Director Kalpana Lajmi Passes Away Made Women-Centric, Socially Relevent Movies Like Rudaali, Ek Pal & Daman

Total Page:16

File Type:pdf, Size:1020Kb

Director Kalpana Lajmi Passes Away Made Women-Centric, Socially Relevent Movies Like Rudaali, Ek Pal & Daman THE TIMES OF INDIA, NEW DELHI TIMES NATION MONDAY, SEPTEMBER 24,2018 Director Kalpana Lajmi passes away Made Women-Centric, Socially Relevent Movies Like Rudaali, Ek Pal & Daman [email protected] mese cultural icon Bhupen And one of her most remem­ Hazarika striking a creative bered work is Lohit Kinare, a irector Kalpana Lajmi, collaboration with him. "She 1988 DD serial adapted from known for her distinc­ was passionate about her Assamese short stories. Dtive women-centric work. She was Bhupen da's Lajmi loved adapting lit­ films such as Rudaali and Ek companion and looked after erature for cinema. Ek Pal's Pal, passed away at a Mum- him," said noted filmmaker story was penned by poet- bai hospital on Sunday and Lajmi's friend, Jahnu Ba- novelist Maitreyi Devi; Ru­ morning. She was 64. rua. Hazarika passed away in daali was based on littera­ "She was suffering from 2011. Lajmi's memoir, Bhupen teur Mahashweta Devi's sto­ chronic kidney disease and Hazarika — As I Knew Him, ry and Chingari was scripted liver failure. She was on dial­ provides an up, close and per­ from Hazarika's work, Post­ ysis and in and out of hospi­ sonal look into their long­ man and Prostitute. tal for three years," her standing relationship. "She was extremely well brother Dev Lajm i told P'l'l. Hazarika composed mu­ read and very literary in her Women in Lajmi's films sic for most of her films. The outlook. She was also script- possessed an inner core of songs are instantly recognis­ friendly but not very com­ strength which allowed them Kalpana Lajmi with her companion Bhupen Hazarika in a file photo able for their folksy flavor. fortable with the physical to negotiate matters of heart Some like Jara dheere jara process of shooting," recalls on their own terms. In Ek Pal Her women were uncon­ peace. Those days while dheeme leke jaiho doli (Ek Arif Zakaria, who made his (1986), her debut feature, the ventional too. Rakhee(Bhikh- shooting Daman will be a Pal) and Dil hoom hoom kare film debut in Darmiyan. Za­ much-married Priyam (Sha- ni) is a professional mourner treasured memory." (Rudaali), both in Hazarika's karia adds, "I will always be bana Azmi) bears a child from in Rudaali. Dimple Kapadia's In Darmiyan, the Mum- evocative voice, endure in in deep gratitude of her for her lover. Lajmi's protago­ touching performance as a bai-born Lajmi explored the popular memory. taking the risk in casting nists fought back hard when woman who's unable to weep relatively unchartered ter­ "There's a distinctive fla­ me." Shah Rukh Khan was wronged. In Daman, Durga won her the national award rain of alternative gender. A vor of Assam in her movies," initially slotted for the role. (Raveena Tandon) end for be i Rudaali. niece of the famed filmmaker Barua said. Ek Pal was shot Benegal told PTI, "She killing her vicious husband. So d id Tandon for Daman. Guru Dutt, she assisted Shy- in the northeastern state. Be­ was a niece of mine. She was [nChingaii, the wronged sex- who tweeted on Sunday, "You am Benegal in films like Bhu- fore turning to features, Laj­ a very fine filmmaker. She worker Basantl (Sushmita will be missed Kalpanaji. mika and Mandi, before pro­ mi had also filmed a bunch of went through a long period of Sen) avenges her lover Was not your time to go. But ducing and directing Ek Pal. documentaries such as illness, it is tragic. She was slaying the rapacious priest. may your heart now be at Lajmi also assisted Assa­ Along the Brahmaputra. much young to go". .
Recommended publications
  • Farooq Sheikh: 'A Natural Actor' Farooq Sheikh Was an Actor, Philanthropist and a Popular Television Presenter
    SWAPNIL SANSAR, ENGLISH WEEKLY,LUCKNOW, 21,MARCH, 2019 (06) Farooq Sheikh: 'A natural actor' Farooq Sheikh was an actor, philanthropist and a popular television presenter. the late 90s, Farooq Sheikh acted in a number of television serials. Chamatkar He was best known for his work in Hindi films from 1977 to 1989 and for his on Sony and Ji Mantriji on Star plus are among the few. He also worked in a TV work in television between 1988 and 2002. He returned to acting in films in 2008 serial Shrikant which aired from 1985 to 1986. and He compered in the Binny Double or Quits Quiz contest which was telecast over Remembering on his contin - Vividh Bharathi. He also performed on stage in famous plays such as Tumhari ued to Amrita directed by Feroz Abbas Khan, featuring Shabana Azmi.The play was Birth Anniversary (25th Mar.) do so appreciated by audiences the world over for 12 years till 2004. A sequel to this until his play was staged in India in 2004 titled "Aapki Soniya" with Farooq Sheikh and death on 28 December 2013. His major contribution was in Parallel Cinema or Sonali Bendre as main leads. "Tumhari Amrita" completed its 20-year run on 26 February 2012.He direct - ed Azhar Ka Khwab, an adaptation of Bernard Shaw’s Pygmalion in 2004.He had been the host of the popular TV show Jeena Issi Ka Naam Hai in which he inter - viewed many Bollywood celebrities. His sense of humor and direct humble approach was the USP of the show.Farooq Sheikh died of a heart attack in Dubai on 28 December 2013.
    [Show full text]
  • Aimi Lived Her Films SSI Kalpana
    SSI . A Kalpana aimi lived her films The filmmaker, who passed away recently, was much ahead of her times, and so were her movies. A tribute to her extraordinary life LAUT MOHAN JOSHI PHOTO BY THE I felt, had cast his spell on me. I wanted Kalpana Lajmi remains a to drown in his music; I wanted to die ER films were as unconvention­ in his arms." al as was her life. As a filmmak­ role model in a star struck Shantanu Ray Chaudhuri, who worked er, Kalpana Lajmi portrayed Indian film industry on her memoir, pays rich tributes. "The women who defied social norms. book is a candid portrait of a feisty, ShHe found a soulmate who was older where Ixurriiiga few unconventional woman with a mind of than her father. For veteran filmmaker her own and her tumultuous relation­ Shyam Benegal, she was a feminist film­ names like Aparna Sen, ship with a multifaceted unpredictable maker without claiming to be one. AruhaRaje/Ianuja genius, one that is as fascinating for the Hailing from an illustrious family of almost 30-year age difference between the iconic Guru Dutt, she developed her Chandra or Zoya Akhtai; the two as it is for the fact that it played filmmaking skills under her maternal women filmmakers are out in the open in an era where such uncle, Shyam Benegal. The cinema vet­ relationships were frowned upon and eran, who has seen her grow, says, "She still a microscopic hence largely clandestine affairs." was barely four when I arrived in Bom­ Kalpana Lajmi; and (right) Dimple Kalpana Lajmi lost her directorial bay in 1958 as a straggler.
    [Show full text]
  • 4Calpana Lajmi, Who Carved a Niche for Herself, Dies
    c„»„„ THE HINDU MONDAY, SEPTEMBER 24, 2018 4calpana Lajmi, who carved a niche for herself, dies The director's well-intentioned and significant works, which include films like Rudaali and EKPal, focussed on gender and sexuality NAMRATAJOSHI the issue of gender and pa­ sisting Benegal. Gulzar had survived by her mother, ar­ subjects and taking a risk at MUMBA1 triarchy in the broader con­ been a close associate, work­ tiste Lalita Lajmi and brother the cost of being notorious. Right from her first feature text of class and caste di­ ing on the script, dialogues Devdas Lajmi. Look at the range of films she film, Ek Pal (1986), Kalpana vides, through the tale of a and lyrics of her early films. Several film personalities has made. There is no the­ Lajmi carved out a distinct woman who is unable to But the biggest influence was paid tributes to her. Screen matic connection you can space for herself in Indian ci­ weep despite the many per­ her mentor and long-time writer Urmi Juvekar said: find easily. She could get into nema. Based on a short story sonal losses. Will her friend­ partner and associate, late "She agreed to work with a things very few would dare by Maitreyi Devi, the love ship with a rudaali (profes­ musician-film-maker Dr. complete novice like me to get in, and that fearless­ triangle, with Shabana Azmi, sional mourner) help her to Bhupen Hazarika. It was [during Darmiyaan: In Bet­ ness set her apart." Naseeruddin Shah and Fa- embrace her grief and lead through him that she got ex­ ween (1997)].
    [Show full text]
  • PORTRAYAL of SEXUAL MINORITIES in HINDI FILMS By
    Articles Global Media Journal – Indian Edition/ISSN 2249-5835 Sponsored by the University of Calcutta/ www.caluniv.ac.in Summer Issue / June 2012 Vol. 3/No.1 PORTRAYAL OF SEXUAL MINORITIES IN HINDI FILMS Sanjeev Kumar Sabharwal Assistant Professor Amity School of Communication Amity University Uttar Pradesh, Lucknow Campus, Uttar Pradesh, India Website: http://www.amity.edu/lucknow Email:[email protected] and Reetika Sen Academic Coordinator Amity School of Communication Amity University Uttar Pradesh, Lucknow Campus, Uttar Pradesh, India Website: http://www.amity.edu/lucknow Email: [email protected] Abstract: Sexual minority or Alternative sexuality comprises of all those people who fall under the categories of Gay, Lesbian, Transgender, Eunuchs. This paper basically compares the portrayal of sexual minorities in Mainstream and Alternative Hindi Cinema. It talks about how Mainstream Hindi cinema which is the most widely distributed cinema in India and abroad has traditionally adopted an attitude of denial or mockery towards LGBTQ community. Representations of sexual Minorities have veered between the sarcasm, comic and the criminal. Where as Alternative Cinema which is confined to film festivals and a handful selected group of viewers portrays sexual minorities in more realistic manner and is successful in raising, expressing & suggesting possible solutions to their problems in more effective manner as compared to the main stream cinema. This is a qualitative as well as quantitative research and the methodology adopted to find out the answers to the questions is content analysis of four Hindi films and survey. Two films of mainstream and two of alternative cinema were selected randomly. Both secondary and primary data was collected, from various reliable sources like journals, websites, articles, movie reviews of different newspapers etc.
    [Show full text]
  • Women, Cinema and the Indian Nation: a Description Historical Survey
    I. (A) Personal Details Role Name Affiliation Principal Investigator Prof. SumitaParmar Allahabad University, Allahabad Paper Coordinator Prof. Rekha Pande University of Hyderabad, Hyderabad Content Writer/Author Prof. Lalit Joshi University of Allahabad, (CW) Allahabad. Content Reviewer (CR) Prof.Rekha Pande University of Hyderabad Language Editor (LE) Prof. SumitaParmar Allahabad University, Allahabad (B) Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women and History Module Name/ Title, Women, Cinema and the Indian Nation: a description historical survey Module ID Paper-3, Module-33 Pre-requisites The reader is expected to have an understanding of how patriarchy is articulated in visual and performing arts. Objectives To make the reader understand how the ‘look’ is organized in Indian cinema and how it is used to promote voyeuristic tendencies among the audiences. Keywords film criticism,darsana theory,Indian cinema,male gaze, anti-colonial movement,female protagonists WOMEN, CINEMA AND THE INDIAN NATION: A HISTORICAL SURVEY Introduction This unit is about the representation/portrayal/depiction of women in Indian cinema. No attempt has been made to choose films made in all the languages in India. Nor has any attempt been made to distinguish between representations in what have been called ‘mainstream’ and ‘art’ films. The lack of an ‘Indian Theory of Cinema’, explaining how women are represented on the screen, creates problems of interpretation. Moreover feminist film criticism in the western academia opens new vantage points for the reader but limited possibilities to understand Indian cinema. Nonetheless, some prominent theorists merit mention. Pioneering work was done by Laura Mulvey (Visual Pleasure and Narrative Cinema, 1975) who argued that the look or gaze in cinema is androcentric and that male audiences derive ‘scopohilic pleasure looking at women’.
    [Show full text]
  • Robert Redford Bows out with Film on Friday. P4-5
    Community Community Gorkha Diff erently Welfare abled P6Society P16 students organises ‘Mother mark ‘Teachers’ Seminar’ to raise funds Day’ at HOPE for Human Welfare Qatar with diff erent Ashram Nepal. activities. Tuesday, September 25, 2018 Moharram 15, 1440 AH Doha today: 310 - 400 The last call Robert Redford bows out with film on Friday. P4-5 COVER STORY POP SPOT SHOWBIZ Gold exhibits musical Filmmaker Kalpana legacy of Marc Bolan. Lajmi dead at 64. Page 14 Page 15 2 GULF TIMES Tuesday, September 25, 2018 COMMUNITY ROUND & ABOUT PRAYER TIME Fajr 4.07am Shorooq (sunrise) 5.23am Zuhr (noon) 11.26am Asr (afternoon) 2.51pm Maghreb (sunset) 5.30pm Isha (night) 7.00pm Johnny English Strikes Again out of retirement, English dives headfi rst into action with the DIRECTION: David Kerr mission to fi nd the mastermind hacker. As a man with few USEFUL NUMBERS CAST: Olga Kurylenko, Jake Lacy, Emma Thompson skills and analogue methods, Johnny English must overcome SYNOPSIS: The new adventure begins when a cyberattack the challenges of modern technology to make this mission a reveals the identities of all active undercover agents in Britain, success. leaving Johnny English as the secret service’s last hope. Called THEATRES: Royal Plaza, Landmark, The Mall Emergency 999 Worldwide Emergency Number 112 Kahramaa – Electricity and Water 991 Local Directory 180 International Calls Enquires 150 Hamad International Airport 40106666 Labor Department 44508111, 44406537 Mowasalat Taxi 44588888 Qatar Airways 44496000 Hamad Medical Corporation 44392222, 44393333 Qatar General Electricity and Water Corporation 44845555, 44845464 Primary Health Care Corporation 44593333 44593363 Qatar Assistive Technology Centre 44594050 Qatar News Agency 44450205 44450333 Q-Post – General Postal Corporation 44464444 Humanitarian Services Offi ce (Single window facility for the repatriation of bodies) Ministry of Interior 40253371, 40253372, 40253369 Ministry of Health 40253370, 40253364 The Predator of suburbia, the hunt comes home.
    [Show full text]
  • HINDI CINEMA: a COMPARATIVE STUDY of COMMERCIAL and PARALLEL CINEMA, POST 1980S
    REPRESENTATION OF WOMEN IN HINDI CINEMA: A COMPARATIVE STUDY OF COMMERCIAL AND PARALLEL CINEMA, POST 1980s THESIS SUBMITTED FOR THE AWARD OF THE DEGREE OF Doctor of Philosophy In Women’s Studies BY SAMIEN KIDWAI UNDER THE SUPERVISION OF DR. SHAHEENA TARANNUM ADVANCED CENTRE FOR WOMEN’S STUDIES ALIGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 2016 ACKNOWLEDGEMENTS I would like to express my sincere gratitude to my supervisor Dr. Shaheena Tarannum for her continuous support during my PhD study and related research, for her patience, motivation, and immense knowledge. Her guidance helped me throughout my research and while writing this thesis. I could not have imagined having a better supervisor and mentor for my study. Besides my supervisor, I am thankful to the Director of the Advanced Centre for Women’s Studies, Prof. Nighat Ahmad, for helping me in my research work. I am immensely thankful to all the teachers of the centre for making me understand the subject which was new for me. Thanks to all the non-teaching staff of the centre as well. I am also grateful to my teachers from the Department of Mass Communication especially Prof. M. Shafey Kidwai, Dr. Pitabhas Pradhan, and Dr. G.K. Sahu who lend me a helping hand whenever I was in need. On the personal front I would firstly and most importantly like to thank my soulmate, Meraj Ahmad, who not only encouraged me to pursue this course but also helped me a lot personally and professionally to complete it as well. This research study could not have been possible if we both would not have been feminist enough.
    [Show full text]
  • Sindhi's in Film Industry
    in Sindhi’sFilm Industry By Deepak Ramchandani This is the inventory of Sindhi People in Film Deepak Ramchandani industry which include www.ramchandanidays. Indian Cinema, television wordpress.com E m a i l - and in foreign films deepakgr2007@rediffmail . c o m 1 0 / 1 / 2 0 1 3 Prephase: A CD was presented to me by my Sister and Brother-in-Law which contained about 800 songs, I had copied in my mobile and from some months these songs had became part of my life, especially I here Master Chandur daily. One of the song “ Wafaia Ja Putla Wafadar Sindhi, Hu Hara Fanna Me Ahin Hoshiyar Sindhi” In this song Master Chander narrated the name of Gope Kamlani, comedian actor in Hindi Film industry for which I was not knowning. One one day I along with my wife Asha attended a program in Sindhology Adipur in which music on voilen was performed by Master Kanayalal Lalwani, he had worked along with many music director and it was also told that his children are also working for music in film industry. These facts were unknown to me and also to many Sindhis. Most often while watching television ,my wife Asha, son Yash and daughter Sonam discussed about who is sindhi artist in film and television industry. These event brought a thought in my mind to list the Sindhis who are working in film industry, hence I started searching on web. I hoped that I could collect more than 100 names but this figure reached more than 350 numbers which are listed and detailed in this collection.
    [Show full text]
  • The Irresistible and Oppressive Gaze: Indian Cinema
    The Irresistible & Oppressive Gaze INDIAN CINEMA AND VIOLENCE AGAINST WOMEN & GIRLS Oxfam India 1 2 This study was commissioned by Oxfam India and implemented independently by Subplot in the five project states in India (Bihar, Jharkhand, Uttar Pradesh, Chhattisgarh and Odisha) under the supervision of Oxfam India. Study conducted and written by: Lopa Ghosh, SUBPLOT Inputs from Nisha Agrawal, Ranu Kayastha Bhogal, Julie Thekkudan, Diya Dutta, Mary Thomas, Rajini Menon and Himanshi Matta New Delhi, 2017 2 3 EXECUTIVE SUMMARY Oxfam India initiated a research to understand the impact that mainstream Indian cinema has created on the issue of Violence against Women and Girls (VAWG) in India. The purpose of this study was to examine how films reinforce gender stereotyping and objectification of women which in turn render sexual violence as acceptable and normative. Films were analysed for their representation of women while emerging trends and messages were correlated with perceptions and attitudes of youth in Bihar, Chhattisgarh, Jharkhand, Odisha and Uttar Pradesh. Specific objectives included: Analysis of gender portrayal in mainstream Indian cinema; Critical reading of how films reinforce gender based stereotypes; Study role of films in depiction of VAWG as an acceptable social norm; and Investigation of how communities consume films and to what extent their behaviours are influenced by it. Mainstream Indian films between the period 2012 – 2016 were analysed for their representation of gender roles and how that representation in turn works to perpetuate sexist notions about women. We focused on Hindi or Bollywood films which commands maximum viewership and influence, and a smaller sample of Bhojpuri and Odia films which have a viewership in the research community of this project.
    [Show full text]
  • Zoran Lapov Ser Actriz En El Cine Indio
    ARTÍCULOS Zoran Lapov Università degli Studi di Firenze. Florencia, Italia [email protected] Ser actriz en el cine indio: papeles, representaciones, compromisos Resumen: Al recorrer la historia del cine indio (mayormente hindi) con la población femenina en busca de emancipación y visibilidad en el centro de sus contenidos, el artículo traza las etapas principales del fenómeno hasta la época actual para descubrir que muchas causas siguen esperando encontrar respuestas (efectivas o cinematográficas) en el presente. Inicialmente se trataba de entrar en el mundo del cine, luego de crearse un espacio en este escenario y, por fin, de conquistar la paridad de género que se traduce en ser heroína para “sí misma”, al servicio de sus aspiraciones y no de los objetivos extrínsecos a su persona. Por lo tanto, el presente trabajo se propone analizar el conjunto de papeles, representaciones y compromisos sociales que han asumido las mujeres indias, en primer lugar actrices, como actores sociales proactivos en la gran pantalla y más allá. Palabras clave: cine indio, visibilidad femenina, estudios de género, representaciones sociales, cambios socioculturales Being an actress in the Indian cinema industry: roles, representations and commitments Abstract: While traversing the history of Indian (basically Hindi) cinema with the female gender in search of emancipation and visibility at the core of its contents, this article traces the main stages of the phenomenon up to now to discover that many causes are still waiting to meet their –either actual or cinematographic– answers in the present. Initially, it was about entering the world of cinema, then about carving out one’s own space in this scenario, and, finally, conquering the gender equality that translates into being a heroine for “herself”, at the service of her own aspirations and not of the goals extrinsic to her persona.
    [Show full text]
  • Chapter 3 Intertextuality and Films
    Chapter 3 Intertextuality and films 3.1 Understanding intertextuality: Intertextuality is a term that describes the connection between two texts (texts from the past or contemporary texts) or textual conventions in their composition. Julia Kristeva’s interpretation of the term implies that all texts, in a broad sense, are intertextual. This however makes it difficult to quote instances of intertextual references in films which are brimming with all the elements of intertextuality such as plagiarism, epigraph, allusion or pastiche. Intertextuality can also be read as the attitude or the stance of the later text to the preceding one (Shastri 2011: 32-34). The concept of intertextuality, as advocated by Kristeva, is based on the Bakhtinian notion that every utterance is interdependent and interrelated with what has previously been said within a socio-political textual environment. Films as a form of art borrow heavily from the already prevalent customs, social and literary traditions. Films build a self-conscious intertextual relation with already available texts and discourses. The filmmaker takes the subject and plot of their stories from the available resources around them—socio-cultural traditions, political and economic system, literature, fables, legends and prevalent beliefs. Thus, the audience’s understanding or comprehensibility is essential for an intertextual reference to be perceived as successful. It is when the spectator is actively involved in the process of reading a series of interpretations and meanings emerge from a text that is read intertextually (ibid.). Perhaps, the best way to describe intertextuality would be to say that it refers to its conscious use by the director/author.
    [Show full text]
  • An Analysis of Hindi Women-Centric Films in India
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2012 An analysis of Hindi women-centric films in India. Srijita Sarkar University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Sarkar, Srijita, "An analysis of Hindi women-centric films in India." (2012). Electronic Theses and Dissertations. Paper 1265. https://doi.org/10.18297/etd/1265 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. AN ANALYSIS OF HINDI WOMEN-CENTRIC FILMS IN INDIA By Srijita Sarkar M.A., University of Calcutta, 2007 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Sociology University of Louisville Louisville, Kentucky December, 2012 AN ANALYSIS OF HINDI WOMEN-CENTRIC FILMS IN INDIA By Srijita Sarkar M.A., University of Calcutta, 2007 A Thesis Approved on November 13, 2012 by the following Thesis Committee: T~is D?rector (Dr. Patricia Gagne) Dr. Gui' Aldikacti Marsruffl Dr. Btomvyn Williams ii DEDICATION This Thesis is dedicated to my parents Mr. Sukanta Sarkar and Mrs. Sathi Sarkar and my fiance Mr.
    [Show full text]