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Home , Meena Kumari, Mumtaz (actress), Nargis, Nasreen Munni Kabir, Rehman (actor), Reshma Aur Shera

L L L L L D O C U M E N T A R Y L L M U S I C L

uch before 1965. But for some strange reason, Dev arnatic music is the provoke, and many in the Carnatic became global fashion Anand had decided not to tell her about traditional classical music music universe have risen to the bait. the award so she got the information of south ,’ goes the His unapologetic, often forceful, mode had started to document Living the role only much later. cliché. Like all clichés, it A kind of integrity of argument is likely to alienate some the world of Bombay film The conversations make two expresses one truth while of his readers. Still, everyone stands to professionals through revelations about Waheeda . concealing another. In L gain if his position is seriously discussed shows like Channel 4’s The first is her extensive knowledge A Southern Music, the with evidence and counterargument Movie Mahal, a 49-part about the technicalities of film craft young Carnatic singer A Southern Music: The Karnatik Story rather than defensiveness. TV series launched in 1986. At a time and their aesthetic implications. The T M Krishna has produced a collection The most intriguing of Krishna’s Mwhen cineastes tended to look at Bombay second is her ability to negotiate her ‘Cof essays that signal a widening By T M Krishna heterodoxies is his attitude to the films with disdain, Movie Mahal was a own terms in a largely male-dominated doubt about the two key adjectives in essential religiosity (or otherwise) of the cultural life-line to many South-Asians industry. When she signed up for her that characterisation: ‘classical’ and HarperCollins Publishers India, 2014, 588 pp., Rs 799 (HB) Carnatic tradition. It is one implication in the diaspora. For over 30 years Kabir first film CID, the director Raj ‘traditional’. ISBN 978-93-5029-821-3 of his conceiving of it as an “art music” has written books, produced TV shows Khosla (with whom her battles are well- Krishna is no dilettante. His music tradition that the tradition’s relationship and made documentaries on the Bombay known) insisted that she change her is difficult, demanding, and relentlessly with the various forms of Hindu piety film industry. Her documentaries name as ‘’ was too serious. He has acquired a reputation N A K U L K R I S H N A becomes a strictly contingent matter, include the making of Andrew Lloyd long. She refused. Khosla was incensed for outspokenness against the Carnatic in some cases accidents of history. The Webber’s Bombay Dreams for BBC 1, at her temerity as she was not only an world’s hostility to non-Brahmins, essay in which this case is made (“The Follow that Star on , absolute newcomer but a legal minor non-Hindus and women and the essays Shrine and the Song”) shows Krishna at Lata: In Her Own Voice (which is now whose contracts had to be signed by in this book contain several incendiary attempt to return to Carnatic music the argument quite inappropriate for an his argumentative best. an important book) and The Inner and her mother! When Khosla argued that remarks on these matters. But his spirit of experiment and challenge that introductory primer. It is possible His point of view, he says, is “not Outer World of . Her “everyone” before her (like Meena heterodoxy can be traced beyond characterised that formative moment in that this uncertainty in register is the atheistic but aesthetic”. In his view, the ‘conversation’ books with , Kumari and ) had changed their his political opinions to an aesthetic the late 18th and early 19th centuries. consequence of an editorial failure to aesthetic dimension of Carnatic music is , AR Rehman and names, Waheeda quietly asserted that philosophy and an interpretation of Krishna brings a 21st century sensibility clarify just whom this book is for. But both chronologically and logically prior are excellent resources for both she was not “everyone”. Adding fuel musical history that are these essays’ to bear on a musical tradition at risk a more generous interpretation too to its religious dimension. The aesthetic the devoted cinephile and the regular to fire, she insisted on adding a clause main focus. of resting on its now wilted laurels, is possible: Krishna is trying to take standards of an art musical tradition were film fan. To this excellent repertoire has to her contract: that she would not be It is one of Krishna’s central con- all the while seeking to preserve its apart the whole Carnatic tradition as a in place before that tradition became now been added a book of conversations Conversations with Waheeda Rehman forced to wear clothes that she did not tentions that contemporary Carnatic “integrity”(a word that recurs in these preliminary to putting it back together the vehicle for religious expression. The with actress Waheeda Rehman. By Nasreen Munni Kabir like. During the shooting of Palki, the musical practice stands in an awkward pages). again, having clarified to his satisfaction great Carnatic composers never thought Kabir’s most celebrated body of director K Asif asked his production relationship with its own history. A Southern Music opens with a long, just where its essence is to be found. piety a substitute for musicianship. work is on which includes Viking/Penguin, New Delhi, 2014, 227 pp., Rs 499 (HB) assistant to call her at 11pm to inform Carnatic music’s origins clearly go a somewhat discursive, section titled An early passage captures many of Composers wrote in praise of patrons a fascinating documentary featuring her about the shooting schedule. The long way back, perhaps in some respects ‘The Experience’, before moving on to Krishna’s central ideas (and some of his just as they did in praise of gods and interviews with his industry colleagues ISBN 978-0-670-08692-4 assistant told him that no one was all the way to the Vedic age. But this the punchier essays on ‘Context’ and penchant for the grand assertion): goddesses, and performers and patrons and contemporaries, many of whom allowed to call her after 9:30 pm. A early history does nothing to explain ‘History’. Krishna is not at his best in Art music is about giving the idea through history have set great store have since passed. It was during the few days later, Asif demanded to know just how Carnatic music came to take by pure musical skill as displayed in making of In Search of Guru Dutt that SHOHINI GHOSH why Rehman had imposed such a rule. the form familiar to its contemporary competitive displays of virtuosity. Kabir met Waheeda Rehman. The usually She replied: “Asif Saab, I am not afraid admirers. There are questions to be These are strong considerations, reserved actress was so animated in her of hard work, but there must be some Here, Krishna goes well beyond the and Krishna’s case is strengthened by career spanning five decades. However, discussion of Guru Dutt that she started dishonour to your profession. The discipline. Only my sisters who live out usual platitudes to offer a narrative of asked here about the implicit his recognising that the question of the it was during the 1950s and 1960s that speaking about him in the present medical profession is a fine one, but if of town or my close friends can call me artistic evolution through the medieval ‘inherent’ religiosity of Carnatic music she acted in some of her best-known distinction between the tense! Writes Kabir: “No story about a doctor misbehaves you cannot blame after 9:30 pm.” and early modern periods. He speculates is beside the point. The real questions films like CID (1956), (1957), Guru Dutt would have been complete his profession, can you?” Rehman died Actresses are rarely asked about intelligently about how the tradition aesthetic and the sacred. are historical – what were the many ways Kagaz ke Phool (1959) without speaking of her. She is such a of a sudden illness at the age of 52 when the craft of filmmaking as questions might have developed in the hands of The distinction has a certain in which musical practice have been (1960), Chaudvin Ka Chand (1960), vital presence in his work that when you Waheeda was only 13. about their work tend to be limited the now forgotten musicians relying intertwined with the religious life of Sahib Bibi Ghulam (1962), Abhijan resonance in the context of meet Guru Dutt’s fans, you realize that It was to earn money for the to their resourcefulness in front of on the patronage of one of the south ? And practical – how should (1962), Mujhe Jeene Do (1963), Guide half are in love with him while the other family that Waheeda took to dancing the camera. What is noteworthy Indian monarchies that flourished even (say) the Enlightenment in a contemporary performer respond to (1965), (1966), Ram Aur half are in love with her.” Of course, professionally. In 1953 she got an about Rehman’s narrative is that she as the over-studied Mughal Empire was the religious aspects of Carnatic music? Shyam (1967), Aadmi (1968), Baazi Europe, with its attempt to the question uppermost in the mind offer to dance in a film titled Rojulu frames the discussion of film acting on the wane. The chief consideration, to Krishna’s (1968) and Khamoshi (1969). Some of of almost every Guru Dutt-Waheeda Marayi (1955). The sequence in which around the process of shooting. She It is, perhaps inevitably, obscure just draw clear lines between the mind, is again the ‘integrity’ of the her notable films of the 1970’s include Rehman fan is whether or not the two she danced – possibly a precursor to speaks eloquently about the impact on what was special about the moment in music. It is fatal for a musician to try Darpan (1970), sacred and the secular. But were lovers. It’s best to state at the outset the ‘’ – became a huge acting of film speed, lighting, camera the late 18th century when this musical to bypass the music and reach for the (1971), Phagun ((1973) and Adalat that the question remains unanswered sensation and got her several offers to angles, movements, storyboarding and tradition acquired its familiar form, but India and have ‘spirit’ behind it, as if the music were (1976). What makes Rehman’s stardom as Rehman refuses to talk about it. perform in Telegu films. But the most blocking. She explains how shooting in Krishna’s account suggests that the most some kind of optional extra. Attend to unique is that she frequently acted in stubbornly resisted attempts Even public figures, she believes, have important break came when Guru Dutt, colour and black-and white demanded important truth about Carnatic music the music itself, he urges, and all else unconventional and transgressive roles. a right to privacy. I must admit that I who was sitting in a distributor’s office different kinds of lighting, make up and might be not its antiquity, however real, to enforce such distinctions. will follow. Rosie in Guide is a married woman was relieved to have this question set- in , heard a huge commotion costume and how that affected their but its modernity. Indeed, in Krishna’s There are questions to be asked here who leaves her husband to live with Krishna may well be right that it is the integrity of aside because for too long, lives of outside. The distributor explained that performances. She explains terms like narrative, Carnatic music might be about this implicit distinction between Raju . But when Raju begins actresses in the film industry have been the commotion was being created by ‘film speed’, ‘camera blocking’ and ‘patch one of the greatest achievements of the art form that is the primary consideration, but the aesthetic and the sacred. The to fail her, she unhesitatingly pushes over-determined by their relationship to the fans of Rojulu Marayi as the stars work’ while debating the limits and India’s modernity. Like so much in we need a reply to the critic who conceives of that distinction has a certain resonance in him away. Nowhere in the film is Rosie men as in the case of Nargis and Meena of the film were passing by. He also possibilities of sync-sound recordings modernity, the radically new can come the context of (say) the Enlightenment judged or made to regret her decisions. integrity as transcending the usual lines between the Kumari. In this book, Waheeda Rehman mentioned that a young dancer by the (which she prefers) and ‘dubbing’. The to be mistaken for the timelessly old. in Europe, with its attempt to draw Guide is exceptional in its articulation emerges as an engaged, spirited and name of Waheeda Rehman had made a emotional connect between the actress The late 18th century saw the birth of aesthetic and the sacred clear lines between the sacred and the of a complex moral universe. If there independent-minded professional who sensational debut. Guru Dutt became and the character that she plays is the three composers whom subsequent secular. But India and Hinduism have is any screen character with whom she provides illuminating insights into not curious to know whether this Muslim clearly a recurring preoccupation with convention would exalt as the ‘Trinity’: stubbornly resisted attempts to enforce can most identify, says Rehman, it is just her own career but film industry girl knew and expressed a desire to her. How does one maintain emotional Tyagaraja, Muttuswami Dikshitar and these opening essays. While they are of emotion a representation in music. such distinctions. Krishna may well be Rosie. Guide won all the top practices in general. meet her. Three months later, a meeting consistency when film shootings are Shyama Shastri. Their melodic and commendably free of the florid, Latinate ... Music is a piece of art, which creates right that it is the integrity of the art form awards in 1967 including the one for Waheeda Rehman was born on was set up and the rest is history. constituted through interruptions? She poetic achievements gave expression to and oft-parodied style of so much an aural world of emotions. The lyrical that is the primary consideration, but we Best Actress. The English version of 3rd February 1938 in Chengalapattu, Waheeda Rehman became one of concludes: that famously indefinable notion, the popular criticism (full of ‘mellifluous content may be religious or social, but need a reply to the critic who conceives the film, won Rehman the Best Actress 60 kilometres south of Madras. Her the biggest stars of the Bombay film made films the way ‘raga’, in the form of a musical corpus renditions’ and ‘cascading intricacies’), that is not the musician’s focus. of that integrity as transcending the award at the Chicago Film Festival in father, Mohammed Abdur Rehman, industry who acted in 82 films in a films should be made—from start to that was extensive yet staggeringly they are high on grand assertions and ‘Art music’ is Krishna’s preferred usual lines between the aesthetic and IAS, was a district commissioner who L finish. So whether you are needed on inventive. Krishna has no quarrels with severely short on examples. term for what is usually referred to as the sacred. broke with tradition by educating the set or not, you can spend your the conventional estimations of their As in the writings of the philosopher a ‘classical’ form. Over the course of It is to Krishna’s credit that his answer himself and moving away from his The conversations make two revelations about whole time thinking about your genius; readers unfamiliar with him can Jiddu Krishnamurti (whose influence the book, the term becomes a way for to his practical question is tentative and landowning family. Like her husband, Waheeda Rehman. The first is her extensive character. It’s not just about learning do worse than to look for recordings on Krishna is richly evident), one is Krishna to challenge what he sees as the personal: Waheeda’s mother Begum the dialogue and facing the camera, (they are easily located on the internet) persuaded not because of his arguments growing hold of certain misconceptions We should see if it is possible to was liberal-minded and a proud parent knowledge about the technicalities of film craft you must somewhat live the role and of him singing their compositions if but because one can recognise in what about the nature and possibilities of the engage with Karnatic music without to four daughters. When people asked and their aesthetic implications. The second is her not always be acting in it. they have the slightest doubt about he is saying something one has long Carnatic tradition. the religious factor, at least in its her father, “Isn’t it a pity that God has In the late 20th century, films began his respect for the tradition. When he suspected. The examples, elaborations One of Krishna’s favoured overt and overbearingly obtrusive not given you a son?” he would reply: ability to negotiate her own terms in a largely male- to be studied and discussed as a multi- departs from convention, he does not and arguments do come later in the themes is a call to restore to Carnatic manifestations. I move in this “Emperor Akbar had nine jewels in his dominated industry. When she signed up for her authored site in opposition to the idea do so out of petulance or ignorance. book, but it will take a patient and music something of the diversity of direction, as I believe religiosity court and I have four.” It was at the age that they were singularly driven by Like any other musical form, sympathetic reader to make the performance styles that characterised narrows our vision of experience. of nine that Waheeda started to learn first Hindi film CID, the director insisted the vision of their directors. This shift much Carnatic music performance connections between the pleonastic it in the 19th century and earlier. He Need it be so for everyone? Krishna Bharatnatyam. This decision earned the that she change her name as ‘Waheeda Rehman’ was has allowed for an assessment of all is competent and unimaginative. utterances of the early chapters with regrets the stultifying effect on concert does not say, and his lack of dogmatism disapproval of many family members professionals involved in the staging of But nothing in Krishna’s singing is the superb clarity of the later ones. practice of the influential 20th-century on this point is to his credit. If his book who asked, “Saab, you’re a Muslim too long. She refused. When Khosla argued that the mise-en-scene both during and after mechanical; in his hands, familiar Large stretches of the book have innovation, the standard ‘kutcheri’ succeeds in having an influence on the and you’re allowing your daughters to “everyone” before her (like and the shooting and revived an interest in pieces of music are made new again him patiently lay out definitions of format for Carnatic performance practice of Carnatic music, it is best that dance?” Rehman would say: “Dancing Nargis) had changed their names, Waheeda quietly film acting. It is to this increasing body by an intuitive act of reimagining. basic concepts well known to anyone and craves a more open-minded, less it should be by opening up possibilities, is an art and no art is bad. It’s how of work that the book makes a lasting It is important to acknowledge his likely to read this book. Others frenetic, concert schedule. not by closing them down. you conduct yourself that can bring asserted that she was not “everyone” contribution. N seriousness. In Krishna, one finds an consist in opinionated passages of Krishna is certainly aiming to N

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