Thursday, November 15, 2018

Aamir Khan, Amitabh Bacchan's acting was outstanding in Thugs of Hindostan.


Aamir Khan, Amitabh Bacchan’s acting was outstanding in Thugs of Hindustan. The acting of Aamir Khan, Amitabh Bacchan and other artists in the film The Thugs of Hindustan was outstanding. The main message was the cheating of the British East Indian Company in 1790 onwards and capturing estates by treachery. Khuda Baksh played by Amitabh Bacchan and Firangi played by Aamir Khan helped the estates to get back control from the British East India company. Aamir Khan always had put up great efforts to portray his character. It happened in this film as well. Amitabh Bacchan also did a great job at his age. Yet due to negative publicity, the film struggled in getting box office success. Presently it has collected around 140 crores. It is sad that the audience could not get the historical message of the period drama. A lot of effort was put up in building the ships that were captured in the original story. The action stunts were also mindblowing. Music was good. Photography was good. Viewers instead of reading the negative reviews should go and watch the film. Thugs of Hindostan is a 2018 Indian Hindi-language epic action-adventure film, written and directed by Vijay Krishna Acharya, and produced by Aditya Chopra under his banner Yash Raj Films. The film stars Amitabh Bachchan, Aamir Khan, Katrina Kaif, Fatima Sana Shaikh and Lloyd Owen. Set in 1795, the film follows a band of Thugs led by Khudabaksh Azaad, who aspires to free Hindostan (the Indian subcontinent) from the rule of the expanding British East India Company. Alarmed, British commander John Clive sends a small-time Thug from Awadh, Firangi Mallah, to infiltrate and counter the threat.[5] Produced on an estimated budget of ₹300 crore (US$42 million), Thugs of Hindostan is the most expensive Bollywood film. Initially titled Thug, the film marked the first time Khan and Bachchan featured together as leads, and was the second collaboration between Khan, Acharya and Kaif, after Dhoom 3 (2013). Principal photography commenced on 5 June 2017 in Malta; the film was also shot in Thailand and Mehrangarh. It was put on a short hiatus after Bachchan was injured on set. Filming concluded in March 2018, the final schedule being completed in Rajasthan. The soundtrack was composed by Ajay-Atul, with lyrics written by Amitabh Bhattacharya.
Thugs of Hindostan was released during the week of the Diwali festival, on 8 November 2018. Upon release, the film received generally negative reviews; while critics praised the performances of Bachchan and Khan, Acharya's direction and screenplay were criticized. The film recorded the highest first-day collection and highest two-day collection for any Hindi film in India, and the fourth biggest opening weekend in India. As of 13 November 2018, Thugs of Hindostan has grossed ₹218.07 crore ($33.49 million) at the worldwide box office.[4] It has also recovered approximately ₹170 crore ($26.11 million) from satellite, digital and music rights. In 1795, when the Indian subcontinent was known as Hindustan or Hindostan, king Mirza Sikander Baig was killed by John Clive. The residents of his kingdom are massacred, and the land is annexed by the British. The only surviviors are his daughter, Zafira Baig, and general, Khudabaksh. Khudabaksh defeats the retreating enemy soldiers, and raises Zafira as his daughter, training her in the arts of warfare. Years later, Khudabaksh, now known as Jahaazi, leads a band of Indian bandits known as Thugs, who specialize in sea-based warfare and expose a serious challenge to the expanding British East India Company which had, by then, seized control of large parts of India. John Clive is alarmed, and assigns his right-hand to counter the rising threat posed by the Thugs. Firangi Mallah, a good-for-nothing, small-time Thug who makes his living by stealing necessary accessories, is recruited by the British to meet this challenge. He appears before Jahaazi and asks him for his refuge. Jahaazi accepts, and Firangi turns into a routine informer for the Company. He finds solace with a dancer named Suraiyya. Firangi aims to be an English-man himself, and hence dresses up as one in many circumstances. Firangi betrays the Thugs on many occasions. Jahaazi, who wishes to straighten the wayward Firangi and bring him into the Thug life, gets suspicious and realizes the truth. He confronts Firangi and they have a duel. Jahaazi looses, and concedes defeat to Firangi, while expressing hope that he will change his ways. At the final encounter with the British at an abandoned fort, Jahaazi and Zafira fight the British and find themselves outnumbered and their ranks falling. Firangi and his cronies suddenly appear and turn the tide of the battle. Zafira defeats Clive, and justice is served. Jahaazi looks to the sky and realizes the unfertile land has now borne fruit, suggesting that Firangi has now become an empathetic human capable of greatness.

Tuesday, November 13, 2018

Revisiting SD Burman and Rafisahab in realistic films.


Sachin Dev Burman as a composer had a liking for folk tunes and the softness of sounds of nature was captured in his compositions. Whenever his compositions were studied in the commercial films there was limitation relating to the immense musical talent because there were preferences of the producers, actors and other groups of people. But when it came to realistic films, probably SD Burman’s best tunes were created. Mohammad Rafi as a singer had the greatest range and modulation in respect of singing. So SD Burman’s songs in realistic films with Mohammad Rafi created magic. In Dilip Kumar and Bimal Roy’s Devdas, SD Burman used Talat Mehmood for the song “mitwa”. It was probably one of the best tragic songs Talat Mehmood had ever sung. SD Burman was successful in extracting the pathos in a rural background. Lajwanti, Bandini and Sujata were female-centric films. So SD Burman composed songs for the female singers. Talat Mehmood’s “jalte hai jiske liye” was impressive in Sujata. Guru Dutt’s Pyaasa was a landmark film where SD Burman and Mohammad Rafi combination touched the souls of people. “yeh mahalaon yeh takhton yeh taajon ki duniya” sung by Rafi and written by Sahir Ludiyanvi had philosophical dimension. Rafi’s s other songs in the film were masterpieces like “hum aapki aankho me”, “yeh hanste hue phool”, etc. Rafi SD Burman combination followed the pathos andaz in Guru Dutt’s Kagaz Ke Phool. Rafi’s song “dekhi zamaane ki yaari, bichre sabhi baari baari” was one of the best songs speaking about the reality of life. Philosophy, pathos and passion got merged into one. The other songs “hum tum jise kehten hai”, “ulte seedhe dao lagae” were equally impressive. In Bimal Roy’s Benazir, all the songs of Rafi SD Burman combination were very impressive including “dil me ek jaane tamanna”, “aaj shishe me baar baar”, “le gayi ek haseena”, “mai shola hoon”, etc. Ashok Kumar and Shashi Kapoor were very impressive in the film and Rafi’s songs were brilliant by musical standards. Meri Surat Teri Ankhen was another film where SD Burman could display his classical talent. Rafi and Manna Dey were used to their potentials. Songs like “pucho na kaise maine rain bitayi” in ahir bhairav, “naache man mowra”, “tere bin sune” were masterpieces which showed the pathos andaz of Ashok Kumar in the film. Rafi was used in immense numbers of films of Dev Anand, in Dharmender’s Ishq Par Zor Nahi, Joy Mukherjee’s Ziddi, Vinod Mehra’s Anurag and majority of them dominated the chartbusters in the 1950s and 1960s. Many listeners must have Rafi’s rendition of SD Burman compositions “yeh dil diwana hai”, “mehbooba teri tasveer”, “teri surat se na milti hai kisiki surat”, “janu kya mera dil ab kahan kho gaya”. The songs were very melodious. References had not been made in the article because the article was devoted to the realistic andaz of Rafi and SD Burman. All the films and the songs mentioned above require publicity and restoration.

In Shyamasangeet Pannalal Bhattacharya and Dhananjoy Bhattacharya were the best ever.


Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best Shyamasangeet. Shyamasangeet is one form of devotional song devoted to Goddess Kali, the Goddess of empowerment. It is called Bhaktigeeti in Bengali. Pannalal Bhattacharya and Dhananjay Bhattacharya were probably the best singers of Shyamasangeet. Dhananjay Bhattacharya was the medjda, the middle brother of Bhattacharya family. He used to be called Samrat, meaning the king of music. He was very handsome and got chance in Bengali films like Pasher Bari, Ladies Seat, Nababidhan to name a few. His basic discs created havoc in 1950s like “shilpi moner”, “jhanana jhanana baje”, “kobir kheyale premomoy tumi samrat shajahan”, etc. Even his songs “e maya proponchomoy” made the viewers spellbound. In recent interview given by his son Dipankar Bhattacharya in Anandabazar Patrika it was said that Lataji requested Dhananjay Bhattacharya to come to Mumbai for hindi songs, which he refused. Composer Salil Choudhury told Dhananjoy that his voice was at par with Rafisahab and Talat Sahab. But beyond modern songs his inclination was towards devotional songs, especially that of Goddess Kali. Pannalal Bhattacharya learned music from Dhananjay Bhattacharya. He also had classical control and sang very well. When he came to that his friends Manabendra Mukherjee, Shyamal Mitra and Sanat Singha acted in the film Sare Chuattor, he wanted to act in the film also. But Dhananjay Bhattacharya stopped him. Sare Chuattor was the first superhit film of Uttam Kumar and Suchitra Sen released in 1953. But Dhananajay Bhattacharya understood that Pannalal had excellent control in Shyamsangeet. So he allowed his brother to concentrate in those songs. Some of her brilliant songs included “amar sadhna mitilo ashana phurilo”, “chai na mago raja hote”, “opar sangsar nahi parabar, ma o ma, ma”. His other hit songs included “de ma pagol kore bhramamaye”, “amar mayer payer jobe hoye”, to name a few. All were devoted to Goddess Kali. Both Dhananjoy Bhattacharya and Pannalal Bhattacharya had the hobby of catching fishes. Whoever had ponds in West Bengal, used to call both the brothers, first for fishing and then in the evening ask them to sing songs. Dhananjoy Bhattacharya’s son Dipankar Bhattacharya had said in Anandabazar Patrika that once Pannalal was travelling in train with friends Manabendra Mukherjee, Nirmala Mishra, Tarun Banerjee. He visualized that in Dakshineshwar Kalibari, the idol of Kali was dressed in Tunte sari. All his friends were shocked. He took them to Dhakineshwar. Everyone saw the truth that yes, Idol of Kali was dressed in tunte saree. Once Pannalal was recording in HMV the song “chai na ami raja hote”. Manobendra Mukherjee waited outside the room. He allowed Pannalal to finish his song and then said he was going to sing the song “ami eto je tomae bhalobesechi” in 1958. Pannalal gave Manabendra Jaba flower which he brought from Kali Temple in Dhakineshwar. He gave the flower to Manabendra saying it was going to give him good luck. Manobendra sang the song and it became a bumper hit. In the later years, Pannalal lost interest in life and only sang devotional songs for Goddess Kali. He committed suicide at the age of 36 years. Music experts feel that Pannalal Bhattacharya and Dhananjay Bhattacharya sang the best shyamasangeet ever in Bengal’s history.