Gulzar in Conversation with Nasreen Munni Kabir

Total Page：16

File Type：pdf, Size：1020Kb

IN THE COMPANY OF A POET: GULZAR IN CONVERSATION WITH NASREEN MUNNI KABIR Written by ANIRUDHA Wednesday, 27 February 2013 03:19 Gulzar, a name that does not need an introduction. A multitalented individual; poet, storyteller, director, scriptwriter, and lyricist. Without a doubt, he is a towering figure of contemporary Indian literature and cinema. We all remember the song from the film Mausam, Lakdi ki kaathi that a generation grew up singing to the Oscar winning Jai ho. His songs have enthralled millions. His unique and much acclaimed contribution to the world of poetry continues to reflect our changing times, with fresh idiom and delicate turn of phrase. Anyone who is inclined to his work is bound to be interested in this book. In this richly entertaining book, Gulzar shares his life and passions with peerless charm and frankness. In this book of conversations with Nasreen Munni Kabir, Gulzar speaks with insight, truthfulness and gentle humor about his life and work. His school days in Old Delhi where he wrote his early poems. His working in a garage in Mumbai before entering films. His association with legends such as Bimal Roy, Balraj Sahni, Sahir Ludhianvi, Meena Kumari, Shailendra, S. D. Burman, Hemant Kumar, Hrishikesh Mukherjee, Lata Mangeshkar and R. D. Burman among others. His love of tennis; and his deep connection with his wife, the legendary Raakhee, his daughter Meghna, and his grandson Samay. ABOUT THE AUTHOR: Born in India, documentary filmmaker and writer Nasreen Munni Kabir lives in London, where she has made several programmes on Hindi cinema for Channel 4 TV, including the forty-six-part series Movie Mahal and The Inner/Outer World of Shah Rukh Khan. Her several books include Guru Dutt: A Life in Cinema; Talking Films and Talking Songs with Javed Akhtar; The Spirit of Music with A. R. Rahman; Lata Mangeshkar: In Her Own Voice; and five publications featuring the complete dialogue of classic films like Mughal-e-Azam and Awaara. MY TAKE: I find the idea of entire book as a conversation really interesting. It makes reading the book a pleasure. In a conversation people tend to open up and the thoughts come directly from within giving an insight into the person and his thinking. The book reveals some interesting aspects of Gulzar's life. The book has been written in a very lucid manner. To be 1 / 2 IN THE COMPANY OF A POET: GULZAR IN CONVERSATION WITH NASREEN MUNNI KABIR Written by ANIRUDHA Wednesday, 27 February 2013 03:19 honest, if you are a fan of Gulzar it would always seem to be less with what is provided, but would recommend it as a good pick with an assurance that you would like to go through it in one go moving with the conversation. BOOK DETAILS: AUTHOR: Nasreen Munni Kabir PUBLISHER: Rainlight Rupa NO OF PAGES: 208 LANGUAGE: English PRICE: Rs. 495{jcomments on} 2 / 2.

Copy Link

Recommended publications

Movie Aquisitions in 2010 - Hindi Cinema
Movie Aquisitions in 2010 - Hindi Cinema CISCA thanks Professor Nirmal Kumar of Sri Venkateshwara Collega and Meghnath Bhattacharya of AKHRA Ranchi for great assistance in bringing the films to Aarhus. For questions regarding these acquisitions please contact CISCA at [email protected] (Listed by title) Aamir Aandhi Directed by Rajkumar Gupta Directed by Gulzar Produced by Ronnie Screwvala Produced by J. Om Prakash, Gulzar 2008 1975 UTV Spotboy Motion Pictures Filmyug PVT Ltd. Aar Paar Chak De India Directed and produced by Guru Dutt Directed by Shimit Amin 1954 Produced by Aditya Chopra/Yash Chopra Guru Dutt Production 2007 Yash Raj Films Amar Akbar Anthony Anwar Directed and produced by Manmohan Desai Directed by Manish Jha 1977 Produced by Rajesh Singh Hirawat Jain and Company 2007 Dayal Creations Pvt. Ltd. Aparajito (The Unvanquished) Awara Directed and produced by Satyajit Raj Produced and directed by Raj Kapoor 1956 1951 Epic Productions R.K. Films Ltd. Black Bobby Directed and produced by Sanjay Leela Bhansali Directed and produced by Raj Kapoor 2005 1973 Yash Raj Films R.K. Films Ltd. Border Charulata (The Lonely Wife) Directed and produced by J.P. Dutta Directed by Satyajit Raj 1997 1964 J.P. Films RDB Productions Chaudhvin ka Chand Dev D Directed by Mohammed Sadiq Directed by Anurag Kashyap Produced by Guru Dutt Produced by UTV Spotboy, Bindass 1960 2009 Guru Dutt Production UTV Motion Pictures, UTV Spot Boy Devdas Devdas Directed and Produced by Bimal Roy Directed and produced by Sanjay Leela Bhansali 1955 2002 Bimal Roy Productions
[Show full text]
The Literary Herald
ISSN : 2454-3365 THE LITERARY HERALD AN INTERNATIONAL REFEREED ENGLISH E-JOURNAL A Quarterly Indexed Open-access Online JOURNAL Vol.1, No.1 (June 2015) Editor-in-Chief: Dr. Siddhartha Sharma Managing Editor: Dr. Sadhana Sharma www.TLHjournal.com [email protected] hhhhhhhhhhhhhhhhhhkkkkkkkkkkkkkkkkk;khngggh www.TLHjournal.com The Literary Herald ISSN: 2454-3365 An International Refereed English e-Journal The Representation of Agony during Partition as shown in M S Sathyu’s film “Garm Hawa” Ms Rekha Paresh Parmar Associate Professor Department of English Veer Narmad South Gujarat University, Surat Abstract “Garm Hawa” (Scorching Winds/Hot Winds) is a 1973 Hindi Urdu drama film directed by M S Sathyu with veteran actor Balraj Sahni as the lead. It was written by Kaifi Azmi and Shama Zaidi, based on an unpublished short story by a famous Urdu writer Ismat Chughtai. This controversial film has won several national awards in 1974 including a National Integration award. This political narrative deals with the plight of a North Indian Muslim businessman Salim Mirza and his family in 1947 in Agra. He is a patriot and a Muslim shoemaker, struggles to survive in this pathetic and critical condition of communal riots. He is in a dilemma either to live in India or to emigrate to Pakistan like his other family members. The Mirza family suffers for not doing anything wrong in this post-partition environment. They could neither manage their business nor got the job. The social and marital relations are affected. Salim Mirza’s elder son Baqar moves to Pakistan with his family. His daughter Amina is frustrated having two affairs with her cousins and committed suicide.
[Show full text]
Magazine1-4 Final.Qxd (Page 3)
SUNDAY, JULY 19, 2020 (PAGE 4) What we obtain too cheap, BOLLYWOOD-BUZZ we esteem too lightly Unforgettable Bimal Roy V K Singh Inderjeet S. Bhatia "Prince" Devdass (Dilip Kumar) and Paro's (Suchitra Sen). Child music and song " Yeh mera Diwanapan Hai" by mukesh are hood friendship blossoms into love. But Paro is forced to still popular. 'The harder the conflict, the more glorious The 111th birth anniversary of Bimal Roy, the father fig- marry a rich zamindar because Dev Dass's Father (Murad) "Kabuliwala" produced by Bimal Roy and released on the truimph'. These words of Thomas Paine ure of Indian Cinema was held on 12th was against this relationship. This turned Devdass into a 14th Dec,1961 was not a commercial hit but is still remem- written before the American Revolution July. Bimal Roy, lovingly called as depressed alcoholic. Chandramukhi (Vijayanthimala) too bered for power-packed performace of Balraj Sahni in the Bimal Da 1909 to a Bengali Baidya , sought to inspire Americans in their struggle could not provide solace to his bleeding heart. Released on title role of a Pathan called Rahmat whose wife is no more. Dhaka, which was part of Eastern Jan 1 , 1955 film created box office history by collecting He has a little daughter Ameena (Baby Farida) to whom he for freedom against Great Britain. They have Bengal before partition of 1947 (now more 1 crore in those times. Film bagged best actress in a cares like a mother. He also keep saving her from the wrath an evergreen freshness and resonate with the Dhaka division Bangladesh).
[Show full text]
Yash Chopra the Legend
YASH CHOPRA THE LEGEND Visionary. Director. Producer. Legendary Dream Merchant of Indian Cinema. And a trailblazer who paved the way for the Indian entertainment industry. 1932 - 2012 Genre defining director, star-maker and a studio mogul, Yash Chopra has been instrumental in shaping the symbolism of mainstream Hindi cinema across the globe. Popularly known as the ‘King of Romance’ for his string of hit romantic films spanning over a five-decade career, he redefined drama and romance onscreen. Born on 27 September 1932, Yash Chopra's journey began from the lush green fields of Punjab, which kept reappearing in his films in all their splendour. © Yash Raj Films Pvt. Ltd. 1 www.yashrajfilms.com Yash Chopra started out as an assistant to his brother, B. R. Chopra, and went on to direct 5 very successful films for his brother’s banner - B. R. Films, each of which proved to be a significant milestone in his development as a world class director of blockbusters. These were DHOOL KA PHOOL (1959), DHARMPUTRA (1961), WAQT (1965) - India’s first true multi-starrer generational family drama, ITTEFAQ (1969) & AADMI AUR INSAAN (1969). He has wielded the baton additionally for 4 films made by other film companies - JOSHILA (1973), DEEWAAR (1975), TRISHUL (1978) & PARAMPARA (1993). But his greatest repertoire of work were the 50 plus films made under the banner that he launched - the banner that stands for the best of Hindi cinema - YRF. Out of these films, he directed 13 himself and these films have defined much of the language of Hindi films as we know them today.
[Show full text]
Understanding Meaningful Cinema
[ VOLUME 5 I ISSUE 3 I JULY– SEPT 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 Understanding Meaningful Cinema Dr. Debarati Dhar Assistant Professor, Vivekananda School of Journalism and Mass Communication Vivekananda Institute of Professional Studies, New Delhi. Received: June 23 , 2018 Accepted: August 03, 2018 Introduction: Cinephilia Cineastes say that films help the audience to reflect on the divergent cultures and justify the presence of multi-cultural, multi-ethnic audience in view of this divergence. The language of cinema continues to evolve in a living tradition and the filmmakers trace the ever-changing language of this medium from the silent era to the talkies, from the days when screen went from black and white and got colorized. Emotional appeal, subtlety in its communication and most importantly throwing a new light on the world, as we know it counted a lot to the audience. Filmmakers now work across the spectrum of media including painting, novels, theatre and opera. In the global cinema, in general, the production has become more accessible today, the qualitative aspects have sadly given way to quantity and so, films often miss emotional and spiritual richness. The world is a closer place today. Perhaps it is cinema that helps to blur the boundaries. The concept of film as a commercial art form started in fifties. The fifties and sixties are generally known as the golden period of Indian cinema not only because masterpieces were being made, but because of the popularity of the songs of that era. One of the distinctive features of Indian cinema is its narrative structure.
[Show full text]
List of Documentary Films Produced by Sahitya Akademi
Films Produced by Sahitya Akademi (Till Date) S.No. Author Directed by Duration 1. Amrita Pritam (Punjabi) Basu Bhattacharya 60 minutes 2. Akhtar-ul-Iman (Urdu) Saeed Mirza 60 minutes 3. V.K. Gokak (Kannada) Prasanna 60 minutes 4. Takazhi Sivasankara Pillai (Malayalam) M.T. Vasudevan Nair 60 minutes 5. Gopalkrishna Adiga (Kannada) Girish Karnad 60 minutes 6. Vishnu Prabhakar (Hindi) Padma Sachdev 60 minutes 7. Balamani Amma (Malayalam) Madhusudanan 27 minutes 8. Vinda Karandikar (Marathi) Nandan Kudhyadi 60 minutes 9. Annada Sankar Ray (Bengali) Budhadev Dasgupta 60 minutes 10. P.T. Narasimhachar (Kannada) Chandrasekhar Kambar 27 minutes 11. Baba Nagarjun (Hindi) Deepak Roy 27 minutes 12. Dharamvir Bharti (Hindi) Uday Prakash 27 minutes 13. D. Jayakanthan (Tamil) Sa. Kandasamy 27 minutes 14. Narayan Surve (Marathi) Dilip Chitre 27 minutes 15. Bhisham Sahni (Hindi) Nandan Kudhyadi 27 minutes 16. Subhash Mukhopadhyay (Bengali) Raja Sen 27 minutes 17. Tarashankar Bandhopadhyay (Bengali) Amiya Chattopadhyay 27 minutes 18. Vijaydan Detha (Rajasthani) Uday Prakash 27 minutes 19. Navakanta Barua (Assamese) Gautam Bora 27 minutes 20. Mulk Raj Anand (English) Suresh Kohli 27 minutes 21. Gopal Chhotray (Oriya) Jugal Debata 27 minutes 22. Qurratulain Hyder (Urdu) Mazhar Q. Kamran 27 minutes 23. U.R. Anantha Murthy (Kannada) Krishna Masadi 27 minutes 24. V.M. Basheer (Malayalam) M.A. Rahman 27 minutes 25. Rajendra Shah (Gujarati) Paresh Naik 27 minutes 26. Ale Ahmed Suroor (Urdu) Anwar Jamal 27 minutes 1 27. Trilochan Shastri (Hindi) Satya Prakash 27 minutes 28. Rehman Rahi (Kashmiri) M.K. Raina 27 minutes 29. Subramaniam Bharati (Tamil) Soudhamini 27 minutes 30. O.V.
[Show full text]
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
[Show full text]
Unit Indian Cinema
Popular Culture .UNIT INDIAN CINEMA Structure Objectives Introduction Introducing Indian Cinema 13.2.1 Era of Silent Films 13.2.2 Pre-Independence Talkies 13.2.3 Post Independence Cinema Indian Cinema as an Industry Indian Cinema : Fantasy or Reality Indian Cinema in Political Perspective Image of Hero Image of Woman Music And Dance in Indian Cinema Achievements of Indian Cinema Let Us Sum Up Answers to Check Your Progress Exercises A 13.0 OBJECTIVES This Unit discusses about Indian cinema. Indian cinema has been a very powerful medium for the popular expression of India's cultural identity. After reading this Unit you will be able to: familiarize yourself with the achievements of about a hundred years of Indian cinema, trace the development of Indian cinema as an industry, spell out the various ways in which social reality has been portrayed in Indian cinema, place Indian cinema in a political perspective, define the specificities of the images of men and women in Indian cinema, . outline the importance of music in cinema, and get an idea of the main achievements of Indian cinema. 13.1 INTRODUCTION .p It is not possible to fully comprehend the various facets of modern Indan culture without understanding Indian cinema. Although primarily a source of entertainment, Indian cinema has nonetheless played an important role in carving out areas of unity between various groups and communities based on caste, religion and language. Indian cinema is almost as old as world cinema. On the one hand it has gdted to the world great film makers like Satyajit Ray, , it has also, on the other hand, evolved melodramatic forms of popular films which have gone beyond the Indian frontiers to create an impact in regions of South west Asia.
[Show full text]
Devdas by Sanjay Leela Bhansali
© 2018 JETIR July 2018, Volume 5, Issue 7 www.jetir.org (ISSN-2349-5162) Adaptation of the novel ‘Devdas’ in the Film ‘Devdas by Sanjay Leela Bhansali In Bollywood, numerous adaptations have been produced using the great books. Devdas is a standout amongst the most well known and best example of those movies. The novel Devdas was written in Bengali in 1917 by Sarat Chandra Chatterjee, who is usually acclaimed as an 'Incredible Storyteller'. The account of Devdas has been adapted by P. C. Barua who directed three variants of Devdas between 1935 to 1937, in Bengali, Hindi, and Assamese; different adaptations have been made in Tamil and Malayalam. In 1955, Bimal Roy also adapted the narrative of Devdas featuring Dilip Kumar as a male protagonist and became a huge success in the history of Bollywood film. Again in 2002, a standout amongst the most popular director of India of the present day, 'Sanjay Leela Bhanshali', who is well known for his established flicks; Monsoon, Guzaarish, Hum Dil De Chuke Sanam, Goliyon Ki Raaslila Ram – Leela, Bajirao Mastaani and the most controversial film of 2018 Padmawat, has also adapted the story of this classical novel ‘Devdas’. Devdas by Sarat Chandra Chaterjee is one of the classics of Indian Literature, subject to many film adaptations in Indian Cinema. Sarat Chandra Chatterjee was one of the leading literary deities of Bengal, he published several books earlier Nishkriti, Charitraheen, Parineeta, and Srikanta, but his most famous novel is Devdas. Devdas is a tragic story of a man called Devdas who adored however never got his beloved.
[Show full text]
Oberoi (Middle East) Events
OBEROI (MIDDLE EAST) EVENTS AN INSIGHT INTO THE EVENTS THAT MADE HISTORY P.O.Box 21187, Sharjah, United Arab Emirates Tel: + 971 6 5245292 Fax: + 971 6 5688301 E-mail: [email protected] / [email protected] INTRODUCTION OME – Oberoi (ME) Events , rated one of the leading and most reputed Event Management firms in the region – having presented over 52 professionally conceptualized Musical concerts, Theatre events, International Music Awards, Corporate Gala events etc., since 2 decades. We are proud to say that OME has been the pioneer in the UAE/ Gulf in the staging of their event brand “ONE WORLD ONE MUSIC” ( 1W1M ) series musical concerts – presenting the leading and elite singers and musicians from the sub-continent, together on one platform – with a humble and noble mission to spread the message of peace, brotherhood and friendship in the region. The trail blazer of the 1W1M series concerts, featuring the most popular artistes from India & Pakistan, SONU NIGAM AND JUNOON , at the prestigious Nad Al Sheba grounds in October 2000, broke many-a- records: • THE FIRST INDO-PAK CONCERT IN THE UAE/ GULF • THE 2 ND HIGHEST ATTENDANCE IN ANY ASIAN MUSICAL CONCERT IN THE UAE/ GULF (+ 15,000) • THE LONGEST DURATION MUSICAL EVENT IN THE UAE/ GULF (+ 5-1/2 HOURS) • THE 1 ST ASIAN EVENT TO BE ANNOUNCED IN THE BBC MIDDLE EAST WORLD NEWS With the immense success and fan following for the “ONE WORLD ONE MUSIC” concept concerts, witnessed by over 60,000 music lovers of S. Asia in the UAE, we were invited by DSF authorities to present three of the most prestigious 1W1M musical events for the prestigious “Dubai Shopping Festival 2003 and 2004” calendar of events – the same which were acclaimed as one of the most entertaining and successful events in the UAE.
[Show full text]
Soha Ali in Harvard University
From Rang De Basanti to Harvard University Updated on: May 10, 2011 prachi 292 Views Soha Ali Khan, daughter of famous Bollywood actress and legend Sharmila Tagore, is now all set for her visit to Harvard University. She is in a state of elation after she was invited to Harvard University to deliver a lecture on Indian Cinema. This session is being titled as "Cinema-Then and Now". Oxford students are excited and looking forward for this session as Sharmila Tagore is also going to make a special appearance. During the session, Soha will also pay tribute to some of the great legends like Madhubala, Meena Kumari, Waheeda Rehman and her mother Sharmila Tagore. According to Soha, she is overwhelmed about her Disclaimer: This PDF is auto-generated based on the information available on Shiksha as on 04-Jun-2020. Harvard visit but tensed too as she has never delivered such lecture session and that too in front of the big fans of Bollywood. She said that she has done a thorough research as what all she'll be covering in the article like whom all contributed to the Indian cinema and major factors that has made has given a shape to the Indian movies. She is also planning to talk about all the big actors and their contribution to the Indian Cinema. Not only this, her creative work in movies like ‘Khoya Khoya Chand', Rang De Basanti', and ‘Antarmahal' will also be screened during the lecture. So, here is a time to learn as well as to share and learn from the experiences of well-renowned Indian actors and actresses.
[Show full text]
Meena Kumari - Poems
Classic Poetry Series Meena Kumari - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Meena Kumari(1 August 1932 - 31 March 1972) Meena Kumari (Hindi: ???? ??????), born Mahjabeen Bano, was an Indian movie actress and poetess. She is regarded as one of the most prominent actresses to have appeared on the screens of Hindi Cinema. During a career spanning 30 years from her childhood to her death, she starred in more than ninety films, many of which have achieved classic and cult status today. Kumari gained a reputation for playing grief-stricken and tragic roles, and her performances have been praised and reminisced throughout the years. Like one of her best-known roles, Chhoti Bahu, in Sahib Bibi Aur Ghulam (1962), Kumari became addicted to alcohol. Her life and prosperous career were marred by heavy drinking, troubled relationships, an ensuing deteriorating health, and her death from liver cirrhosis in 1972. Kumari is often cited by media and literary sources as "The Tragedy Queen", both for her frequent portrayal of sorrowful and dramatic roles in her films and her real-life story. <b> Early Life </b> Meena Kumari was the third daughter of Ali Baksh and Iqbal Begum; Khursheed and Madhu were her two elder sisters. At the time of her birth, her parents were unable to pay the fees of Dr. Gadre, who had delivered her, so her father left her at a Muslim orphanage, however, he picked her up after a few hours. Her father, a Shia Muslim, was a veteran of Parsi theater, played harmonium, taught music, and wrote Urdu poetry.
[Show full text]