileep Kumar and known professionally as A.R Rahman). To an industry looking for inspiration, in the early 90s and an audience starved of originality—Rahman came in like a breath of fresh air. He won a National award for his very first film (officially) but this was just beginning!

In the years to come, Rahman went on to win six National Film Awards, two Oscars, two Grammys, one BAFTA and one Golden Globe Award. However, despite all the personal accolades bestowed upon him, Rahman’s greatest achievement is that he put Indian music on the world map.

ar_rahman- after oscars - indiatoday

Rahman at the Oscars (2009)

In a career spanning over 28 years, Rahman has managed to compose songs that cater to every mood, weather, genre and occasion. Furthermore, he has songs which appeal to all kinds of musical sensibilities. Hence, I have been warned by friends and fellow bloggers that picking a Top 15 list from his treasure trove of absolute gems could prove to be suicidal.

Thus, I’ll start with a confession that I am not here to pick “Rahman’s All-Time Top 15 songs” nor am I here to critically analyse or review his work. This is simply a tribute—a fanboy moment. Its my way of saying “thank you” to the Maestro for brightening my mornings and loosening my evenings with his compositions. In other words, this is “MY TOP 15 AR RAHMAN SONGS”— songs which I have grown up listening and keep going back to.

So, here it goes:

  1. Ishwar Allah – 1947 Earth (1998)

1947 earth- scroll

A scene from the film “1947 Earth”

This is the quintessential song for peace. The combination of Javed Akhtar’s soul stirring lyrics, Rahman’s lingering tune and an exceptional vocal performance makes this song unforgettable. It has the innate capacity to soothe your senses, however, among Rahman’s other songs in this genre like “Ek Tu Hi Bharosa” (Album: Pukar-2000) or “Gurus of Peace” (Album: Vande Mataram-1997) this is a lesser known song. Hence, if you haven’t heard it, you should definitely give it a go.

  1. Vennilave Vennilave (Chanda re – Hindi) – Minsara Kanavu (1997)

chanda re- pinterest

Kajol and Prabhu Deva in the song “Vennilave Vennilave”

Hariharan’s silky smooth voice and Rahman’s melody—what could possibly go wrong? This is a romantic ballad which I keep going back to every now and then, especially when I am down. Prabhu Deva’s choreography was the perfect icing on the cake and is bound to bring a smile onto one’s face.

  1. Dil Se Re – Dil Se (1998)

dil se re - falling in love with bollywood

A still from the song “Dil Se Re”

Love in the times of war is the central theme of this song. For some mysterious reason, the songs that Rahman has sung in his own voice sound good only in his voice. The feel that he brings to this song is unmatched. To add to that, Santosh Sivan’s breath-taking cinematography, Farah Khan’s eccentric choreography and Gulzar’s poetry makes this song one of Rahman’s most visually stunning songs ever.

  1. Pudhu Vellai Mazhai (Yeh Haseen Wadiyan – Hindi) – Roja (1992)

yeh haseen wadiyan- smule

A still from the song “Pudhu Vellai Mazhai”

This is my favorite track from “Roja” and mind you the film had some great songs and is still regarded as one of Rahman’s finest works. But this song stands out because of the freshness of its sound. Part of the credit, however, must be given to H. Sridhar, the sound engineer of the film. In 1992, sound engineering was a lesser known aspect of film making in India and Rahman pioneered the movement to give enough emphasis to this aspect of composing a song or musical score for a film. Sridhar collaborated with Rahman in many other films like Dil Se, Lagaan, Bombay, Saathiya and many more.

  1. Uyire Uyire (Tu Hi Re – Hindi) – Bombay (1995)

20146-Bombay-1995- karoake music fun

Poster of the film “Bombay”

The central theme of this track is yearning for love. The minimalism with regards to orchestration and use of natural sounds (like the sound of waves) is noteworthy. In Hariharan’s voice, the end result is spectacular!

  1. Maa Tujhe Salaam – Vande Mataram (1997)

AR_Rahman_Maa-Tujhe-Salaam_youtbe_750 - newsminute

Visuals from the song “Maa Tujhe Salaam”

This is one of those songs which has become synonymous with the name AR Rahman. Sung by him, “Maa Tujhe Salaam” epitomises a man’s longing for his motherland. He sings the song with such passion that you are bound to be overwhelmed. The album was released in 1997, the year India celebrated its 50th year of Independence. The visuals of the song conceptualized by director Bharat Bala stir the patriotic spirit and give you goose bumps.

  1. Radha Kaise Na Jale – Lagaan (2001)

radha kaise na jale- pinterest

Still from the song “Radha Kaise Na Jale”

Rahman’s understanding of the use of specific instruments to evoke a particular emotion is exemplary and the clever use of indigenous rustic instruments like the dhol and dhandiya in this song is testament to this great talent of his. “Lagaan” which was nominated for the Oscars in the ‘Best Foreign film” category had some great songs and this one was pure gem.

  1. Luka Chuppi – Rang De Basanti (2006)

rang de basanti poster- amazon.in

Poster of the film “Rang De Basanti”

Whenever I listen to this song, I get teary-eyed. Prasoon Joshi’s exquisite lyrics, Lata Mangeshkar’s ethereal voice and Rahman’s heart-rending tune, makes this song one of the Maestro’s best emotional compositions.

  1. Kun Faya Kun – Rockstar (2011)

kun faya kun - hungama

Ranbir Kapoor in the song “Kun Faya Kun”

Ranbir Kapoor’s brooding eyes can take part of the credit in making this song an all-time classic but for me “Kun Faya Kun” is my favorite among Rahman’s Sufi compositions, which by the way, is a commendable list of its own and includes the likes of “Arziyan” – Delhi 6 (2009) and “Piya Haji Ali”- Fiza (2000). I would have loved to have these songs added into this list but alas this is only a Top 15 list.

  1. Hai Rama – Rangeela (1995)

hai rama

A still from the song “Hai Rama”

If a song on lust could be made aesthetic and blissful, then this is it. It is nothing short of a masterclass and Rahman builds the emotion through some clever instrumentation. The song traverses through some uncharted territories and leaves you spellbound. You must listen to the track to understand what I am trying to say.

  1. Nenjekulle – Kadal (2013)

Kadal

A scene from the film “Kadal”

Whenever Rahman has teamed up with ace director Maniratnam, we have got cinematic gems like “Roja”, “Bombay” and “Dil Se” to name only a few. Maniratnam’s films do not comply to the usual formula and are often path-breaking. “Kadal” was also a result of their partnership and it had some experimental music as expected. Among its many songs “Nenjekulle” was simple and soothing. The eye catching visuals in the song, captured by cinematographer Rajiv Menon, complemented the music perfectly.

  1. Kannalanae (Kehna hi Kya – Hindi) – Bombay (1995)

kehna-hi-kya-7591

Actress Manisha Koirala in the song “Kannalanae”

There is very little orchestration in this song sung by K.S Chitra, however, it feels as if a lot is going on. The Sufi elements in the track, especially a transition toward the beginning leaves you mesmerized. The Guardian has included this song in its list of “1000 Songs Everyone Must Hear” and “Bombay” in its list of “1000 Albums to Hear to Before You Die”.

  1. Raasathi – Thiruda Thiruda (1993)

raasathi - thiruda thiruda

A still from the song “Raasathi”

“A capella” — is a kind of chanting, performed mostly in Churches, in which a group sings without instrumental accompaniment. To combine this style of singing with earthy folk elements makes this song one of Rahman’s most experimental compositions ever. Also, to have attempted it in 1993 when such sounds were alien to the Indian audience was courageous.

  1. Bombay Theme – Bombay (1995)

bombay theme

Live performance of the “Bombay Theme” by the Maestro

At number 2 is the “Bombay theme” which takes me into a trance whenever I listen to it. The transitions of this composition are simply divine and there are several goose bump moments that one might experience while listening to it. Bombay was a difficult film to watch especially in the latter half and this track enhanced the mood/emotion that the film was trying to cultivate within the audience perfectly. It is regarded as one of Rahman’s iconic creations.

  1. Konjum Nilavu – Thiruda Thiruda (1993)

konjum nilavu - pinterest

A still from the song “Konjum Nilavu”

“Konjum Nilavu” occupies the number one spot in my Top 15 list. When I first heard it 27 years ago, it shocked me more than anything else because it was so outlandish, experimental and modern for its times. The song starts of in an opera style followed by an unexpected jaw dropping transition which grabs you by your throat. Then, the electro beats, urumi drums and the husky voice of Anupama Krishnaswamy (perfect for the composition) take over. What we get in the end is a masterclass in rhythm! I can never get over this song because it is so unique in terms of orchestration, sound engineering and vocal performance. If you have a good set of speakers or headphones at home and if you haven’t heard this song, I urge you to listen to it straightaway.

In an interview to film critic Rajeev Masand renowned composer Amit Trivedi recalled the impact that the songs of director Maniratnam’s fun heist film “Thiruda Thiruda” had on his life. It was an experimental film which did not do well at the box office, but Amit Trivedi concedes that this was the album that changed his life and inspired him to become a music director. I was so thrilled to hear this!

As, I go through my list of Top 15 Rahman songs, the overwhelming emotion I feel is guilt. There are so many songs which I have grown up listening to that have not made it to this list—including iconic songs like “Urvasi Urvasi” and “Humma Humma”. In the end, I have no option but to let out a sheepish grin and concede that this is the best I can do since it is impossible to encapsulate the talent of the man through a mere countdown list.

I had recently watched a documentary on Amazon Prime Video called “Harmony with AR Rahman” (2018), in which Rahman travels to different parts of India, to explore the country’s rich musical heritage. He seeks lost arts and, in the process, discovers four specially curated instruments and vocal traditions. The people whom he met and who had mastered these instruments spoke languages that Rahman did not understand. However, he was still able to communicate with them and use their talent adequately to come up with a mesmerizing performance in the final episode of the mini-series.

harmony with rahman - scroll

A still from the documentary “Harmony with AR Rahman”

Well, as they say music has a language of its own which transcends all boundaries and Rahman understands this language very well. Perhaps, this is the reason why he is called “The Mozart of Madras”.

Pic credit: pinterest, scroll.in, hungama.com, amazon.in, smule, indiatoday and newsminute.

Source material: wikipedia, imdb, scroll and quint.

by whatsonsidsmind

The Lockdown | Part 2 – Submission | Short Film

Hey Everyone,

Thank you for the response to Part 1 of my lockdown diary.

It’s been a month into the lockdown in India. Hence, I am releasing Part 2 of my short film and it is called “Submission”. Let me reiterate that this is from the perspective of a 5-yr-old.

In case you haven’t yet checked out Part 1 of the short film, here is the link to it:

The Lockdown | Part 1 – Awareness | Short Film

Keen to hear your thoughts.

Stay safe. Take care.

Regards,

Sid.

by whatsonsidsmind

The Lockdown | Part 1 – Awareness | Short Film

 

It is funny that despite a nationwide/worldwide lockdown the noise around us hasn’t really subsided. We haven’t managed to socially distance ourselves from the constant chatter or have we? We’ve been made to believe that we know a lot but do we really? Are we really using our heads objectively to analyse things or has the herd mentality prevailed again?

Meanwhile, sitting inside my priviledged ghetto, during these “difficult times”, I have been trying to piece together a visual diary of sorts. The endeavor has been to capture things, as I see it, within the 4 walls. However, the story is from the perspective of a 5-yr-old; hence pardon the dry humor (if any). This is Part 1…please do check it out. Keen to hear your stories and comments.

Pic credit: medscape.com

by whatsonsidsmind

Total Recall | Back to 90s | Final Chapter

Cover

Pic credit: Pinterest

By Siddhartha Krishnan . 5 Min Read

They say,

“Nostalgia is a dirty liar that insists things were better than they seemed.”

We humans are often guilty of picking the rosy parts from our past in a bout of nostalgia. In other words, we crib about our “now” only to say good things about it, years later. Hence, a retired man sheds tears of joy when he recalls his glory days under the sun, a hapless lover—now happily married, laughs when he recollects his failed attempts at finding love and a successful corporate person, who was once an inattentive student, smirks when he remembers a cheating episode during an examination.

In this context our reminiscences of the 90s era could be as flawed as the decade itself was. Come to think of it—the 90s began with an assassination and ended with a hijacking. In between there was the demolition of a mosque, terrorist bombings, riots, several political upheavals and even a war. Hence, it is safe to say that this wasn’t a golden era by any stretch of the imagination. In many ways, it was a decade like any other, with its own share of the good and bad. The 90s too grew out of the doings of previous generations as any other decade prior to it.

Hence, let us pause for a minute and ask ourselves – What was different in this decade and why do we 90s kids repeatedly go gaga over it?

The answer may be found in two major events that took place in the 90s and which turned out to be game changers for a country which at that time was struggling to stand on its feet. These were the Economic Liberalization of India in 1991 and the Declaration of India as a full-fledged Nuclear State in 1998. Both these events managed to challenge the status quo and gave the country a chance to become a probable superpower of the future.

2nd Para - pinterest and national herald

Pic credit: Pinterest and National Herald

While economic liberalization opened up the economy to private and foreign investment thereby creating lakhs of job opportunities in multiple sectors, the success of the Pokhran-II nuclear tests ensured, that India was a force to be reckoned with, in a hostile neighbourhood, while also providing an alternative source of energy to a nation, which was fast depleting its resources. We can debate about the good and bad aspects of these policies, which were initiated by two different governments, belonging to two distinct ideologies (one secular and the other nationalist), but there is no doubt that these were defining moments in our post-independence history.

For the civilian population, the effects of economic liberalization were more visible and as a result, the kids of the 90s, like me, were witness to a few firsts. Among these were the advent of satellite television, introduction to the first PCs/Mobile phones/CDs & DVDs and the emergence of the world wide web. Apart from technological breakthroughs there were many FMCG products that were introduced into the Indian markets, during this decade, which became part of our daily lives.

mobile phone - pinterest

Pic credit: Pinterest

But in my opinion what set us apart from the generation before us, which lived in the protectionist era and the generation that came after us, post the turn of the millennium, was the convergence of the old and new in a way that had never been seen before. It is this aspect of growing up in the 90s which I want to delve into because in my opinion this is the differentiating factor.

pithoo- pinterest

Pic credit: Pinterest

The fact that we 90s kids lived dichotomous lives was no secret and we showed off this duality unabashedly. Since, the new had just arrived, the old still had its relevance. So, we played street games like Pithoo or Kho Kho with the same fervour with which we indulged ourselves in video games like Mario or Contra. Detective Byomkesh Bakshi’s keen sense of observation appealed to us as much as Mulder and Scully’s adventures with the paranormal in the X-Files. And, during lunch break, at school, pen fights were as enjoyable as a game of trump cards.

contra - pinterest

Pic credit: Pinterest

There was no danger of being side-lined since newer traditions were just beginning to make its way into our lives. Hence, it was cool to climb trees, get drenched in the rain or play Gili Danda while also learning to toggle our joysticks efficiently to move to the next level of a video game. The 90s, in that sense, was a nice blend of the old and new, a kichdi of sorts.

My fondest recollections of the 90s, oddly, are the simple experiences, which I cherish till date. Like,

amar chitra katha- pinterest

Pic credit: Pinterest

Enjoying a bar of ice-candy in the 40-degree heat of Palakkad (my hometown in Kerala) while turning the pages of my favourite comic books which included the likes of Marvel, Amar Chitra Katha, Tinkle and Chacha Chaudhary. The delicious ice-candies, made from fresh fruits, turned out to be as unputdownable as the comics I read.

Similarly, in Kolkata (where I spent most of my growing up years), after a gruelling game of gully cricket, we would usually treat ourselves to a glass of Fountain Pepsi—a new arrival into the Indian market at that time. However, a glass of Shikanji at the Maidan, also revived our spirits equally.

flintstones - pinterest

Pic credit: Pinterest

This dichotomy could be seen in the entertainment we sought as well. The Bollywood movies of the 90s were outright bad barring a few exceptions, hence we found solace in the TV programmes of that era. Thanks to satellite television, TV channels like ESPN, Star TV and Cartoon Network had just hit our TV screens and watching WWE on ESPN or Flintstones on Cartoon Network with friends was something we looked forward to in the weekends. But we were equally eager to see what Swami & Friends were up to in Malgudi Days or what mischief Nitu Singh and Noni Singh were going to cause in the next episode of Philips Top 10 due to their ignorance?

desert-storm-sportskeeda

Pic credit: Sportskeeda

However, apart from entertainment, satellite television and later the internet, gave us something that was going to be pathbreaking. This gift of the post liberalization era was access. Thus, Sachin’s straight drive of a 6’5” Australian fast bowler became as aspirational as the rhythms created by Rahman’s piano. A rendezvous with superstar Shah Rukh Khan or Tom Cruise was as inspiring as an interview with emerging business leaders like Narayana Murthy or Bill Gates. And, we realized what Sanjeev Kapoor was doing inside the kitchen was a subtle art and that he wasn’t a “Bawarchi” but a chef.

Today, as the balance shifts heavily towards the new with each passing day, I feel it is this dichotomy and specifically the simpler moments, that we crave for the most. Think about it—We aren’t really complaining about the creature comforts that we have currently and the subsequent materialism that came with it. But neither are we fully adhering to the ways of today, like our children are doing. It’s a strange conundrum that we find ourselves in.

pen fight - magic pin

Pic credit: magicpin

So, when we cajole our children to watch the cartoons and TV programmes, we once watched or introduce them to the games that we played or take them to theme resorts which kindle old memories, it’s the longing for the old, that is manifesting itself. While, we are comfortable with ways of a fast-changing world, there is still a deep yearning for the simpler times.

At a time when the world is under the grip of a deadly pandemic and humanity is locked inside their homes while nature reclaims its spaces—I urge the kids of the 90s to contemplate and decide what they want to take from their experience of the 90s and pass onto their children which might enrich their lives.

Article cover 1- behance.net

Pic credit: behance.net

It’s a difficult question to answer, considering the complexities but one that you must seek an answer to.

by whatsonsidsmind

The Man Who Called Himself “Satyanveshi” (Truth Seeker) | Byomkesh Bakshi | Back to 90s

Pic credit: pioneer.com

By Siddhartha Krishnan . 5 min read

Let me begin by admitting, that I still watch episodes of “Byomkesh Bakshi”—the much-loved Indian detective TV series of the 90s on YouTube. And, I am pretty sure, that many like me, who have grown up in the 90s in India, are also secretly doing so.

But never have I ever critically analysed the show, until now. Hence, a rather obvious question comes to mind—What makes me watch this TV serial even today? The question is relevant, and cannot be dismissed by attributing everything to nostalgia because unlike in the 90s we now have a range of options to choose from, particularly in this genre.

For starters, this is not an easy question to answer, especially if you begin by comparing this show with the ones available today. Come to think of it, here was a serial which had very little production value (in terms of its sets, locations and costume design), lacked subtlety or nuance (when it came to its screenplay) and to make things worse, featured unknown actors (many of the side actors, I am sure, were non-actors). In short, a perfect recipe for disaster!

Yet here I am, enjoying this supposedly lesser work of art, over a cup of coffee, on a lazy Sunday evening.

After giving it much thought, I concluded, that perhaps its these little flaws which made the show lovable. Moreover, for all you know, this might have been a well thought out strategy on the part of its writer to keep the audience engaged.

Confused? Well, to understand this aspect better, we must delve a little into the history of the TV show.

The TV series “Byomkesh Bakshi” is based on the stories of the prolific Bengali writer Sharadindu Bandyopadhyay. During his lifetime, Sharadindu wrote all different kinds of prose—novels, short stories, plays and screenplays, of which detective “Byomkesh Bakshi” was his most famous creation, atleast among a Pan India audience.

Saradindu book cover - amazon.in

Pic credit: amazon.in

A critical analysis of his “Byomkesh Bakshi” stories reveal that Sharadindu had the habit of describing an incident or a character through an unusually straight forward narrative. To illustrate this point better, as a reader or audience you are not given much in terms of the background of its lead characters, namely Byomkesh or his partner Ajit.

What were their family backgrounds? Where did they come from? … really didn’t matter. There are hints that are doled out, but a lot is left to the imagination of the audience.

(Here is an interesting discussion on this topic on the YouTube channel – Film Companion. Click the link to take you to the video)

Hence, one had to read between the lines and draw his or her own conclusions. But that said, there was no compulsion to do so because the story itself was so engaging and unique, that it had ability to keep the audience hooked till the end. Moreover, the character of the lead – “Byomkesh Bakshi”, was so well written, that you as the reader or audience is thoroughly invested in his journey to solve a case.

Sharadindu’s “Byomkesh Bakshi”, just like any other detective used his skills of observation, logical reasoning and understanding of forensic sciences to solve the most difficult of cases, but this is where the similarities end because he was no Sherlock or Poirot!

Byomkesh’s lack of self-adulation, non-elitist demeanour and love for simple living, set him apart from any other detective, we had known earlier.

Byomkesh cover

Pic credit: IMDb & Doordarshan National

He was the quintessential guy next door, who wore simple clothes, lived in a rented apartment at Harrison Road, Kolkata (now called M.G Road) and loved drinking “Chai” (tea) especially when he had his thinking cap on. The man refused to be recognized as a detective and called himself “Satyanveshi” (truth seeker) as he was more interested in the truth than the law. Hence, many a times, he would use unconventional methods (not always playing by the rule book) to get to the truth. He also had his own flaws and vulnerabilities.

Perhaps, it is this characterization which made Byomkesh both relatable and aspirational to the young Indian audience of the 90s. Hence, we all wanted to be as intelligent and street-smart as “Byomkesh Bakshi”.

With this context, if you now start analysing director Basu Chatterjee’s version of “Byomkesh Bakshi”, things slowly start to make sense. His strategy, it seems, was to stick to the original text of Sharadindu. Thus, he does not waste time on unnecessary nuance and presented the story as it was written. This explains the use of non-actors to play the roles of inconsequential side actors. But for him to have taken that risk, he must have had enormous faith in the power of these stories written by Sharadindu. And, the strategy worked!

In many ways that is the beauty of storytelling isn’t it? There is no single ordained way of telling a story. Each to his own and you never know what might work?

seemant heera - doordarshan - youtube

A still from the episode “Seemant Heera” featuring Utpal Dutt.  Pic credit: Doordarshan National

Chatterjee, however, ensured that the main characters in these episodes were played by experienced actors because they had a pivotal role to play in the storytelling and to drive the narrative forward. Apart from the lead actors Rajit Kapoor (as Byomkesh Bakshi), S.K Raina (as Ajit Kumar Banerjee) and Sukanya Kulkarni (as Satyabati), each episode had its own set of talented actors like Utpal Dutt, Govind Namdeo and Aditya Srivastava, to name only a few.

Another interesting fact, worth highlighting, is the casting of the lead actors. At the time when the serial was released in 1993—the lead actors Rajit Kapoor (Byomkesh) and S. K. Raina (Ajit) were unknown faces to the larger Indian audience. Although, Rajit Kapoor is now a renowned film and theatre actor, he was a fresh face in 1993, despite having acted in “Suraj Ka Sathvan Ghoda” directed by Shyam Benegal, considered an artsy film at that time.

This casting worked brilliantly because for a Pan India audience there was no reference point. In other words, they had no expectations.

quicksand - doordarshan national youtube

A still from the episode “Quicksand”. Pic credit: Doordarshan National.

Before the serial hit our TV screens, “Byomkesh” itself was a character unfamiliar to most Indians, even though many Bengali actors, including the likes of the great Uttam Kumar (in Satyajit Ray’s “Chiriyakhana”) have essayed the role in the past. For Bengalis, “Feluda” (a famous detective character created by Satyajit Ray) and “Byomkesh” were part of their popular culture, but for an Indian kid of the 90s, staying elsewhere in the country, he offered something new.

In that context, he was our very own Indian version of Sherlock Holmes.

Also, Rajit Kapoor’s portrayal of “Byomkesh Bakshi” was a standout as he was able to connect to the average Indian by expertly depicting a person who was simple yet quietly confident of his abilities. For this reason, despite all his later successes as an actor he is still remembered today, especially among the kids of the 90s, as “Byomkesh Bakshi”.

laal neelam - byomkesh - doordarshan - youtube

A still from the episode “Laal Neelam”. Pic credit: Doordarshan National

Sharadindu penned 32 Byomkesh Bakshi stories between 1932 to 1970. “Satyanveshi”, which was a Byomkesh story, was the writer’s first work. Interestingly, he had abruptly stopped writing Byomkesh stories in 1938 and had left for Bombay to write film scripts. But such was the popularity of these stories, that he resumed writing them in 1951 and continued doing so, until his untimely death in 1970. He also created other memorable fictional characters like “Boroda” and “Sadashib” and was lauded for the humour, wit and satire in his writings. His stories were generally short and had an unexpected twist in the end.

The TV series directed by Basu Chatterjee was first aired in 1993. Season 1, comprised of 14 episodes and Season 2 which was aired in 1997, comprised of 20 episodes. Prior to making “Byomkesh Bakshi”, Basu Chatterjee was already a celebrated director in the Indian film industry with iconic films like Rajnigandha (1974), Chotti Si Baat (1975) and Chitchor (1976)—to name only a few, to his credit. These films along with his celebrated TV series, is still watched in India because they are regarded as classics.

Finally, I’d like to end by saying that it is ironic and frustrating, that India is blessed with such good literature written by celebrated authors in multiple Indian languages, yet somehow, today we are struggling to find good content for television and films. We have had great writers in the past who have left us a treasure trove to choose from, yet it seems there is a dearth of good content. Why?

Adapted screenplays, based on the writings of celebrated writers, make it to the Oscars every year and they are an important part of the filmmaking culture of many countries. But why aren’t we doing the same, especially in mainstream cinema?

For some mysterious reason, our filmmakers have conveniently stayed away from the literature available at their disposal and stuck to a formula of milking the same cow, again and again! The audience are also to be blamed for this because they are happy to dole out 300 to 400 rupees in a multiplex theatre in the name of “mindless escapism”, as if to suggest that they are the only “stressed out” people in the world, while the rest of the world, according to them, sleeps for a living!

What’s more, these very people will then wake up at the end of the year and complain about how Indian films are not making it to the Oscars list?

Well, “you become what you consume” and until things change, I will stick to watching “Byomkesh Bakshi” on a lazy Sunday evening and reminisce about the glory days of Indian Television of the 90s.

 

Siddhartha Krishnan is the author of “Two and a Half Rainbows – A Collection of Short Stories“. He is also an enthusiastic blogger and on his website www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and film reviews.

 

All rights to this article reserved by http://www.whatsonsidsmind.com

Home

by whatsonsidsmind

The Man Who Called Himself “Satyanveshi” (Truth Seeker) | Byomkesh Bakshi | Back to 90s | Coming Soon!

Byomkesh cover

Pic credit: imdb & doordarshan

He was the “guy next door” who called himself “Satyanveshi” (Truth Seeker).
Get your “cha” (tea) ready because this man from Harrison road, Kolkata is coming soon to knock at your door.
Next on http://www.whatsonsidsmind.com and part of my “back to 90s” series is an article on the much-loved detective tv series “Byomkesh Bakshi”. Watch out for this space!
by whatsonsidsmind

Reviving old passions | Singing | Tears in Heaven | Eric Clapton

Tears in heaven

Pic credit: imdb.com

If I remember correctly, the year was 1993 when I first heard “Tears in Heaven”. Our music teacher at school, played the guitar nonchalantly and sang it. I was mesmerized by his performance.

Once done, he explained the context of the song and the sad history behind it. He also spoke about Eric Clapton and revealed to us, how big a star he was, especially for his generation of people. My respect for this teacher grew ten-fold that day because he made the effort to explain how important it is to get the feel of a song right.

As you might know, I’ve been trying to revive an old passion of mine – singing. In doing so, I have been trying my hand at Smule for the last couple of months. Last week, for some reason, this song came to mind and I couldn’t resist singing it.

Hope you like it. (Let me remind you that I am an amateur and not a professional singer). Please find the link below to the Smule recording. Do check it out and let me know how you felt.

Tears In Heaven “Eric Clapton” | Smule

Thanks and Regards,

Sid

Home

by whatsonsidsmind

Parasite (2019) Movie Review: Visual Poetry and a Masterclass in Filmmaking!

Poster - hiding scene - pinterest

Pic credit: pinterest

By: Siddhartha Krishnan . 5 Min Read

Usually critics would say this at the end but I am going take the risk of saying it upfront, that “Parasite” is a movie like no other. It is a “bloody good” film and all lovers of good cinema should watch it.

On the surface “Parasite” is a black comedy thriller but it has many hidden layers. It is an emotional roller coaster ride from start to finish. To add to that, the languid storytelling is so refreshing that the scenes seem like visual poetry. Although, I am tempted to tell you about the many memorable scenes of the film, I will refrain from it and keep this review as spoiler free as possible.

The story is simple. It is about two families – the Kim family, who live in a semi basement apartment in South Korea and the Park family, who live in a sprawling bungalow. The Kim family members deceive the Park’s to secure jobs within their house without their knowledge that they are all part of one family. The drama that unfolds during this process and a dark twist to the proceedings, half-way through the film, is what the story is all about.

mobile connection - losangelestimes

Pic credit: losangelestimes.com

But this is where director Bong Joon-ho, plays with the mind of the audience.

As mentioned earlier, although on the surface the film is a black comedy thriller but when you start peeling the layers off, you figure out, that there is a social commentary that is going on in the background which is conveyed through spectacular imagery. Hence, as suggested in the film’s trailer, you expect “Parasite” to be one thing and then it becomes something totally different. It is funny, dark, twisted and clever.

Right from the opening “fumigation” scene, the attention to detail is evident. The screenplay by Bong Joon-ho and Han Jin-won is exemplary. Their vision and creativity, is something other writers can learn from. For things to look so seamless on screen, there must have been a lot of effort put behind the scenes.

The montage scene also deserves a mention. In this scene Mr. Kim, who is the chauffeur of the Park family, is trying to convince Mrs Park, that the family’s long-time housekeeper’s peach allergy, is due to tuberculosis. The scene is a tribute to the skill of the writers and the background score by Jung Jae-Il, is the perfect icing on the cake.

Parasite montage scene. (Click on the link to watch the scene on YouTube)

The cinematography by Hong Kyung-pyo is commendable and the stand out feature was the use of light to evoke emotions. Hence, there was a lot of flickering and dimming of light, to give the audience an immersive experience. Also, the use of colour to kindle and enhance a certain emotion was noteworthy. In this regard, the flood scene, which shows the contrast between the rich and poor households, deserves a mention.

A lesser discussed aspect of the movie is its production design, which is top notch. The production designer Lee Ha-jun has meticulously created the world of “Parasite” in such a way, that you as the audience will be drawn to it in an instant, right from the opening scene. I am sure, that there is some amount of CGI involved to create the final impact, as with all films nowadays, but that does not take anything away from this effort.

giphy - cellar scene

Pic credit: giphy.com

I see a lot of Stanley Kubrick in Bong Joon-Ho’s imagery, wherein the place becomes a character in the film, and he uses space and light to evoke intrigue within the audience. Hence, the production design had to be of a certain level to meet that vision. While preparing for this piece, I came across the following article on how the production designer, Lee Ha-jun, went about creating the iconic house of “Parasite”. It was an interesting read and might be of value to you.

How “Parasite” production designer built the film’s iconic house?

There wasn’t much acting in this film instead there was a lot of reacting. Since, everything was so well choreographed, all the actors (cast) had to do, was to react to situations given to them. Hence, it is difficult, to pick out one great acting performance. But all the actors, have done a great job without having to stand out on their own. These are characters which you will identify with and who will linger in your mind after the film is over. If I must pick out one performance from the movie, I will pick all of them because its their combined effort which makes this movie memorable.

Poster - mubi

Pic credit: mubi.com

Perhaps, the most captivating aspect of the film is the way the director has shot the deception scenes. The use of humour is interesting because Bong Joon-ho makes the audience laugh for most part of these scenes and then leaves them in shock at the end of it. This is a rare art and the director nails it.

Also, the film employs satire, to show you the class-divide and at no point does it show either side in bad light. The Kim family is shown to be intelligent because of their lack of resources. They do not have much to play with, hence, they must think out of the box to survive. While, the Park family is shown to be vulnerable because of an excess of resources at their disposal, hence, they stop using their minds. Thus, what we get are cleverly constructed scenes which will keep you at the edge of your seat.

parasitekims

Pic credit: npr.org

While most critics have heaped praise on the film, there have been a few, who have been critical. The criticism is that the director has been very direct in his storytelling, especially with his imagery and has left little to the imagination of the audience. Also, they have pointed out, that the daily indignities to which the poor are subjected to, are cliched.

Although, I respect these points of view and they may be correct, my counter to the argument, is that, an effort to be nuanced should only aid the storytelling process and not hamper it. At the end of the day, “Parasite” is an entertaining film and it caters not just to the artsy audience but also to everyone who loves watching good cinema. As for the clichés, although the means used to convey the message is not new, the way it has been conveyed is unique.

Finally, I’d like to say that “Parasite” is an important film, not just because it was able to transcend language barriers and reach out to a wider audience or that it has a message which has universal appeal, but because it restores faith in good cinema. Here is a film, which has managed to break all barriers and appeal to the conscience of people across the world, purely based on the quality, that it was able to deliver. It was the director’s mastery over his craft that came out of the screen, grabbed the audience by their neck and compelled them to stay hooked.

This is truly inspirational and even if the film had not won the Oscar for Best Picture or the Palme d’Or at the Cannes film festival, it would still have been the best picture of the year because it had managed to gain the love and respect of so many movie lovers across the world. At the end of the day, this is what every artist aspires to achieve.

I will end by saying that “Parasite” is not just a masterpiece but also a masterclass in filmmaking. Thus, I am going to agree with most critics across the world and give director Bong Joon-ho’s “Parasite” – 5/5. In many ways, this film is visual literature and poetry, the likes of which, only the true greats have been able to deliver!

In case you are interested in watching the film, here are your options:

Due to the Oscar fever, the film is running in theatres in India but with limited shows. The film is also available on Amazon for a rental fee. Link below:

Amazon Prime/Parasite (English Subtitled)

 

Siddhartha Krishnan is the author of “Two and a Half Rainbows – A Collection of Short Stories“. He is also an enthusiastic blogger and on his website www.whatsonsidsmind.com, he regularly puts out his essays, articles, travelogues and film reviews.

 

 

All rights reserved by http://www.whatsonsidsmind.com

Home