Latest news with #Jaal
Indian Express
09-07-2025
- Entertainment
- Indian Express
Filmmaker Sudhir Mishra unpacks the brilliance of Guru Dutt and its enduring impact
Filmmaker Guru Dutt is like a poet who works with other poets such as Sahir Ludhianvi (he wrote lyrics for Baazi (1951), Jaal (1952) and Pyaasa (1957) among others) and creates enduring cinematic moments. I see his films as a series of moments which resonate with me at various points of my life. I tend to understand myself better in a weird way through those moments. I don't have an intellectual relationship with Guru Dutt but more of a subconscious relationship. Once his films entered my mind, they never left. I don't know whether that shows in my work. If it shows, I am glad. If it does not show, then I am not good enough. Because of him, I am also attracted to people on the margins. Chhoti Bahu in Sahib Bibi Aur Ghulam (1962), a character essayed by Meena Kumari, is a woman locked up but bursting with desire and sensuality. She wants to explore the world outside. The way Guru Dutt sees women is very interesting. He is not condescending. There is even a mischief there in Waheeda Rehman's character in this film. There is jealousy and all sorts of desire. Women are not ashamed to express their desire. They are not making any excuses. His women are capable of expressing their deeper desires. He treats them as he treats men. Of course, the experiences of men and women are different. It is remarkable how Guru Dutt almost rewrites a script while making a film. He creates an ambience that's beyond the written pages. Sometimes, it is even contrary to the dialogues. Handled by any ordinary filmmaker, the dialogues can be seen as mundane. A lament can be melodramatic but he makes it poetic. Chhoti Bahu becomes a metaphor for me — much more than just a character. The way he shoots the songs is outstanding. 'Waqt Ne Kiya Kya Haseen Sitam' in Kaagaz Ke Phool (1959) almost foretells the lead characters' parting and encapsulates the inevitability that their lives will go separate ways. It is kind of in the subconsciousness — he is not trying to intellectualise it. Because he was also a dancer and choreographer, he understood rhythm. The way he shoots 'Jinhe naaz hai hind par woh kahan hai' in Pyaasa — with VK Murthy behind the camera — transforms the song into something much more than a complaint. It is as if he completes the poem by Sahir. He rewrites it with the camera. My grandmother identified herself as Meena Kumari (who plays Chhoti Bahu) after my grandfather had walked away, into the arms of another woman. I was around five years old when I first watched Sahib Bibi Aur Ghulam with my grandmother. My father founded the film society in Lucknow. I saw Guru Dutt's films there again. I watched them on my own. Whenever there was a screening of a Guru Dutt film — Pyaasa, Chaudhvin Ka Chand, Aar Paar or Baazi — I would go. In hindsight, that was the trigger to my becoming a filmmaker. I am quite intrigued by the fact that he was a passionate man and that his first love was filmmaking. He was obsessed with taking the right shots. He has shot films and dumped them because he was not happy with them. He was trying to make sense of the world. He had certain ideas and it was difficult to replicate them. They are ephemeral. A lot of people can call it confusion. But he was searching as he shot. When he sees Meena Kumari singing 'Na Jao Saiyan Chhuda Ke Baiyan' and Murthy has lit the shot, that's when he realises what he has in his mind. Consciously, he has left those moments for us. He is a poet, painter, and filmmaker. Call it hyper realism, he takes a moment, fits into the art, and thereby creates a third moment. Look at the image he creates with Yeh duniya agar mil bhi jaaye in Pyaasa. He speaks for many. Guru Dutt exists in all my films. I am not claiming that kind of greatness but I am a product of so many things and my lineage. Then, there is something unique, something that I have — my filmmaking is a search for that. It is what Ghalib called 'andaz-e-bayan' (style of expression). That was what Guru Dutt was searching for. He was also trying to understand who he was. His death at the age of 39 was sad. When you die young, you either disappear or become a legend. The latter is justified in his case since his films created the impact that they did. He was discovering the medium through his early movies. He is exploring how to treat a character and how to take a shot. Then, he made Pyaasa. He was getting ready to make these kinds of films. Cinema is a commercial world. You can become independent and explore what you want if you are a producer too. He was a producer-director. The medium of cinema is unique. There are certain things that only cinema can express if you submit to the muse and the medium. Then you will become a filmmaker and express what only cinema can do. That's what he was trying to find. He was saying what can be said only through cinema. His muse was the medium itself. (As told to Alaka Sahani)
India.com
16-06-2025
- Entertainment
- India.com
This man was forced to be an engineer, but he became singer, his voice made Dev Anand a star, name was..., Mousami Chatterjee was his...
In golden age of Indian cinema, when music had the power to define a hero, one legendary voice emerged as the heartbeat of romance. His melodies didn't just fill the air, they built the very aura of charm around a certain evergreen actor, who would go on to become the silver screen's first true romantic icon. Let's identify who this singer was. Voice Of God Here, we are talking about the legendary singer-composer Late Hemant Kumar , who had a huge impact with his singing in the 1950s and 1960s. Today is Hemant Da's 105th birth anniversary and those who have heard his voice may have surely known that he was the one who gave many legendary actors a shape in the form of voice, especially Dev Anand , whose mesmerizing voice made him the first king of romance . The actual name of Hemant Kumar was Hemant Mukhopadhyay, who was born in Varanasi on June 16, 1920. His family was originally from Bengal and was born and brought up in the heartland of Bengal, Kolkata. At the age of 13, he performed his first song on All India Radio. His father wanted him to pursue engineering as a career, but fate decided something else for him. Later, his companion Subhash Mukhopadhyay, who was also a remarkable poet from Kolkata, provided him with this chance. Hemant Da and His Legendary Contribution In 1952, when people first listened to Ye Raat Ye Chandni Phir Kahan from the movie Jaal , they sensed that it was extraordinary. This song featuring Dev Anand and Geeta Bali remains at the forefront of romantic melodies. His next was House No. 44, featuring Teri Duniya Mein Jeene Se To Accha Hai Ki Mar Jayein , which resonated emotionally with listeners. Hai Apna Dil To Awara from the 1958 movie Solva Saal turned into Dev Anand's trademark style. Hemant's vocals, Dev Anand's manner, and Pancham Da's (RD Burman's) tunes combinedly produce enchantment. Hemant Kumar was not just a singer, he was also an outstanding musician. The score of Nagin achieved such popularity that he received the Filmfare Award . He wrote and performed songs in movies such as Bees Saal Baad, Khamoshi', and Kohra . He was also the first Indian playback singer who sang for Hollywood, as he was invited to compose songs for Conrad Rook's Siddharta, based on Herman Hesse's novel . He also got felicitated with US citizenship and the Gramophone Company of India honored him for his 50 years of musical journey. Mousami Chatterjee Is Hemant Kumar's… The name of Hemant Kumar's wife was Bela Mukhopadhyay. They had two children, Jayant Mukherjee and Ranu Mukherjee . Renowned Bengali-Hindi film actress Mousami Chatterjee is the daughter-in-law of Hemant Kumar. Mousami tied the knot with his son Jayant. Hemant, who gained immense recognition in Indian music both nationally and internationally through his singing and compositions, bid farewell to the world on 26 September 1989 due to a severe cardiac arrest .
Time of India
04-06-2025
- Entertainment
- Time of India
Aakash Nagi on joining Chakravarti Samrat Prithviraj Chauhan: The biggest challenge was playing a bilingual character
Aakash Nagi and (right) as Jaal in Chakravarti Samrat Prithviraj Chauhan Aakash Nagi is excited to be part of Chakravarti Samrat Prithviraj Chauhan, which also marks his debut in the historical genre. He plays the role of Jaal, an Afghani character who infiltrates the Rajput camp in Ajmer under the orders of Ghiyassudin. Speaking about his role, Aakash shares, 'For me, the most challenging aspect was that my character is bilingual — he speaks both Afghani and Marwari/Rajasthani. Another major challenge was performing action scenes while constantly wearing heavy costumes and accessories. However, my theatre experience helped me a lot in managing these demands.' One of the intriguing aspects of playing Jaal is the character's use of disguises. He explains, 'Jaal takes on various disguises — as a trader, a soldier, a dancer, and many more — to accomplish his mission and assassinate as many Rajput kings as possible, including Someshwar and Prithviraj.' Working on the show also gave Aakash the opportunity to collaborate with veteran actor Ronit Bose Roy, who portrays King Someshwar. Aakash says, 'It was a dream come true to work with Ronit Roy sir. We've shot some scenes together, and he's extremely accommodating on set. Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like 새로 나온 '실비보험' 최적가 가입추천! "주요 보험사별 맞춤견적+가성비 굿"... 굿리치 보험대리점 (등록번호:제2006038313호) 가입하기 Undo He gives other actors the space to improvise and ensures everyone feels comfortable while working with him. I haven't had the chance to shoot with Padmini ma'am yet, but I did get to interact with her. She is truly a gem of a person.' Aakash's journey into acting is a unique one. Originally a mechanical engineer, he completed his engineering degree in 2018 and began working in the field. However, his passion for cinema eventually led him to pursue acting full-time. 'I was always drawn to cinema. During my engineering days, I used to watch up to three movies a day,' he recalls, adding, 'I started doing theatre in college, and it laid the foundation for my acting career. Initially, I did unpaid roles while working my day job. I landed my first paid acting role in 2020 with the Punjabi show Kamli Ishq Di, which was shot in Chandigarh.' Following that breakthrough, he made the decision to move to Mumbai and try his luck in the mainstream entertainment industry. 'Moving to Mumbai was a difficult decision and surviving there was a struggle at first. But once I started getting commercial work, it became a bit easier to sustain myself. I eventually landed my first lead role in the Hindi television serial Mere Desh Ki Dharti, and things started to fall into place after that,' he concludes.
Hindustan Times
01-06-2025
- Science
- Hindustan Times
Pretty lizzie dares the Thar noon
Only those as mad as a hatter would venture into the noon / afternoon heat of the Thar desert for a foodie binge. But for the Brilliant Ground agama (Trapelius / Agama agilis Olivier), a lesser known lizard and commonly confounded by locals with a girgit/korkirla (Garden lizard), the inferno of the desert is best suited for predation on insects and its own safety. This is precisely the time, as the wise lizard knows, the avian hunters such as falcons, hawks and eagles will have beaten a retreat to a shady 'thikana'. Insects, too, are active at this infernal time in the native flora of the Thar: Kheep, Ber, Jaal, Kumbat, Aak etc. Insects feed on foliage and lay eggs, and in turn are gobbled by the 'lizards who duel at high noon'. The lizard is a burrowing species, with the female adapted to dig into the soil for nesting and protection while the male simply slithers under the Thar rocks. 'In summer, male lizards always stay in the open. As temperatures can rise to 55°C, male lizards also get affected by the heat but they counter the onslaught by changing into beautiful colours, which are known to be less absorbent of debilitating sun rays. To humans, it may appear that the lizard has turned magically into a gorgeous creature but the stark colouration changes are critical for survival. So, the head and abdomen changes from the standard dull brown, sandy colour into a vivid blue peppered with white spots while the tail turns yellowish-orange. The male's entire lower surface turns white,' principal of the SBK Government PG College, Jaisalmer, Rajasthan, and professor of zoology, Shyam Sunder Meena, told this writer. Meena was the first to venture into the field and study this neglected species of the Thar, resulting in a research paper: Sexual Selection and Sexual Dimorphism in Agama agilis. 'To further cut down on heat absorption, male lizards alternatively move their legs up and down to minimise contact with the warm surface. They also select perches on foliage which are 6-9 feet above the hot earth,' Meena added. The monsoons tail this cuckoo The very early advent of the monsoons this year has manifested itself in avian form. The Pied or Jacobin cuckoo, which is partly a resident species as also a summer migrant from Africa, has been spotted pretty early. The cuckoo migrates to the northern regions of India to lay eggs surreptitiously in the nests of other birds, especially the Turdoides babblers. Cuckoo chicks are then reared by surrogate babbler parents in what is known as 'brood parasitism'. A very early record for Punjab came on May 24, 2025, when birder Manish Ahuja spotted a cuckoo on a power transmission wire just outside Ferozepur. This writer heard a cuckoo late at night the next day in Sector 19 A, Chandigarh. The earliest record for the cuckoo as far as the tricity is concerned is May 23, 2009, when this writer observed one at the 16th hole of the Shivalik Golf Club (SEPTA), Chandimandir. Ebird India, which collates data on avian sightings, shows an unusual record. Samay Srivastava recorded a migrating cuckoo at the Jalvayu Towers Society, Gurugram, on May 1, 2025! Ebird also shows cuckoo records of May 18 and May 23, 2025, from Uttarakhand. The migratory component of the cuckoos is adept at harnessing monsoon winds blowing from the Horn of Africa to migrate 1,500-2,000 km to the Indian coastline and then fly further inland. The pattern that seems to come across is that the monsoon winds come in from the south west but the rains spread southeast to northwest in India. The cuckoos come in with the winds but then spread over India with the rains, southeast to northwest. Due to the cuckoo's augury of the impending monsoon, the bird enjoys cultural resonance, including a reference in Kalidas' Meghdoot as the 'Chataka': '(O cloud) the wind will be favourable, Slow and soft for thee and waft thee ahead, Close on thy left, The Chataka or the Rain lark, Will sing sweetly.' vjswild2@
