FILM WRITERS ASSOCIATION PRESENTS

4TH INDIAN SCREENWRITERS CONFERENCE 2016

Do Our Stories Reflect India’s Reality? INDIAN SCREENWRITERS CONFERENCE Conceived of in 2006, the Indian Screenwriters Conference is a constructive response to the need of screenwriters from all over India to come together as a community. This regular platform allows us to discuss and debate, criticise and complain, analyse and plan action, and forge bonds - individual and collective. In our unity lies our progress, from our growth emerges our success. Let the Indian screenwriting movement rise! CONTENTS

MESSAGE FROM THE MESSAGE FROM THE PRESIDENT HON. GENERAL SECRETARY

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MESSAGE FROM THE MESSAGE FROM THE CONVENOR JOINT CONVENOR

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MESSAGE FROM THE MESSAGE FROM CO-CONVENOR FSE, WGGB, WGA & IAWG

9 10 THE 3RD INDIAN SCREENWRITERS FILM WRITERS ASSOCIATION: CONFERENCE: A REPORT THE DIAMOND YEARS By Kamlesh Pandey By Kamlesh Pandey

18 24 CENTRAL BORED OF FILM CERTIFICATION! By Leela Samson

By Souvik Bhadra Copyright: Film Writers Association, 2016 30 36 Published by: SENSE AND CENSORSHIP veS lesJej ceW nw 21 JeeR meoer keÀe eEnoer efmevescee By Suchita Ranglani Film Writers Association - Depe³e ye´ïeelcepe 201/202, Richa, Plot No. B -29, Off New Link Road, Andheri West, Mumbai 400053 40 44 Tel: +91 22 26733027, +91 22 26733108 WHERE ARE THE MANGO PEOPLE? THINKING IN ENGLISH, Fax: +91 22 66922899 By Sukanya Verma SPEAKING IN HINDI By Tejaswini Ganti Email: [email protected] www.fwa.co.in 52 60 LYRICS AAJ KAL Compiled and Edited by: Pooja Varma By Kausar Munir efnvogmleeveer yeesueer kesÀ yeneves - mebpe³e ®eewneve Hindi Articles Edited by: Dinkar Sharma 66 72 Design: Shreyansh Innovations WHO’S THAT GIRL? By Gajra Kottary keÀneveer Deewj efmevescee - DeMeeskeÀ efceÞe Paintings: Rukshana Tabassum

76 82 Doodles: Nidhi Dwarakanath YAADON KI BAARAAT MAIN PAL DO PAL KA By Kamlesh Pandey SHAAYAR HOON… Painting on Cover: Rukshana Tabassum By Vinay Shukla

86 92 YEH JO HAI ZINDAGI GOLDIE All rights reserved around the world. No part of this publication may be reproduced, stored By Kundan Shah KAMRA NO. 203 By Sriram Raghavan in a retrieval system, or transferred in any form – electronic, mechanical or other, without prior written permission of the publishers. 96 100 5

MESSAGE FROM THE PRESIDENT

The culture of a society is best revealed by the attempts to touch them. For some reason, we stories that are popular at that time. In fact, seem to be flitting between aspirational plots Joseph Campbell’s seminal research of ancient and decontextualized stories. The definition cultures was done primarily by studying the itself of the term entertainment has narrowed tales, myths and other narratives of those times. down to merely mean that which makes the audience laugh and sends them back As storytellers, screenwriters can be seen as comfortable. Scripts that leave a disturbing chroniclers of their times! If we look at the residue are not considered good business! popular films of the decades of the fifties, sixties or even seventies, we notice that, apart At FWA, we have consistently attempted to from stories of romance, comedy and fantasy, enrich the discourse within Indian screenwriting there are very popular films that have plots through seminars, workshops, pitchfests and and characters based on the issues of those other such initiatives. The Indian Screenwriters times. Rural oppression, class inequality, caste Conference is perhaps our most prestigious discrimination, the challenges of secularism and popular platform, and we expect that the and other such social phenomena. Popular 4th Indian Screenwriters Conference too, will cinema reflected the India of those days, a take this journey meaningfully forward. newly independent society rich in pluralism and I welcome you all at the Indian Screenwriters diversity, but also struggling with a growing Conference! turmoil within, keen to retain its multi-cultural sense of itself. In fact, the inspiration for even love stories and comedies was derived from the real obstacles that screenwriters observed in the society around them. And, yet, inexplicably, mainstream cinema Jalees Sherwani of today barely skirts these issues, if at all it President, Film Writers Association 6 7

MESSAGE MESSAGE FROM THE FROM THE HON. GENERAL CONVENOR SECRETARY

Time-Capsule of Talent Meyo Yeer SkeÀ lejn kesÀ mel³eeie´n nQ - SkeÀ ceeie& Keespevee nesiee “The causes made in the past, manifest as create? Will the future generations be able to mel³e keÀe Deeie´n ! pees yee]peej mes iegpejlee lees nw results in the present… and the seeds sown gauge our “real life” through the “reel life” today will bloom as flowers in the future!” that we are creating? mece³e keÀe mel³e, ceiej GmekeÀer cebe]fpeue mel³e nw, yee]peeª meeceeve, mecceeve Deewj megefJeOeeSB veneR ! This is the heart behind the initiatives Several sessions have been planned to explore mebyebOeeW keÀe mel³e, this theme from various angles. And in addition ef]HeÀuce jeFìme& SmeesefmeSMeve undertaken by the Film Writers Association, mees®e Deewj mejeskeÀejeW keÀe mel³e, an organization with a commitment to secure we will also explore other issues concerning the mebJesoveeDeeW keÀe mel³e.... Üeje Dee³eesefpele and protect writers’ rights, and offer constant profession of screenwriting. Hearing the views meeefnl³e nes ³ee efmevescee, ®eewLeer Fbef[³eve m¬eÀerve jeFìme& keÀebHe´WÀme inspiration and education, to nourish and of the creators of the small films that make a Meyo peneb Yeer nQ, efHeÀuce Deewj ìsueerefJe]peve kesÀ keÀLee, heìkeÀLee, nurture talent, so that it may blossom to its big splash, exploring the place of women in mebJeeo Deewj ieerle uesKekeÀeW keÀer fullest. our stories, diving into the world ‘of’ television mel³eeie´n hej yewþs nQ ! and ‘in’ television, looking at the collaborative keÀece, oece, veece Deewj The 4th Indian Screenwriters Conference is ³en nceW le³e keÀjvee neslee nw relationship between the writers & producers, mecceeve keÀer ueæ[eF& ceW SkeÀ no exception. As in the past, we once again efkeÀ nceejs Meyo in cinema as well as TV, these are just some of bring together an eclectic group of writers, cenlJehetCe& DeefKeue Yeejleer³e the invigorating topics which will be discussed, Fme mel³eeie´n ceW Meeefceue nQ ³ee veneR ! educators and media professionals under one henue nw, Deewj GmekeÀer yeæ{leer in an attempt to give every attendee an Deewj Deemeeve veneR nw roof, and give our members and students a ngF& ueeskeÀefhe´³elee Deewj meeLe&keÀlee enriching, unforgettable experience. Deheves MeyoeW keÀes chance to learn from and interact with them in Fme yeele keÀe meyetle nw efkeÀ Each of us is unique, like a cherry, peach or Fme mel³eeie´n ceW PeeWkeÀvee a conference extending over two days. iegue]peej kesÀ MeyoeW ceW nce plum, and we must bloom in the way that only ke̳eeWefkeÀ yee]peej MeyoeW keÀes The theme of the conference this time is: we can. To discover our own innate talent and ’Gyeueleer nebef[³eeW“ ves ’Deheveer ef]pevoieer ‘SO NEAR, SO FAR : Do Our Stories Reflect Oeerjs-Oeerjs leJee³eHeÀ yeveelee pee jne nw ! ®etuns hej jKeer nw“, then exert ourselves to the very limits of our Meyo kesÀJeue le]HeÀjern keÀe meeceeve India’s Reality?’ When we look back at the ability, give everything we have, and that is ceiej ³es nebef[³eeb ]KeeceesMe veneR nQ, art and literature of a time period, it forms yeveles pee jns nQ, when our true potential will emerge. I must iegæ[iegæ[e jner nQ, a clear picture of the socio-economic and GvnW mel³eeie´n hej efyeþevee seek every opportunity to learn and hone my efkeÀ Jen mece³e otj veneR peye cultural reality of that time. But today we have skills, and the use it to express myself in the YetKe keÀes efveceb$eCe osvee nw ! nceejer oeue Yeer ieuesieer, hekesÀieer ! varied platforms for creative expression, what way only I can. That’s the way to write my own uesefkeÀve nceceW mes pees uesKekeÀ with single screens, multiplexes, TVs, laptops unique history, create my own time-capsule for mel³e kesÀ keÀeìs ngS nQ, keÀceuesMe heeb[s and mobiles, all vying for our attention. The the future generations to benefit from. GvnW YetKe Deewj yee]peej kesÀ yeer®e ceeveveer³e cenemeef®eJe, ef]HeÀuce jeFìme& SmeesefmeSMeve question that comes to mind is, if all these will be a part of the time-capsule that represent Preeti Mamgain this current age, then what picture would they Convenor, 4th Indian Screenwriters Conference 8 9

MESSAGE MESSAGE FROM THE FROM THE JOINT CO-CONVENOR CONVENOR

Role, Responsibility efkeÀleves Heeme and Business of a Writer efkeÀleves otj Writing is an expression. Self expression. And The 4th Indian Screenwriters Conference is a ’efkeÀleves heeme, efkeÀleves otj“ eqmLeefle keÀe DevegYeJe leceece ®egæ[wue nw pees uesKekeÀeW keÀes veS veS pebieueeW ceW ues pee kesÀ iegce that very “self” is always defined by social platform where FWA is bringing senior and uesKekeÀeW keÀes keÀoce keÀoce hej neslee nw~ efvecee&leeDeeW mes peuo keÀje osleer nw~ uesefkeÀve Deepe kesÀ ceekexÀì keÀer neuele osKe keÀj, factors around us. We are what we write. We experienced writers and other talents from write what we see around. Writers are the Film and Television Industry to discuss the role, ner ®eskeÀ Deeves Jeeuee neslee nw, hej uebyes mece³e lekeÀ Deelee ke̳ee nceejer keÀneefve³eeB ef$eMebkegÀ kesÀ ve]peefj³es mes [jeJeves me®e individuals who have designated themselves responsibility and business of writers. veneR~ DeefYeveslee he´espeskeÌì ceW keÀece keÀjves kesÀ efueS neB lees efoKeeleer nw? ³ee megKeo Yetefce kesÀ ceesn ceW pees ’cewvespesyeue“ with the daunting task of recreating the time, keÀnlee nw, [sì oslee veneR~ otmejeW keÀes ke̳eeW oes

FILM WRITERS ASSOCIATION 2016 Office Bearers JALEES SHERWANI (President ) VINOD RANGANATH (Vice President) DANISH JAVED (Vice President) KAMLESH PANDEY (Hon. General Secretary) PREETI MAMGAIN (Treasurer) ZAMA HABIB (Joint Secretary) MANISHA KORDE (Joint Secretary)

Executive Committee ABHIJEET DESHPANDE ANJUM RAJABALI DHANANJAY KUMAR MANOJ HANSRAJ MANISHA SINGH MAYUR PURI RAJASHREE RAJESH DUBEY RAJITA SHARMA ROBIN BHATT SACHIN S. DAREKAR SAKET CHAUDHARY SANJAY CHHEL SANYUKTHA CHAWLA SHAIKH Dr. SHARAD SHAH NITA KRIPLANI (Associate) POOJA VARMA (Associate)

4TH INDIAN SCREENWRITERS CONFERENCE ORGANISING COMMITTEE PREETI MAMGAIN (Convenor) ZAMA HABIB (Joint Convenor) MANISHA KORDE (Co-Convenor) SANYUKTHA CHAWLA SHAIKH POOJA VARMA VINOD RANGANATH RAJESH DUBEY ANJUM RAJABALI

Event Coordinator: DINKAR SHARMA

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THE 3RD INDIAN SCREENWRITERS CONFERENCE: A Report By Kamlesh Pandey Hon. General Secretary, Film Writers Association 20 21

UNTOLD STORIES state that we were standing at the crossroads Screenwriting and the Truth of Our Times of history at that very moment and the direction we chose to follow was not only going to define The 3rd Indian Screenwriters Conference us but define the truth of our times as we wrote by Film Writers Association was held at St. it…or ignored it. Andrews Auditorium, Bandra West, Mumbai on February 25-26-27, 2013, with celebrated On day 1, Chief Guest Shri Javed Akhtar and speakers and panelists, almost a who’s who, Special Guest Oscar Winning Hollywood from the field of media and entertainment Screenwriter and ex-VP of Writers Guild of not only from India but from Hollywood, and America West, Shri Tom Schulman addressed had a very stimulating, thought-provoking the Conference. Well known social scientist theme UNTOLD STORIES : Screenwriting and provocative columnist Shiv Vishwanathan and the Truth of Our Times. The 3rd Indian delivered the Keynote address, followed by a Screenwriting Conference was the most panel discussion on ‘Do Screenwriters Have a important screenwriters conference held so Social Responsibility’ which included panelists far because it was being held at perhaps the like film writers Javed Akhtar, Tom Schulman, most critical moment in the history of Film film maker Rakey Omprakash Mehra and Writers’ Association as well as in the life of Marathi screenwriter Girish Kulkarni television every Indian screenwriters because the much writer and Programming Head Vivek Bahl, awaited Copyright Amendment Bill 2012 eminent television writers Rajesh Dubey and was passed by the Lok Sabha and the Rajya Gajra Kottary, and was moderated by film Sabha without a single vote against it. In 3rd scholar, analyst and Dean, Prasad Academy, television writers Preiti Mamgain, Satyam Tripthy on ‘Is the Old Order Cracking? New Ways of Indian Screenwriters Conference, what we Shri K.Hariharan. and Ila Bedi, and was moderated by social Storytelling’ with panelists screenwriter Urmi scientist and freelance journalist Rajani Bakshi. Juvekar, Sanjay Patil, Bejoy Nambiar and Abbas explored, analyzed, debated and discussed The panel discussion on ‘How Do Popular Tyrewala and moderated by one of the finest would perhaps echo through the life, work and Cinema and TV Portray Women’ included Day 1 ended with the Presentation of FWA and National Award Winning producer-director wellbeing of Indian screenwriters for decades panelists Award Winning film makers Ashutosh Award to Shri Javed Akhtar and Shri Salim Govind Nihalani. to come. It would not be an exaggeration to Gowarikar, Anurag Basu and Kumara Raja and Javed with a rich and insightful tribute to their contribution to Indian screenwriting by FWA Television writer and programming head President Shri Vinay Shukla. Saurabh Tiwari moderated a panel discussion On day 2, the panel discussion on ‘The Charge on ‘What Is Driving TV Content? Is it of the New ‘Write’ Brigade’ moderated Changing? Can It?’ with panelists ex-Director, by eminent young screenwriter Ms.Pubali FTII Shri Tripurari Sharan, television writer Chaudhary had panelists that included young and programming heads Vivek Bahl and screenwriters Juhi Chaturvedi and Akshat Sukesh Motwani, television writers R.D.Tailan, Verma and screenwriter-directors Habib Faisal, Charudutt Acharya and writer-director Gul Ravi Jadhav and Reema Kagti, was followed Khan. Later, eminent film and television by an equally invigorating panel discussion writer Ms.Anradha Tiwari moderated a panel discussion on ‘The New Brigade on TV!’ with panelists screenwriter Raghuvir Shekhavat and Mihir Bhuta, freelance writers Amal Donvar, television writer Swati Pandey, Marathi screenwriter Chinmay Mandlekar and internet show producer Mrinal Jha. The day ended with the Presentation of FWA Award to Shri Gulzar with a lyrical tribute to his contribution to Indian screenwriting and lyrics by FWA General Secretary Kamlesh Pandey. 22 23

Day 3 started with a panel discussion on much Writers Guild of America West by Rebecca neglected children’s films with the theme ‘The Kessinger and Tom Schulman. Empty Playroom. Why Such Few Children’s Day 3 ended with the presentation of FWA Films?’ It was moderated by an FTII alumnus Award to legendary television writer Late Shri Chandita Mukherjee with an expert panel which Manohar Shyam Joshi with a tribute to his included Gulzar, children’s film maker Nila contribution to Indian screenwriting by FWA Madhab Panda, ex-Creative Head CFSI Monica team, and ‘The Way Forward! What FWA Has Wahi and screenwriters Preiti Mamgain, for You in the Next One Year’ by FWA President Farhan S. and Anand Shivkumaran. Shri Vinay Shukla, General Secretary Kamlesh ‘The Light Through the Fog: Implications of Pandey and its entire Executive Committee the Amended Copyright Act for Film and with a Vote of Thanks by General Secretary TV writers’ was jointly moderated by veteran Kamlesh Pandey. screenwriter Anjum Rajabali and popular Gulzar Saab, while receiving the FWA television writer Rajesh Dubey with a panel that Award, summed up the life and work of us included such copyright experts like Souvik screenwriters and lyricists very aptly when Biswas, Nikhil Krihsnamurthy, Sai Gopal and he said, ‘Ubalti handiyan aur itni saari, sabhi Ameet Dutta. ne zindagi chulhe pe rakhi hai. Na pakati Panel discussions on ‘Writer-Producer Bhai- hai, na galati hai, sabhi ne zindagi chulhe pe Bhai! The Minimum Basic Contract for Film rakhi hai…’(Boiling pots and so many?(there Writers’ included Federation of Western Indian were around 800 in 3ISC!) All of us have kept Cine Employees Senior Vice President Shri our lives on the stove, neither cooking nor Bhushan Chawla, director-producer Vipul Shah softening…). The situation hasn’t changed and Ramesh Sippy, copyright lawyer Nikhil much. And thanks for that because if and when Krishnamurthy, screenwriter Anjum Rajabali and it gets cooked or softens, we would be too WGA Executive Director Rebecca Kessinger, busy relishing it than living it and writing and was followed by a presentation on the about it. 24 25

FILM WRITERS ASSOCIATION: THE DIAMOND YEARS By Kamlesh Pandey Based on Facts Courtesy Opender Chanana 26 27

The Beginning appeal was made to all film writers to join the • To institute 20 Annual Awards-five for stories, Dialogue: Rs.3,000/- (Rupees three thousand association. 24 writers were present at the five for screen plays, five for songs and five for only) It amuses me no end and in fact thrills me that meeting. The constitution of the association dialogues. back in 1950 when most of us were not even : Rs. 500/- (Rupees five hundred only) was adopted in the general body meeting Songs born and a few of us like me were still in our • Arrange informal meetings for interaction held thereafter. The membership enrolment By late sixties the association undertook the nappies, on a Sunday afternoon in the humble between prominent technicians of various crafts drive had been a success. On formation of task of registering stories, screenplays, songs Matunga flat of music director Anil Biswas to debate on problems affecting them. the association it was in the fitness of things etc. It was felt that registration would protect during an open house of their weekly gathering that one of its main initiators was elected as • To fight for dignity and rights of writers the rights of writers in case of any dispute. The of Cultural and Literary meeting, K.A.Abbas, its General Secretary. The constitution did not and to secure representation on National Ramanand Sagar, Dr.Safdar Shah, Mahesh registration, with the passage of time, is one have any provision for the post of President and International organizations and develop Kaul, Narendra Sharma, Chandrashekhar, activity undertaken by the association that has or Chairperson. Vishwamitra Adil and C.L. fraternal relations with them. Madhusudan, P.N.Rangeen and Amritlal Nagar, withstood the test of time and continues to Kavish were elected as Jt. Secretaries while Pt. the idea of the Film Writers’ Association (FWA), • To seek representation of writers on panels/ draw hordes of writers, professional as well as Sudarshan became the Treasurer. The council Bombay took birth. What is important to note committees instituted by amateurs. of members included stalwarts such as K.A. here is the fact that the names associated Abbas, D.N. Madhok, P.L. Santoshi, Mahesh Government to debate on cinema and issues The first and only initiative Housing for with the birth of FWA more or less defined its Kaul, I.S. Johar, Rajinder Singh Bedi, Majrooh connected with it. members DNA — social concern, progressive outlook, Sultanpuri, Sahir Ludhianvi, Shailendra, V.P. literary mindset, high professional standards, • To set up branches of the association in At it’s meeting held on 10th February, 1977, Sathe, Shakeel Badayuni, Krishna Chandra, awareness of writers’ fundamental rights and Poona (Pune) and Kolhapur. the Managing Committee resolved to form Kamal Amrohi, Rajendra Krishna, Ali Reza, and creative excellence in whatever a writer and a Film Writers Cooperative Housing Society. Nabendu Ghosh. •T o submit memorandum to Government lyricist is expected to deliver. It authorized Mr. Vishnu Mehrortra and Mr. to enact comprehensive copyright law for And so, on May 13, 1960, the Film Writers’ Ghafil Harnalvi to operate a bank account for Back Story safeguarding the rights of writers. Association got registered as a trade this purpose. In respect of providing shelter to Till the early fifties most of the craftsmen and union under the Trade Union Act 1926 with • A committee set up to formulate four types its members belonging to the lower income technicians worked with studios. There were Registration No.3726. of standard contracts. One for the person who group, the association can take credit for no freelancers. In fact they were considered as writes the story, second for the screen play and not only approaching the Government of Precursor to formation of Federation of permanent employees of the studios. The need the third for dialogue writer and the fourth for Maharashtra during 1975/76 but succeeding in Western India Cine Employees to have a trade union body was never felt. It lyricist. getting tenements for members in the suburb was only when a producer, Chimanlal Trivedi The association also took the initiative to • To have a Members Assignment Register of Kandivali. started the contract system in his production convince other organizations/unions to to maintain details of registration of current company, cracks developed in the relationship interact with one another on regular basis Authors Information The FIRST Periodical assignments of members. between the writers and directors who were and more important focused on the need ‘Authors Information’, the first periodical considered as the two most important wheels to have a central organization of all worker- Minimum Wages & Standard Contracts published by the association to provide a on which the industry moved. The change in organizations. All associations complied and The first serious efforts to make standard platform to writers to air their views as well as system led to disputes between the producers sent two representatives to a meeting held on contracts mandatory was made by the their problems, began its shortlived journey on and directors on the one hand, and between 6th December 1954 at the office of Film Writers association when Mr. K.A. Abbas, President in 17th May, 1976. The first issue was edited by directors and writers on the other. Apparently Association, Famous Cine Studios. It was in this his letter dated 3rd January Mr. Anil Kavish but from the second issue Mr. the director could no longer choose a writer of meeting that a decision to have a Film Workers Madhusudan took over as Editor. Unfortunately 1961 addressed to IMPPA (Indian Motion his choice. The same held true for writers. They Federation was taken, which was the precursor it was discontinued. Although in the intervening Picture Producers Association)fixed the now felt the need to have their own trade union to the formation of Federation of Western India period, the need for a mouthpiece as well as minimum wages as under: bodies. Cine Employees a few years later. spokesman for writers has been acutely felt, no Adoption of Constitution 29th May 1954 Issues at stake Story: Rs.2,000/- (Rupees two thousand only) revival of its publication has taken place till to date. On 29th May, 1954 another meeting of writers A few pertinent issues/matters which the Screenplay : Rs.2,500/-(Rupees two thousand was held at Shree Sound Studios. Nearly 80 association took up immediately on its five hundred only) Admission fee: Rs. 5000/- (for all categories) writers had enrolled as members by then and formation: 28 29

Annual Subscription: 3ISC (675 writers) were held in 2008 and 2013, Associate & Fellow Members: Rs. 72/- respectively and saw representation from all the major writers, directors, some producers and Regular Member: Rs. 120/- even international representatives. Life Membership: Rs. 10,000/- • Screenwriting Workshops and Seminars for film and TV writers, sometimes in collaboration Welfare measures: with Whistling Woods, FTII, Living Bridge • Paravarik Sahaetya Kosh (Family Welfare and other institutions and often at the office Fund) premises of Film Writers’ Association have • Hrishikesh Mukherjee Educational Fund for been conducted not only in Mumbai but in Bedi Rahi Scholarships (Education Fund) other cities too.

• Emergency Relief Fund (Medical Assistance) • Regular events are held every month at the office premises of Film Writers Association. • Pension Scheme. In the last two years, it has held events on Special Events so far: Saadat Hasan Manto, Sahir Ludhianvi, Bhojpuri Legends Bhikhari Thakur and Mahender • In 1980 Silver Jubilee of the Association Misir, a workshop on adaptation for Marathi celebrated and a Commemorative Volume is screenwriters, documentaries of Anand published. Patwardhan, etc. • Author’s Information, the periodical of FWA has had a rich history of progress, being the Association was first published on 17th lead by stalwarts of the screenwriting field May, 1976. The periodicity was uneven and right from its inception. It hopes to continue eventually closed after few years. to uphold that tradition to become a stronger and more effective organization for Indian • The 1st Indian Screen Writers Conference screenwriters. (ISC) held in 2006 was a huge success with 275 writers attending. 2ISC (575 writers) and Edited by Anjum Rajabali 30 31

Authors Rights and The Copyright Society Under the Copyright (Amendment) Act 2012 By Souvik Bhadra 32 33

Background: Economic rights: • Right to Royalty: theatrical exploitation royalties equally with the The present Copyright Act in India was The Copyright Act recognises eight economic Under the Copyright Act there was no provision script writers, lyricists and the composers. enacted in the year 1957 (“Copyright Act”) for rights of the Authors of any literary, dramatic or for the Authors to receive royalty in return of • Mode of Assignment of Copyright: protecting the rights of creator of a literary, musical work which include: exploitation of their work by the assignee. dramatic, musical, graphical or artistic work. • The right of reproduction; Even when such rights were created, it could a) Issuance of license through copyright The Copyright Act has been amended several be transferred or waived by the Author in society: times, in order to meet the national and • The right of dissemination; favour of any person. Under the new provisions The issuing or granting of license by the Author international requirements. Most recently, • The right to exhibition; inserted by Amendment Act, it is provided that (who is a member of a copyright society) in the Indian government passed the Copyright the Authors have the right to receive royalties • The right to communicate work to the public; respect of his work shall only be through such Amendment Act 2012 (“Amendment Act”) from the assignee. The right to royalty is an copyright society duly registered under the Act. on 7 June 2012, bringing certain important • The right to recitation, performance and “ inalienable right. Further, it is required that The Amendment Act provides for the mode changes to the Copyright Act. The Amendment • The right to broadcasting; the Authors must receive equal share in profits of assignment of copyrights. According to the Act has successfully brought the copyright earned by the assignee form exploitation of • The right to communicate through visual or present position of law any assignment which is laws in India in compliance with the World Authors works (other than exploration of such sound recording and contrary to an assignment made to a copyright Intellectual Property Organization (“WIPO”) work in cinema halls) by way of royalty. society is void. Therefore, once an Author internet treaties, such as the WIPO Copyright • The right to communicate by broadcast • Assignment of Copyrights: Treaty (WCT) and WIPO Performances and transmissions. assigns all his present and future rights to a Under the Copyright Act, the Authors could copyright society, he cannot assign the same to Phonograms Treaty (WPPT). However, the practice in the media industry in assign the copyright to any person for current other persons. One of the main objective behind passing the India has been such that the producers seek or future modes of economic exploitation. Amendment Act was to correct the imbalance to own the entire bundle of rights attached to However, under the Amendment Act the rights Even if an Author is not a member of any that prevailed under the copyright laws in India, the Authors works (all the eight rights provided to royalty cannot be waived or assigned by the copyright society and assigns such rights in which primarily favoured the film producers and to the Author). Furthermore, in the year 1977 Authors except in favour of their legal heirs or favour of an assignee, he will still be eligible record labels over the lyricists, script writers, the Supreme Court in the case of IPRS v/s the copyright societies. Therefore, under the to receive equal share of royalty accruing from song composers or creator of literary, dramatic, Eastern Indian Motion Pictures Association Amendment Act any agreement that seeks to non theatrical exploitation of his work as a part and Ors (“Eastern Indian Motion Pictures musical, graphical or artistic work (“Author”). assign or waive the above rights shall be void. of the film or otherwise. Judgment”) had held that: “the producers of a This article aims at understanding the scope In this regard, the Amendment Act has inserted cinematograph film are the first owners of the b) All assignment to be in writing: of the Author’s rights under the copyright law the following provisions: copyright in the musical and lyrical works and The Amendment Act requires that all such and highlights the important changes brought a) An assignment made by the Author is no copyright subsists in the composer of the transfers have to take place in writing. And about by the Amendment Act in this regard. not applicable to any medium or mode of lyric or music so composed, unless there is a each right given to the assignee has to be exploitation that was not in existence at the Authors Rights under the India Copyright contract to the contrary between the composer time of the assignment, unless such clause separately mentioned in the Agreement. law: of the lyric or music and the producer of the is specifically mentioned in the assignment The Amendment Act has introduced a number cinematograph film” • Works under Contract of Employment and of Author friendly amendments, facilitating agreement entered between the Author and Commissioned Works: Therefore, until now the Authors were not greater protection and proper administration of the assignee; Under section 17 of the Copyright Act, if the given their dues and were not recognised for the Author’s rights. The Amendment Act further b) The Author cannot assign or wave his right work is produced by the Author under an the work created by them. It was rather the clarifies the scope of the rights available to to receive an equal share of royalties from the employment contract or commissioned work, producers and the labels who bought the Authors with respect to their creative work such assignee for exploring any work (to make a then the employer or the commissioning party work from the Authors who were reaping the as books, plays, music, films and other works cinematograph film or sound recording) in any is considered to be the first owner of the work. maximum benefit. Through the Amendment of art. form other than communication broadcasting The Amendment Act clarifies that the above Act, the legislature seeks to protect the in cinema hall. The only exception to this rule provisions will not affect the rights of the Broadly speaking under the Copyright laws, the interests of the Authors and has therefore is assignment of such rights to the copyright Authors of original literary, musical, dramatic Authors have two important rights, which are inserted the following provisions to safeguard societies or the legal heirs of the Author. and artistic works. Thus, the original Authors of the economic rights and the moral rights. the Author’s rights: Therefore, under the Amendment Act, the such work will continue to be the first owners in producers are obligated to share the non such case. 34

• Moral Rights: behalf of the Authors and distributing the Moral rights are special rights conferred to royalties collected to the Authors. The board or Authors in addition to the economic rights. the management of such copyright society will These rights are inalienable and requires that decide the rate of royalties to be charged and the Author be granted: the scheme of distribution of royalties to the Author’s will also be decided by them. i) Paternity right which is the right to claim Authorship of the work; and For this purpose, the Authors will need to form their own copyright society in which the ii) Integrity right which is the right to object to Authors will be members. Once the copyright any distortion, mutilation or other modification society is registered as a society it can start of, or other derogatory action in relation to the granting and issuing licenses. The registration said work which should be prejudicial to his of a copyright society is made valid for five honour or reputation. years and is renewable thereon. Under the Copyright Act it was provided that such moral rights could be exercised by legal Conclusion: Over all the amendments strengthen the representatives of the Author, however the rights of the author and help in streamlining right to claim authorship was an exception to the process of assignment and grant of this rule. Pursuant to the Amendment Act, this licenses. It enables the Authors to retain their exception has been removed and the right to rights over the work created by them. The claim authorship can now be exercised by the Amendment Act is a welcome step towards legal representatives of the Author. Therefore, creation of protection and incentives for further in case if the credit is not given to the Authors development of the nature of Intellectual work after his death, his legal representative Property that forms the back bone of the can take action against such breach. Also entertainment industry. It has been historically under the Amendment Act, the right against seen that better IPR framework has always distortion is available even after the expiry resulted in generation greater value and of the term of copyright. However, under the exploitation of innovations and creations to a Copyright Act, such right was available only level of appropriate and commensurate result. during the subsistence of the term of copyright. We can be fairly certain that stronger IPR The Copyright Society: regime will therefore further boost the Under the Copyright Act, no person other entertainment industry and help evolve a fair than a copyright society could issue licenses rise in the monetisable value of the industry for the Author’s works. The only exception in India due to inclusion of all creators as to this rule was that the Author himself could equitable stakeholders in the final exploitation issue licenses with respect to his own work. of the end product. However under the Amendment Act, even the Authors are required to issue licenses for their work only through a copyright society. The copyright society is responsible for granting Souvik Bhadra is the co-founder and partner of Ashlar and issuing licenses, documenting the work Law, a full service multi-city law firm. He heads the done by Authors, collecting the royalties on Media-Entertainment Law practice of the firm. 36

CENTRAL BORED OF FILM CERTIFICATION! An incisive insight into the reality of certification and censorship in India. By Leela Samson 38 39

The simple truth is this - the arts do not count Government or as people to ‘live and let live’? Advisory panel member who certifies the film the system and do it overtly or covertly, with in India. We make a lot of fuss about our in a group of five. They are and always have suave moves at every level, including speaking To achieve greater transparency and more ‘great culture’, but for the most part, we are been political party workers. This has been directly to the Minister or making crude objectivity in the working of CBFC, it is insensitive to the country’s indigenous and the practice since India’s Independence. The arrangements at the bottom of the line. In a critical that the Board members who oversee creative processes. The Government has never Chairperson and CBFC Board members get final analysis, it seems that sincere intentions that policy is executed, the Advisory panel really got a grip of how truly valuable our arts to know the rating granted to a film only when to clean up the mess will never happen as so members who actually watch and certify the are, including cinema. They do not put good the deed is done, when the CEO advises the many, who receive a cutback are discomfitted. films and the Secretariat who man the main and money aside for the development, propagation Chairperson of a problem and seeks guidance, There is ample evidence over the years of the the regional offices across the country - are all and preservation of the intangible wealth or when the press or an affected party bare corruption. selected with utmost care by the appointing of the nation, nor for the critical digitization their grievance to the media. Several Boards, body, which unfortunately is the Government. Initiating debate on the significance of of archival material – the wealth of our past. and certainly the one I had the pleasure to lead This is the problem. The fact that films of cinema, its signifying procedures and narrative Most Indians at every level would much rather were committed to streamlining and updating every nature have flourished in the country is structures, and the communicative power of serve the ‘tangible’ wealth of the nation the processes of film certification allowing proof that they mostly were a cross-section this extremely powerful medium that needs where the ‘action’ is, than have anything to do for freedom of expression, while remaining of educated professionals with a degree of careful handling should be a Board’s priority. with the intangible wealth of the nation’s art sensitive to crucial issues and concerns relating integrity. Alternatively, it is also true to say the Indian cinema deserves a new Cinematograph expressions. to social and gender inequities and injustices, large majority of films produced in the country Act. Does the industry and its brightest minds community sensitivities, as well as national The profile of the CBFC from an earlier require no special expertise to certify, especially not see the need for this? The new Act, when security concerns. conception of a ‘censoring’ agency to in decades past. enacted will give it more teeth. While it is laid one that simply ‘classifies’ films as per the While berating the system, and Government down that the CBFC certificate is binding and The fact is, that any freethinking individual is Cinematograph Act, 1952 is imperitive, and not interference, we have to amaze at the lack must be upheld, State governments have generally hesitant to accept what are seen as a choice anymore, in today’s India. of interest on the part of the film industry. challenged the certificate and taken decisions ‘enviable’ posts and are justifiably suspicious Decades have passed since the beginning of that go against the certification, setting the Conceptually, the Central Board of Film and reluctant, lest their point of view is cinema in India, yet no demand was made by entire process in jeopardy. Individual States Certification of India is envisioned as an compromised. There is a crying need for the the industry for the introduction of a water- banning or delaying the exhibition of certified autonomous body. While the constitutional government to understand how delicate these shed hour on satellite television for adult films should become a thing of the past. One status of CBFC is that of a subordinate office appointments are. They may appoint their content cinema, or a voluntary submission of wonders sometimes if all the fuss around a under the administrative control of the Ministry own people, who tow their line; or appoint a by-line by the Producer describing the film. good or bad film is not deliberate? It serves to of Information & Broadcasting, the functioning freethinkers and doers whose dynamism and Most of all is the need to amend the existing break even for the bad film and rake in bigger and the decision making regarding film understanding they must support at all cost; Cinematograph Act of 1952, which alone bucks for the better film. The industry is party certification has to be totally independent of or they may wish to appoint those who clamor can address the administrative malaise and to this and it serves to take away from genuine governmental or non-governmental influence. for these appointments and love the status, introduce more categories like UA-15. The grievance. It is the duty of the Chairperson and the Board who get political mileage and prestige out of it, nature and appearance of the actual Certificate to ensure that this independence of the CBFC but do little for the dynamics of the Board. It is There is an audience for every kind of has not been redesigned in 100 years! This is is not only maintained in institutions like the unfortunate, that successive governments have cinema. In the ultimate analysis, if films must a visual art form, an animated expression. How Central Board of Film Certification (and the ‘planted’ members on the Board with clear be certified in a free society, a process that can the film industry accept the ugly certificate, three Academies – the Sangeet Natak, the intent to break up a united and strong Board. filmmakers have over time, endorsed such as it is? The CBFC hologram can be Sahitya and the Lalit Kala), but is also perceived The Ministry is known to take umbrage when for technical reasons, it designed and built into the certificate to avoid to be maintained - for such bodies are under they are reminded of the rulebook. But at the is best that the duplication and to maintain authenticity. The the constant scrutiny of local and international same time have been known to do their best to Government Regional offices needed to be provided with media and any perceived interference in protect officers who have been proved corrupt. in power Digital Projection Systems and all Regional the working of these Boards is indirectly disassociates It is time that producers and directors get a offices should at least have their own preview detrimental to the secular and democratic itself completely grip and understand that members of the spaces. Why has an intelligent industry not image of the Government. But does the I & B from the process Certification Board have little to do with the demanded the above from the Government? Ministry or the Ministry of Culture or Education of certification, certification process, unless the Producer seeks of the day allow these institutions to retain After 100 years of Indian cinema, eminent film for it is simply not a Review of the certification granted. It is the their autonomy? Are they evolved enough as a personalities and artists across the country have their business. justly questioned the need for certification. The profile of the CBFC from an earlier conception of a ‘censoring’ agency to one Most do not see any significance in it, Leela Samson is a Bharatanatyam dancer, especially in today’s world. Others don’t care choreographer, instructor and writer from India. She that simply ‘classifies’ films as per the Cinematograph Act, 1952 is imperitive, and to intellectualize the issue. They accept the has served as the Chairperson of Central Board of not a choice anymore, in today’s India. rules and get on with it. They know how to beat Film Certification from 2011 to 2015. 40 41

SENSE AND CENSORSHIP Divorce Already! By Suchita Ranglani

Magical Solution The Good Shepherd! With 89 objections to Abhishek Chaubey’s The CBFC seems to have taken it upon Udta Punjab, it has been proven that the themselves to protect our pure, chaste CBFC exists in a big blue bubble of their very minds from bad influence! One example of own imaginary magical world! In this magic this good intention is the Warner Brothers’ world He Who Must Not Be Named believes voluntary withdrawal of their Will Ferrell that just by removing “Punjab” from the title – Kevin Hart film “Get Hard” from being of the film, the prevalent drug problem in said released in India. The studio was convinced state will go away! Yay! Like wise, their answer that there was no way the Board members to communal differences subsisting in India would let this adult comedy about a is to deny a censor certificate to “En Dino desperate man training a fraud millionaire Muzaffarnagar” a 147-minute investigative for his upcoming time in jail, play on the documentary on the 2013 communal riots Indian screens the way it was meant to. in the western UP town. Close your eyes. Congratulations CBFC, you scared them off Problem Solved! with your scissors! *slow clap* 42 43

3-D for Danger! It’s Only Words! Double Standards Fifty Shades of Nude The Jungle Book – the story of a child in a The CBFC have had a long-standing love On one hand there is “Tamasha” and From Rehana Sultan in Chetna and Dastak, jungle was given a U/A certification because hate relationship with words. They demanded “Spectre”, where the Censor board to Mandakani in Ram Teri Ganga Maili, and it was 3D!!! The considerate and caring the word “bhagwan” literally be replaced demanded that kisses and intimate scenes Zeenat Aman in Satyam Shivam Sundaram members of the board were convinced by “uparwala”, “sambhog” by “milan” be shortened, on the other hand is “Aag – history shows India is a nation that can that the 3D film would be terrifying for and “bastard” by “rascal” in Hate Story 3. Ka Gola” a 1990 film where Sunny Deol and consume nudity without its culture being children! Well to be fair, 3D is a new, fresh, Demanded “lesbian” be muted in Dum Archana Puran Singh’s lip lock plays on loop. burned to the ground and its people scarred one of a kind, never experienced before, Laga Ke Haisha [because lesbian is a bad On one hand is the Censor Board, and on the for life. Or at least it used to be. With films like unknown concept in the country, and children and abusive word?!] and “screwed up” be other hand, there is logic. The point is clear, Sins and The Painted House being banned in have never been exposed to this novel muted in Phobia [because they never do!]. In and so is the hypocrisy! 2005 and 2015 respectively for nudity, it begs phenomenon before! Spectre they substituted “balls” with “cats”! the question, were we better off in times of In Tamaasha they censored ‘saali’, a word that Mera Naam Joker? means sister-in-law in Hindi! On the other hand in NH10 , they were okay with the world “randi” the first time it appeared in the film but not the second time because the first time a character was shown rubbing it off the door it was scratched on! But the second time she didn’t, maybe because her husband had just died and she might have had other things on her mind and not the delicate sensibility of Suchita Ranglani is a fresh-out-of-film-school screenwriter, has been a Mumbai Young Critic for MAMI, 2015 and has the CBFC? also interned with UTV and MTV. 44

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WHERE ARE THE MANGO PEOPLE? Is the common man walking away from Indian cinema, into the horizon? By Sukanya Verma 54 55

For the common man who spends the better With due respect to them, nobody struck a lucrative side to ritzy romances and upper-class, Mishra’s mid-aged existential crisis in Ankhon part of his day struggling to make ends meet, chord the way Amitabh Bachchan did; his grasp urban narrative. Dekhi or Bhumi Pednekar’s feisty response to thoughts are a luxury and cinema is akin to faith. of mass discontent carved his angry young man her boorish husband in Dum Laga Ke Haisha to The need to exemplify the man of the street identity in a way that uplifted the audience and name a few. When he sets foot inside a movie theatre, he on celluloid no longer holds any appeal escalated his stardom. subconsciously hopes the artist portraying among filmmakers. It’s been a while since He’s still operating in the over-the-top persona him on silver screen would not only voice his Armed with power-packed lines and we saw the leading players break into a basti and grand hijinks of Salman Khan’s hyperbolic repression and resentment but also recognize smouldering energy compensated for his song, warm bonhomie among neighbours hero. Khan’s insane fan base refers to him as his inner romantic and aspirant because life humble pedigree whilst he fought the evildoers or the communal, caricature-free solidarity Bhai, lose their mind every time he delivers itself is gradual and gruelling. and fixed the ‘system’ even while he was a part immortalised by a certain Amar, Akbar and a haughty catchphrase or rolls out an absurd of it. In comparison, the ones essayed by Amol Anthony. dance move and scramble for a selfie. Only his Hindi cinema offers a retreat from reality but Palekar, Naseeruddin Shah, Om Puri, Farookh brand, though hugely populist is too smug to dreams and desires are as much a part of it No doubt it’s healthy to discard out-dated Shaikh or Nana Patekar appeared rather truly resemble the man of the masses. as hopelessness. Caught in this inexplicable plot points in favour of relevance and evolving deglamourized albeit far more realistic in their vortex of contradictions, he wants to forget, social climate. Today, storytelling is more At the same time, the pragmatic, materialism- conviction and crisis. he wants to relate but, more than anything, sophisticated than ever and fearless in its driven generation neither has the patience to he desperately wants to succeed. When he Regardless of aesthetic value, class divide aggression. It’s slowly but surely acknowledging appreciate the fuss around a rich-poor romance whistles or claps at the hero’s moment of played a major bone of contention in the significance of well-written roles for women. nor any high standards of integrity to judge a triumph, it’s more to do with the man he hoped commercial fare. It didn’t matter if the face character for its lack of ethics. But where does this leave the to be or believes he had become in that one of poverty was as pretty as Rishi Kapoor’s or common man and his portrayal Entertainment is increasingly about gritty, short-lived instant. Rekha’s. Despite his flair for disco dancing, in today’s stories? Why is he/ shocking content and new age Hindi film script Mithun Chakraborty would have to put up with Back in the age of idealism and innocence on she no longer an attractive fashioned by adventurous filmmakers like a whole lot of high society snobbery because screen and off it, films frequently focused on poster boy/girl for revolution? Anurag Kashyap, Vishal Bhardwaj and Sriram of his impoverished background. Whereas the common population and the degree of Raghvan recognises the value of wicked. Under a smart, educated bloke like Sunny Deol One caught a glimpse of his discrimination they had to cope with. Wittingly this new format, idealism has made way for struggled to secure a job since his chawl- belligerent side in terrorism- or not, it spawned an imagery of champions. depravity within the lower middle class. dwelling daddy wasn’t influential enough. afflicted times through Naseer Whether it was Raj Kapoor distinguishing the in the thrilling but farfetched A A far cry from the anti-hero known to redeem If it wasn’t the rich versus poor conflict, writers bum pleading social acceptance, Dev Anand Wednesday, in Rishi Kapoor’s itself in the third act, the riff raff of society is explored the subject of conscience and battling his wobbly conscience to emerge pitch-perfect delivery of an all darkness and menace. Robbed off his basic its certain moral victory amidst deceit and unscathed, Dilip Kumar fighting for the rights underpaid teacher’s woes means, the bitter, neglected and unapologetic temptation. It’s the sort of flawed everyman of the exploited working class, Kishore Kumar in Do Dooni Chaar, underclass is in the mood for ugly payback. Anil Kapoor and Sanjay Dutt lend swagger to falling back on his reliable stock of humour Sanjay Somewhere in its preoccupation with to deal with unemployment, Nargis fighting while Shah Rukh Khan of yore delivered with overblown role models, timeworn voices all odds to single-handedly raise her brood, inimitable, infectious charm. of dissent and bleak personifications, silver Johnny Walker cautioning us about the Except in a film industry driven by formulas, screen has completely forgotten its duty to bittersweet ways of a city life or Balraj Sahni trends and business, bigger is automatically fulfil the common man’s fantasy as the dazzling standing up to near destitution, Sanjeev better. underdog, the dormant dreamer. Kumar’s heartfelt depiction of a distressed Around the time SRK’s on screen avatar gave existence or Shatrughan Sinha’s taking it Sukanya Verma is a Mumbai based senior film critic, up his middle-class accessibility to embrace head on with razor-sharp sass, these unique music critic, features writer, quiz host and columnist the affluent and fashionable versions of Raj and representations of the everyman resonated with rediff.com and its sister publication India Abroad Rahul sporting designer brands and spewing profoundly with its inspiration and target –the for the last 16 years. She was awarded with the Best hip lingo, Hindi cinema, too, discovered the aam viewer. Critic prize at Jagran Film Festival in 2014.

Back in the age of idealism and innocence on screen and off it, films frequently focused on the common population and the degree of discrimination they had to But where does this leave the common man and his portrayal in today’s stories? cope with. Wittingly or not, it spawned an imagery of champions. Why is he/she no longer an attractive poster boy/girl for revolution?

60

THINKING IN ENGLISH, SPEAKING IN HINDI Reflections on language in Hindi film making. By Tejaswini Ganti 62 63

Over the years, I have been struck by the directors, and Anglo-Indian performers were all Even in the scripting process, English has Today, there has been a sea change in how increased presence of English in film titles, features of early Indian cinema. played an important role dating to the early films sound. In the last decade, there have song lyrics, dialogue and the scripting process sound era. During the 1930s, in studios like been a number of Hindi films - Band Baaja With the advent of sound in 1931, Mumbai itself. I have been encountering a greater Baraat, Omkara, Pan Singh Tomar, Vicky Donor, filmmakers had to make a conscious choice of Bombay Talkies, scripts and dialogues were number of people within the industry who Do Dooni Char, Ishqiya, Gangs of Wasseypur, which language to make films in - Hindi offered initially conceived of in English by the writer confess their inability to “think in Hindi” Luv Shuv Tey Chicken Khurana, Dum Lagake the largest markets, but which type of Hindi? (referred to as a “scenario” writer) after and their greater ease with English. This which the dialogue writer translated them Haisha among others - in which the dialogue Filmmakers finally settled on Hindustani, is a result of the changing demographics into Hindustani. Since scripts were frequently is much more regionally specific and reliant on which had operated as a sort of lingua franca of the film industry with the presence of a written by individuals who were not proficient local dialects than films from earlier decades. larger number of writers, directors, actors, throughout northern India. This led to a in Hindustani, the autonomous dialogue This is in stark contrast to the past where for and producers educated in English-medium peculiarity – Mumbai became the only city in example, a petty criminal in the 1950s (Raj writer emerged as a longstanding staple of schools in contrast with earlier generations of India where the language of the film industry’s Kapoor in Awara), a dockworker in the 1970s Hindi cinema. At the same time, writers who the industry. The fact that many scripts today output did not correspond to the dominant (Amitabh Bachchan in Deewar), and a wealthy were fluent in Urdu were in great demand as are written in English and then translated into languages of the region – Gujarati and Marathi. NRI in the 1990s (Shah Rukh Khan in Dilwale dialogue and lyric writers, since Persianized Hindi or that dialogue has to be written in This was in direct contrast to other major Dulhaniya Le Jayenge) all spoke in the same Urdu was held in high regard by producers Romanized Hindi rather than in Devanagari can centers of film production such as Kolkata, type of Hindi, despite the widely diverging and directors and many well-known Urdu be construed as an unfortunate byproduct of Hyderabad, or Chennai. backgrounds, locations, and time frame of poets, playwrights, and novelists supported these changed demographics. Thinking about If one looks at acting and directing talent, each character. Currently, some writers and their literary endeavors by working in the film this year’s conference theme, Do Our Stories one is struck by the diverse backgrounds of directors are very interested in conveying industry. One consequence of this division Reflect India’s Reality?, it would be easy to the personnel even with the advent of sound dialogue that is rooted in and emerging from of labor was that characters in older Hindi presume that the growing presence of English in 1931. For example, Bombay Talkies, one a specific regional and cultural milieu. This sort films spoke in the same register of Urdu or demonstrates a disconnect between filmic of the largest pre-World War II studios and of attention to linguistic detail seems to be part Hindustani regardless of social class or region. narratives and the broader social and cultural one that left an important legacy in the post- of a tremendous concern amongst a newer While the dialogue and lyrics of older films context. independence Hindi film industry in terms of generation of filmmakers with gesturing toward were poetic and eloquent, and definitely made a type of realism within mainstream cinema. However, when looking back at the film stars (Dev Anand, Raj Kapoor, Ashok Kumar, an impact on audiences, the speech in these One effective way to signal the ‘real’ is through industry’s history, the picture is actually more Dilip Kumar) and directors (Gyan Mukherjee), films did not mimic or represent how people complex. In fact, for most of its history, fluency had many Germans in its employ and some dialogue. Language has become an important actually spoke. Although films from the 1940s or even competence in Hindi has not been a iconic Hindi films from this era like Achhut way to distinguish between films and is being and 50s were concerned with commenting prerequisite for acting, directing, or writing Kanya were directed by Franz Osten. One of foregrounded not just in the songs, but also in upon and responding to the social context of within the Hindi film industry because since its the top stars of the 1930s was the Australian- the dialogue and speech of characters. Thus, their time, they were not overly concerned with beginning, the industry has been marked by born Mary Evans, renamed “Fearless Nadia” language, in terms of dialect, accent, slang, tremendous linguistic, regional, and religious who gained fame with her action/stunt films sounding ‘real.’ proverbs, has become an important part of the diversity. Parsi and Gujarati finance, Marathi despite her heavily accented Hindi.

At the same time, writers who were fluent in Urdu were in great demand as dialogue With the advent of sound in 1931, Mumbai filmmakers had to make a conscious and lyric writers, since Persianized Urdu was held in high regard by producers and choice of which language to make films in - Hindi offered the largest markets, but directors and many well-known Urdu poets, playwrights, and novelists supported which type of Hindi? their literary endeavors by working in the film industry. 64 65

mis-en-scène – akin to songs, action, locales, The Hindi film industry has always been and and sets. had to be self-conscious about language because of its commercial orientation. In the I find it intriguing that this turn toward the earlier years of the film industry, language colloquial and vernacular is happening at choice was discussed and thought about the same that fluency in Hindi appears to in terms of intelligibility and access to the be waning among many writers, directors, largest markets. Today, language is a means and actors. In fact, I feel these processes of marking a film as distinct within a crowded are actually related. In an industry filled marketplace and of garnering status within the with people who are more comfortable film industry. Both are choices borne out of “thinking in English,” the varied dialects and commercial considerations, but they reflect very regional registers of Hindi appear exotic and different moments and transformations in the distinctive. With English having become economics of the Hindi film industry. the default language of the business and practice of filmmaking, some filmmakers are able to deploy Hindi as a self-consciously marked commodity and brand identity. These filmmakers often win praise from the English- language media in India and abroad for their authentic portrayals of the Hindi heartland.

The fact that some filmmakers are able to utilize language in a way that in an earlier era of filmmaking would have been regarded as limiting or alienating audiences, has to do with the changing structures of finance, production, distribution, and exhibition reshaping the Hindi film industry. One of the biggest changes since the advent of multiplexes and corporate production and distribution companies is the diminished significance of the ‘universal hit,’ – films that do well all over India across all demographics. A universal hit is simply not Tejaswini Ganti, Associate Professor, Department of as necessary within this new financing and Anthropology, Program in Culture & Media, New York University, author of Producing Bollywood: Inside distribution scenario. Thus, there is less anxiety the Contemporary Hindi Film Industry (2012) and on the part of the financing side of the industry Bollywood: A Guidebook to Popular Hindi Cinema if a film appears limited in its appeal. (2nd ed. 2013)

In an industry filled with people who are more comfortable “thinking in English,” the varied dialects and regional registers of Hindi appear exotic and distinctive. 66

LYRICS AAJ KAL Songwriters today are faced with a new face of the Hindi Film Song. By Kausar Munir 68 69

“Aaj kal gaanon mein voh baat nahi rahi…” somehow still kept the embers of hope alive “Ye duniya agar mil bhi jaaye toh kya hai”, “Be sir pair ki baatein, shaayri kahan hai?” “Jinhe naaz tha Hind par voh kahan hain”, “Arre sahab, jab shayar hi nahi rahe toh shaayri “Voh subah kabhi toh aayegi…” A staunch kahan se aayegi!” socialist himself, Sahir Ludhianvi perhaps holds Let us spare you the rest of the lyrical the distinction of singlehandedly awakening lamentations put before us songwriters, I’m the social consciousness of the Hindi Film sure you get the drift. Song, sometimes even when the script didn’t support his cause. But his contemporaries We do too, no really, we do! like Shailendra, Majrooh Sultanpuri, Shakeel We get that the listening audience is largely Badayuni, Hasrat Jaipuri continued to keep lamenting the loss of a golden era (read the flag of love and poetry (the two staples of 1950’s-60’s) of film music. An era in which cinema of the time) flying gloriously high. creatively talented and acutely skilled Cut to circa 2000-“Hum hain naye, andaaz kyun composers, singers, musicians but most of ho puraana”. (Javed Akhtar, Dil Chahta Hai) all song writers-lyricists-poets came together to create an unforgettable memory bank of 50 years later, the hopes and dreams of India Hindi film songs. All true. But like the song are hugely transformed. The largely rural for all seasons aptly says, “Kaliyon ka chaman landscape of Hindi cinema has shifted not just tab banta hai, Thoda resham lagta hai, Thoda to big cities, but to big cities on foreign shores. sheesha lagta hai, Heere moti jadte hain,Thoda NRI dreams, an upwardly mobile middle class sona lagta hai” and an ever-growing young population whose chief concerns are being rich, famous and Arthaath- The song sings the tune of its times. successful (and to party, if music companies The 1950’s with it’s newfound freedom was a and producers are to be believed). These rule time of idealism. The romanticism of a young the consumption of films, and by extension nation poised to make its unfulfilled hopes of their songs. a better life come true. Magar ye ho na saka, This new age audience has to be spoken to and filmmakers of the time were compelled to in their vocabulary, in a language that rivals showcase, if not mirror, the dashed hopes of ‘smsing’ and ‘emoticons’. the toiling ‘kisan’, struggles of the exploited mill worker, the angst of the educated yet Contrary to the popular perception of Hindi unemployed youth…the new breed of the Cinema as being stagnant, the lyricist more Hindi film protagonist, the ‘hero’. than anyone else knows that as the spoken word has evolved, so also the poetic expression Raj Kapoor and Guru Dutt were foremost in in the songs that are demanded of them. questioning the complex idea of this new India So, the runaway hit ‘Badtameez Dil’ doesn’t oscillating between hope and hopelessness. just please the crowd, but speaks to it, in a And these ‘romantic- idealist heroes’ found language that it understands. their voice in the socialist poet and lyricist, Sahir Ludhianvi. Sahir unrelentingly asked the The digitally wound-up audience has to be difficult questions, challenged authority and wooed by the right ‘sound’. In addition to an

This new age audience has to be spoken to in their vocabulary, in a language that rivals ‘smsing’ and ‘emoticons’. 70 71

evocative melody and relatable words, the right engagement, from song and dance routines to track becomes equally important in making a BGM. And the volume of films being produced connection. Case in point being the soundtrack has room for every kind of writer to thrive in… of Udta Punjab. Where the concerns of a Helmed by the six decade old, new and original burning social issue were conveyed through voice of Gulzar Sahab, and the staggering a dynamic youthful sound besides being thought-scape of Javed Akhtar; alongside the musically and lyrically relevant. new age poetic idiom of Prasoon Joshi (Rang The collapse of a physical conveyor of music De Basanti) and Irshad Kamil (Rockstar), the namely records, tapes, CD’s, the film album is layered populism of Amitabh Bhattacharya now stripped to a hot-selling single and thus (Ye Jawaani Hai Deewani), the contemporary the need for a ‘hook-line’ to attract the listeners socialism of Swanand Kirkire (Khoya Khoya and then engage them with the ‘thought’ Chand) and Piyush Mishra (Gulaal), the of the song, if at all. From Kajraare to Balam distinctive multi-culturalism of Kausar Munir Pichkaari, from Aal iss Well to Sadda Haq, (Ishaqzaade), the quirky depth of Anvita Dutt ‘catchy phrases’ become more a tool to capture and Mayur Puri, the emerging hinterland the faltering attention of the listeners, to attach emotiveness of Varun Grover (Dum Laga ke it to the larger aim of the film, whether that is Haisha)… Hindi film lyric-writing has perhaps entertainment or engagement. entered its next Golden Age. Add to these paradigm shifts, the slow fade It is also noteworthy that most of the lyricists out of lip synch, especially in films that dare to today are writing in several other formats, present the varied realities of the times that we showcasing their multifaceted repertoire of live in. Songs with words are floating into the writing skills and range of subjects. And they BGM space and lyricists are left to navigate this bring this delightfully varied knowledge to the brave new world with speedy dexterity. Hindi Film Song. In such a scenario film music largely becomes Indian films have the unique distinction of the jar of honey used to lure the audience into being the only cinema that sings. Social slamming a great ‘opening weekend’. And the harbingers or comic capers, studio backed struggle of the lyricist is to stay relevant, to starry block-busters or niche independent entertain, to capture not only the imagination films- now more than ever, Hindi film songs are of the audience but also bridge the gap singing the tune of the films they are set in and between appreciation and commercial viability. it’s our privilege to give them words. As daunting as this task seems, it is not Albeit, “Jo bhi main kehna chahoon, barbaad impossible. At least the lyricists don’t think karein alfaaz mere…” so. You may say we are dreamers but we’re not the only ones. Because, even in an age of (With inputs from Amitabh Bhattacharya and a million distractions, attractions and options Swanand Kirkire) available to music listeners, they remain tuned Kausar Munir is a successful lyricist and screenwriter into Hindi Film Songs. Filmmakers provide in the Hindi film industry with several noteworthy a varied landscape of cinema from social to films like Ishaqzaade, Anjaana Anjaani, Bajrangi anti-establishment films, from entertainment to Bhaijaan, Daawat-E-Ishq to her credit.

In such a scenario film music largely becomes the jar of honey used to lure the audience into slamming a great ‘opening weekend’. 72

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WHO’S THAT GIRL? Does television reflect the reality of the Indian woman? By Gajra Kottary 78 79

Over nearly two decades in the TV industry, Yes, the behind the scenes scenario in TV too, While in Udaan the protagonists dream was that of Kabhi Bahu Thhi to name a few. We went I have observed that whatever be the brand is dominated by women. becoming an IPS Officer, Rajni was the television from seeing empowered and relatable female and color of feminism we espouse, we women version of the angry no-nonsense woman, who characters in Swaabhimaan and Tara in the mid- So if this was a battle of numbers we women do tend to stick with each other. This is much asked uncomfortable questions to everyone would win our pretty hands down, any day. But nineties to women wearing expensive saris, to the intrigue, fascination and sometimes around her and extracted answers and confessions alas it is not. Despite our strength of numbers, decked from head to toe in gold, holding a irritation (I dare say!) of our male colleagues. from all, including the high and mighty. we have been able to do precious little for our thaali containing fruits and flowers and praying The women characters we create for our tribe. Most media analysis sites and papers are Udaan was inspired by the real-life story sincerely for the welfare of their husbands and TV shows may often be each other’s worst full of lamentations of the regressive and anti- of director Kavita Choudhary’s elder sister family. This imagery became the typical portrait enemies. But we women in the television feminist content of television which is actually Kanchan Choudhary who after several of a woman in serials; a perfect wife, perfect industry, quite a united tribe, often proudly doing more disservice than contributing to the hardships, went on to become the first mother and perfect daughter-in-law who declare, that if the film industry is biased in cause of women. And they are largely right in female Director General of Police and it showered love on all her loved ones and was an favour of men, we have had our come-uppance what they analyse, even though it hurts those instilled in its female audience, a desire for icon of purity and devotion for the audience. by weighing the odds heavily in favour of of us practitioners who try so hard to bring emancipation – beyond the claustrophobic women. Each serial portrayed how an ‘ideal’ woman some of our progressive thoughts for women to confines of domesticity. While Rajni helped should behave when myriad responsibilities So be it the length of roles and choice of reflect in our stories and characters. housewives realise back then that they could are foisted upon her, be it in maintaining the protagonists, the sheer number of women During the good-old days of Doordarshan in be empowered and could empower others too, happiness of her household, taking care of the characters, the storylines themselves and even the 1980’s we had programmes like Udaan earning rare respect for the pure homemaker. children or even running the family business. the payments to them in comparison to the and Rajni that dealt with strong women, Our much loved ‘bahu’ was expected to deal males, television is a woman’s medium. Not However, with the advent of cable and satellite who were an inspiration to all viewers, and with everything thrown at her with a smile, only that, a visit to most of the GEC offices as television and a major upheaval following it, especially to women. Even though they made well as those of prominent production houses, things rapidly changed. The new millennium while handling herself with the aplomb of a diverse choices in being either career women is a feast for the eyes in terms of the riot of saw the phenomenal success of the soaps professional. If the woman was allowed to work, or housewives, they chose to live their lives colour that only the feminine presence can be. involving family dramas like Kasauti Zindagi her character was often that of a vamp, who tried with independence, strength and conviction. Kay, Kahani Ghar Ghar Ki, Kyunki Saas Bhi to steal the leading lady’s husband or children. 80 81

She would be shown as a modern, stylish studying, working and maintaining their work to the team of ‘Stree’ having to change the Though it’s more acceptable to end on a note woman who was always scheming and plotting life balance. Yet there were no stories to reflect personality of her character to that of a more of optimism, I sign off on a rather shameful the downfall of the protagonist. It seemed like their reality, nor that of rural or poorer women, quiet, submissive and sacrificing woman. and thought provoking bit of data. A UNESCO the makers were trying to reinforce the gender let alone offer them inspiration! report released in 2009 had described the Towards the end of the first decade of the stereotype present in our society, ostracizing common images of women in the Indian media: There were a few exceptions of course. One millineum, and just after the success of the those women who choose to be recalcitrant and “the glamorous sex kitten, the sainted mother, of the bravest shows in the new millennium then experimental Balika Vadhu, it became chalk out an independent path for themselves. the devious witch, the hardfaced corporate was Astitva, whose protagonist was not only a trend to work the themes of serials around and political climber.” The report states that, But the phenomenal success of these serials a committed working woman, but also dared social issues. Since most social issues in India at the current rate of progress on stereotyping never obliterated the fact that they targeted to marry after falling in love with a much involve girl children and women, it seemed women, it will take another 75 years to achieve a certain, specific, economically privileged younger man, all with her dignity intact. Yet for some time as if serials were finally going to gender equality in the media. Given the earlier section of society where the main source of Astitva, though it survived much longer than reflect and therefore improve upon women’s familial income was either inherited property expected, did not exactly shake the TRP charts. stated fact in this piece about how women reality, since they would increase awareness or that amassed by business activities. This The reason analysed was that Dr Simran was outnumber men in the TV industry, does this and sensitivity. To some extent this did happen particular focus on such women who were inspirational but not relatable to the average not sadly prove that mean adage about a too, but as the waves receded after the flood married off to rich households often belonging housewife and target audience, used to a diet woman being another woman’s worst enemy ? of such shows, of late we are back to mindless to well to do class, themselves further alienated of the less thinking protagonists. dramas, and stunts to garner TRP’s, as inter- these serials from a larger reality- reality that Gajra Kottary is a Mumbai based screenwriter who Even in regional TV serials, the most typical channel competition is hotting up every day. had, in reality, changed over the decade. has been writing for television for over 14 years. She feminine aspects of a woman’s personality So welcome to the daayans, ghosts, chudails has written for shows like Astitva…Ek Prem Kahaani, So this was the period when our shows were extolled. The super hit Malayalam serial and nagins. Can we get any further away from Balika Vadhu, Ek Veer Ki Ardaas Veera, Jyoti and were really very far away from reflecting the ‘Stree’ initially portrayed the protagonist, reflecting the reality of women ? many others. emerging social reality in India where scores Indu, as a feminist who was bold, stubborn of girls especially from the middle class were and independent. It caused an uproar and led 82

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YAADON KI BAARAAT Some anecdotes about our greatest writers. By Kamlesh Pandey

HITS AND MISSES They had a script ready but Premji did not quite Pt. Mukhram Sharma, the first writer of Hindi like it. They offered to write another script for cinema who commanded a star status among him based on a story they were working on. producers and directors was narrating a story Premji liked the story and bought it. That film to Bimal Roy while they were travelling in Bimal was ‘Iman Dharam’ which didn’t do too well at Da’s car to the studio. Bimal Da did not like the the box office. And the story-script that Premji story much. So Pt.Mukhram Sharma got Bimal rejected was ‘Trishul’ which broke all records at Da’s driver to stop the car in the middle of the the box office! road, got off and went straight to the office of B.R.Chopra and the narrated the same story to LOAN FOR LYRICS him. That film went on to become one of the When Raj Kapoor first asked Shailendra to most successful films of that year! It was the write lyrics for his films, he refused and asked classic, Sadhna. him for a loan of Rs.500/- for an emergency he Akhtar Mirza, father of director Sayeed Mirza was facing and promised that he would finally and Azeez Mirza, took a story to Mehboob pay it back. When Shailendra went to Khan because the story demanded a major Raj Kapoor to pay back the loan of Rs.500/-, star and Mehboob Khan could get any star. he was listening to the script of ‘Awara’ being Mehboob Khan did not see any potential in narrated by Khwaja Ahmad Abbas. After the the story and rejected it. Akhtar Mirza took narration, Raj Kapoor asked Shailendra, ‘So what it to B.R.Chopra. B.R.Chopra liked the story do you think of the story, Kaviraj?’ Shailendra and took it to Ashok Kumar for the lead role. responded, ‘Gardish mein tha, aasman ka Ashok Kumar rejected it, telling him that he is tara tha, awara tha!’ Raj Kapoor jumped at not suitable for the lead character, and instead, Shailendra’s response and refused to take the advised him to take Dilip Kumar. The film money and instead asked him to write the lyrics. became ‘Naya Daur’, an all-time classic and a That was how the film ‘Awara’ got its title and blockbuster of that year. Raj Kapoor got the song that resonated all over In the hay days of Salim-Javed, producer Premji the world and Indian cinema got a team that went to them for a story-script to make a film. made history. 88 89

GENEROSITY FOR GULZAR! sin and what is virtue. The base of the story is Gulzar Saab was hired by a producer to write the conflict between a Yogi Kumargiri and a dialogue for a film. The work started, many courtesan Chitralekha who challenges the idea months passed but his remuneration was of renunciation of worldly life practiced by the never even asked for nor mentioned by the Yogi Kumargiri. Sahir Saab put the essence of producer. So one fine day, Gulzar Saab got the entire 200-page novel in just two lines of his enough courage to broach the subject of his lyrics —‘Sansaar se bhaage jaate ho, Bhagwaan remuneration to the producer. The producer ko tum kya paaoge? Apmaan rachaitaa ka regretted his oversight, called his production hoga, rachnaa ko agar thukraaoge!’ manager and very kindly asked him to arrange GOLDIE’S GUIDE! a local railway pass for Gulzar! After making ‘Guide’ based on R.K.Narayan’s SAHIR SAAB! English novel ‘The Guide’ in English, Dev Saab Sahir is known to be a legendary Urdu poet wanted to make it in Hindi, even though, or but when it came to writing lyrics in shuddh may be because the English ‘Guide’ failed Hindi, he excelled there too. Kedar Sharma critically and commercially both. For direction, was remaking his ‘Chitralekha’ based on the he approached his elder brother Chetan classic Hindi novel by Bhagwati Charan Verma, Anand. Chetan Saab was busy with ‘Haqeeqat’ which delves deep into a debate of what is so he expressed his inability. Besides, he

wanted Priya Rajvansh to play Rosie Marcos, own ‘Guide’. The film industry in general had the female lead for which Dev Saab had no hopes for ‘Guide’. In fact, right in the first Waheeda Rehman in mind. So the brothers week, it was declared a box office disaster. couldn’t agree on the casting of the female But slowly, it took off, buzz started building up lead and Chetan Saab advised Dev Saab to around it and the story of the transformation of take their younger brother Vijay Anand as a a crook forger guide into a spiritual guide for director. But when Dev Saab asked Vijay Anand the masses began to win hearts and minds of to direct ‘Guide’, he refused. He told Dev Saab the people and continues to do so till today. bluntly that he would prefer to make his own And ‘Guide’, freed from the confines and ‘Guide’, not the English novel ‘The Guide’ limitations of its English origin by Vijay Anand, by R.K.Narayan. Dev Saab tried his best to revealed itself to be perhaps the only attempt convince Vijay Anand to stay true to the novel in Indian cinema to invest a commercial film but Vijay Anand was reluctant. Finally Dev Saab with shades of deep Indian spirituality, and gave in and Vijay Anand agreed to direct his rates one of the best films ever made in India. 90 91

LINE MAARA! TAAR KA VAAR RAAT O RAAT Writer Rajendra Singh Bedi, one of the finest For his film ‘Sangam’, Raj Kapoor was When Sholay released, writers Salim-Javed novelists in Urdu and Punjabi was also a much relentlessly pursuing Vaijayanti Mala to play the found the writing credit given to ‘Sippy Films sought after dialogue writer. Once while female lead. But Vaijayanti Mala kept refusing Story Department’ on the posters and banners! present at the shooting of one of the films for for one reason or another. So Raj Kapoor Indignant, they got together a group of men, which he had written the dialogue, the director used the mukhda of one of the songs and some black paint and courage. Through the asked him to change a line. But Bedi Saab telegrammed it to Vaijayanti Mala—‘Bol Radha night they went to every poster that was put refused. Again and again. The director begged bol, Sangam hoga ki nahi?’ And Vaijaiyanti Mala up in the city. Next morning, Mumbai woke up him, the producer begged him, even the actor had no choice but to respond ‘Yes, hoga, hoga!’ the posters of Sholay that boldly announced – begged him but Bedi Saab continued to resist Written By Salim Javed! and refused to change that line. They all tried ISS MEIN KYA NAYEE BAAT HAI? to reason with Bedi Saab that it was just a Javed Saab was narrating a story to a producer. Kamlesh Pandey is an Indian screenwriter with a matter of one line, why was he so adamant on The producer loved the story but refused career spanning over 3 decades and films like Tezaab, not changing it? Bedi Saab looked at them to produce it. ‘Why?’ asked Javed Saab. Dil, Rang De Basanti and Delhi 6 to his credit. and said, ‘Because this is the only line of mine ‘Because,’ the producer wisely enlightened which has survived in the film!’ him, ‘this story has never been made!’ 92

MAIN PAL DO PAL KA SHAAYAR HOON… Remembering Sahir Ludhianvi By Vinay Shukla 94 95

The name conjures up the image of a man who the common people… If the songs in this twisting of thought: it is straight and pierces Ye mahloN, ye takhtoN, ye taajoN ki duniya ruled Hindi film music as a lyricist in 50s, 60s anthology, along with providing entertainment, like an arrow. And this is applicable to all his Ye insaaN ke dushman samaajoN ki duniya and 70s; and continues to do so even after his also satisfy your social, political, and literary songs. Ye daulat ke bhooke rivaajoN ki duniya death. True to his name - Sahir means magician urges; I would be content that I have not failed Ye duniya agar mil bhi jaaye toh kya hai! Gender discrimination was something that - he cast a spell on his listeners and readers in my effort. disturbed Sahir deeply. Perhaps it had But the poet in him still retains his dream of a with his words. Unless thoughts turn into feelings, poetry does something to do with the manner in which his Utopian world: But first, a personal anecdote: The year was not emerge. Sahir’s ideological beliefs formed father treated his mother. The angst that he felt Inn kaali sadiyon ke sar se 1976. I was making my debut as director; the bedrock of his creativity; and yet his songs about women’s oppression is best expressed in Jab raat ka aanchal dhalkega and Sahir saab was to write lyrics for the film. about society and the system do not sound the song JinheiN naaz hai Hind par voh kahaan Jab sukh ke baadal pighlenge, About a month before the recording of songs propagandist. The list of songs that reflect his haiN. He vividly paints the deplorable condition Jab sukh ka saagar chhalkega was scheduled, Sahir saab was taken ill and genius and versatility is too long and requires a of prostitutes; but here, the profession is also Jab amber jhoom ke naachega, hospitalized. He called me and asked that I tome. Hence, perforce, I have chosen just a few used as a metaphor embodying man’s attitude Jab dharti naghme gaayegi sign another lyricist. My pleas did not work of his songs from among the ones that go with towards women. To him, they are nothing more Voh subah kabhi toh aayegi… with him. He said, “Vinay, I approach each the theme of this seminar ‘SO NEAR SO FAR – than sex objects. A stanza in the song has wider song fearing that may be this one time, I’ll fail. Do Our Stories Reflect India’s Reality?’ implications: Sahir, well aware of the dynamics of history and There are times when I take even one month to its transient nature, wrote: Sahir did not believe in God; nor did he believe Madad chahti hai yeh Havva ki beti, write a song. I don’t want to be the reason for in Destiny. He envisioned a society in which Yashoda ki hum-jins, Kal koyee mujh ko yaad kare, upsetting your shooting schedule.” man has faith in himself and his efforts to shape Radha ki beti, KyoN koyee mujh ko yaad kare Imagine Sahir Ludhianvi saying this! That’s how his life. Payambar ki ummat, Masroof zamaana mere liye, seriously he valued lyric writing. Every word was Zulaikha ki beti, KyoN waqt apna barbaad kare Tadbeer se bigdi huyee taqdeer banaa-le, chosen with the care of a jeweller; each song Jinhe naaz hai Hind par voh kahaan hain! Apne pe bharosa hai toh ik daav lagaa-le Sahir saab, the busy world still does, and always chiseled like a sculpture. Toote huye patvaar haiN kishti ke toh gham kya, Sahir is agonized by the world in which will remember you. Mann re Haari huyee baahon ko hi patvaar banaa-le humanity is lost: man has become man’s Tuu kaahe na dheer dhare! enemy. All values of relationship, friendship In fact, he mocked at those who believed in Voh nirmohi and loyalty have been swallowed by the swamp Vinay Shukla is the writer-director of many notable God and thought that He would set things Moh na jaane of greed and selfishness. The market-driven films, including the winner of 6 national awards, right. Jinkaa moh kare… world which stifles the voice of an artist – Sahir Godmother. He has also served as the President of AasmaaN pe hai Khuda aur zameeN pe hum, vehemently rejects such a world. FWA from 2012 – 2014. He plays with words phonetically, without Aajkal voh is taraf dekhta hai kum diffusing the meaning; or allowing the Itni door se agar dekhta bhi ho, pensiveness of mood to slip. Tere mere vaaste kya karega voh? If his lyrics were full of feelings, they were He held religion responsible for dividing also full of meaning. It would not be an humanity and wanted us to rise above it. exaggeration to say that he was among the first of lyricists who brought Thought into Tu Hindu banega na Musalmaan banega, film songs. Insaan ki aulaad hai, insaan banega He held that poetry should be used as a tool It was not only religion; Sahir was also critical of for social change. In the preface of GAATA our society for the manner in which it treated its JAAYE BANJARAA, an anthology of his film women. songs, he writes: Aurat ne janam diya mardoN ko, It has been my constant endeavour to bring Mardon ne usse bazzar diya film songs closer to creative poetry, so that the Pithy, poignant, scathing, and ironical! That’s message of social and political change reaches Sahir’s skill – mastery over the craft; and yet, no 96

YEH JO HAI ZINDAGI Remembering Sharad Joshi By Kundan Shah 98 99

Yeh Jo Hai Zindagi was one of the first series in structure. Besides, it was double the length. 1984, to be commissioned by Doordarshan to But Manjul loved the episode. I was still nursing a team that was not in house. It was a sitcom my ego and told Sharadji very rudely that he with an out and out attempt at hardcore had totally ruined my sitcom situations and comedy. Television was, is and always will be progressed in a totally different direction. I a writer’s medium and hence the search was still remember his reply: “Beta, main structure on for the writers. Sharad Joshi’s name was ko follow karte-karte wahan challa gaya jahan suggested. Manjul Sinha (the co-director) and meri kalam mujhe le gayi (I tried to follow the I were reluctant to try anyone from the field of structure but got carried away by my pen and literature. We felt that a literary author would followed it).” This taught me an important not be able to approach the writing with the lesson – to enjoy the organic writing process particularities that the medium demanded. instead of blindly following a dead mechanical However, our producer Mr S S Oberoi, had structure. already arranged a meeting with the great One afternoon, after our meeting, he revealed satirist. It was too late to back out. But I was that he wanted to go buy himself a bush shirt very, very apprehensive. from Flora Fountain! We were in Goregaon and Sharadji came in his trademark half-sleeved he wanted to take a taxi all the way to Flora bush-shirt and an openness that was surprising. Fountain just to buy a shirt! But the taxi ride As the meeting progressed, I realized he had would cost more than the shirt! I almost blurted no ‘literary hang-ups’ at all. He listened to this out but stopped myself. At that time I the format - very elementary and simplistic thought is was an idiosyncrasy. But eventually I – and made one crucial suggestion. We had learnt the life lesson this incident actually was. borrowed the concept of the serial from It had nothing to do with the cost of the shirt Ranjit Kapoor’s recent play “Ek Ghoda, Chey and everything to do with the sheer pleasure Sawaar” - an adaptation of a Broadway hit of the experience he had been looking forward “Six Men and a Horse”. The original dealt to. This was what ‘zindagi’ was all about. with a henpecked husband bullied by his After YJHZ was done, I ran into him often. domineering brother-in-law, a boorish police Once, he said to me that we must make a inspector. Sharadji made a crucial change – the series on Charles Dickens’ Pickwick Papers. He brother-in-law became the character of Raja – a insisted I buy a copy and read it. I bought the good-for-nothing parasite full of naïve ideas. copy all those years ago. But still haven’t read The character added a lot of colour and many it. What a regret! But I look forward to reading episodes were woven around him. it some day, just like he looked forward to One time Sharadji took very long to write an buying that shirt… episode. It was way past the deadline and we did not hear from him. Our many attempts to contact him met with no response. We were Kundan Shah is a critically acclaimed, National Award at our wits’ end and quite worked up by the winning Indian film director and writer with films time he finally he made an appearance. To like Jaane Bhi Do Yaaron and series like Yeh Jo Hai my dismay, he had completely changed the Zindagi and Nukkad to his credit. 100

GOLDIE KAMRA NO. 203 A tribute to Vijay Anand By fanboy Sriram Raghavan 102 103

So what happened in the hotel room once he Vijay Anand’s heady cocktail of thrills, music and checked in? Did he start drinking….and smoke cinematic cool. And had become an addict. endless cigarettes….? Or did he chew his pen I sometimes lament that there is so little and pace around the room - one character at available on Hindi mainstream filmmakers. There a time? The lack of internet, cellphones and is barely any record of their process except for television would have been a major advantage. some stray anecdotes and interviews. Of course, Vijay Anand didn’t have the climax of Johnny we have the films and it’s in the films that we Mera Naam. So he locked himself in a hotel will find clues to the filmmaker, his process, his room vowing not to emerge till he had got it. compulsions and his art… 48 hours later his assistant got worried and There’s a scene in Kala Bazaar where Dev entered the room to find the writer sprawled on Anand’s character is selling tickets in black a sofa with dozens of furiously written sheets outside the Metro cinema. It’s a crucial scene around him. introducing the heroine Waheeda Rehman…. If you haven’t seen the film ….do watch it and And guess which film is running at the Metro? stop after the O BABUL PYARE SONG. And try North by Northwest! Hitchcock’s classic and figure out what will happen next! Oh yes, adventure about a man who doesn’t exist and it’ll be a happy ending…but how to hold the an innocent who is mistaken for him. Which is viewer for the crucial next 30 minutes? also the one line premise for Jewel Thief, I dare say, the best suspense thriller made in India. The climax of JMN is almost 30 minutes and features a madly thrilling standoff between the Jewel Thief has no connection with N by NW good guys and the gaddaars. But who is who? It but is Goldie’s most Hitchcockian work. When features all principle characters in one room, the I first met BP Singh, director of TV shows tables turning faster than an Udipi hotel during AAHAT and CID, I remember him telling me lunch hour! It’s so good that it’s spoiler proof. that everything he knew about making thrillers, he learnt from this one Vijay Anand film. We Johnny Mera Naam is a film that gave me discussed the shoe removing scene with great multiple orgasms before I knew what they glee and detail. Mr Singh called it a great meant. I was in Class V and watched it in example of ‘boiling the scene’. I love the term. Alpana Talkies, Poona, a 6 pm show. Ticket price Rs 2.20 - upper stall! Kya ishq ne samjha hai kya husn ne jaana hai… Hum khaak nasheenon ki thokar mein zamana How I prayed that my dad would be back from hai. I often show my team scenes from Vijay work by 5.30, so that I wouldn’t miss the titles! Anand films to illustrate a point. One of my And what titles! I whacked the mood wholesale favourites is the title sequence of Goldie’s for Johnny Gaddaar. third iconic thriller, scripted by Nasir Husain. A Blood red dripping titles set to a pulsating speeding car stops outside a building. A girl Kalyanji Anandji score…a boxing match runs up three floors and jumps to her death. followed by a murder and then another. A Suicide or murder? Every suspect is introduced smuggler in lock up and a prison break…all in before the titles are over. the first ten minutes! I walked out of the cinema Teesri Manzil, Jewel Thief and Johny Mera hall just like a happy drunk walks out of a bar. naam are pure noirs in premise. But they are Much before I drank my first beer, I had tasted the opposite of noir in the presentation. They

How I prayed that my dad would be back from work by 5.30, so that I wouldn’t miss the titles! And what titles! I whacked the mood wholesale for Johnny Gaddaar. 104

rank among the best of mainstream Hindi Or was it because this beautiful film was made cinema when it was not called Bollywood. after his biggest hit Johnny and it bombed. Billy Wilder was a great admirer of Ernst PREMNATH’S NEXT ASSIGNMENT: To steal Lubitsch….and above his desk was a note, the precious jewels from a Krishna temple and which he would look to whenever he was stuck auction it to world art smugglers. Of course, in a script. How would Lubitsch do it? Premnath has enough manpower and guns to mount a raid on the unguarded temple at For a lot of us, when we are doing a song night and do the job. But no…that would be a sequence, it’s - How would Vijay Anand do it? mere action sequence and serve no purpose. Waheeda Rehman in the upper birth of a night Instead, how does one make it a nerve train. Nutan in a glass of whisky. Hema Malini at wreckingly suspenseful sequence. the Nalanda ruins. Mumtaz on a cycle double It’s said that a film is written twice, once at the seat. Rakhee chasing love letters on a windy lawn. writing table and then at the editing table. The Just the images evoke the passion of the structure of this sequence is a fine example on picturization and almost magically one is how to avoid spoon feeding and simultaneously inspired to do one’s best. Let me list my ratchet up the tension. GOVIND BOLO GOPAL favourites. BOLO… is a bhajan shot like a thriller.

• Dil ka bhanwar kare pukar: Chemistry is as Goldie wrote original scripts, adapted novels, simple as walking down the stairs of the Kutub worked on screenplays based on someone Minar. else’s stories. His films are master classes in scene construction, dialogue writing, shot • Mile do badan: Sexual electricity… taking, character building and casting. Not to Dharamendra and Rakhee consummate their forget the creative credit title sequences…. marriage as they are hiding from the villains in a especially Chhupa Rustom, which is not a great cramped log pile and forced by their proximity film but fun to watch. And as a bonus you get to touch each other. All this, while gunmen with to see Vijay Anand tap dance on the bonnet of dogs are hunting them, as a forest fire closes in. a car wearing a yellow hat. Something all of us • Uparwala jaan kar anjaan hai: A funny writers must do once in a while. minimal location masterpiece. Dev Anand on It’s not easy to watch many old films today. Most the lower berth and Waheeda Rehman on the films sadly date and die quietly or live a little upper birth. Is he referring to her or the lord through their songs. But after watching over half above? a dozen of them over the last week I am happy • Wahan kaun hai tera musafir: It just sets the to report that the best of Vijay Anand films tone of the film for me… I love the images and are still alive and kicking - relevant and hugely the passage of time. The close up of the thorn entertaining. The alleged writers amongst us on the barefoot impacts me every time I see it. may also find clues in his films that’ll help us crack the mysteries in our own scripts. • Pal bhar ke liye: Music is the window to the soul…watching this just makes me happy. Knock gently on Kamra No 203. You know who’s inside, don’t you? • Jaise Radha ne mala japi Shyam ki: I just revisited Tere Mere Sapne whilst writing this piece. And for some reason this tender happy Sriram Raghavan is an Indian director and screenwriter song made me almost burst into tears. And I who has made several gripping thrillers like Badlapur, wondered why? Was it the situation in the film… Agent Vinod, Johnny Gaddar and Ek Hasina Thi.