1. Meghe Dhaka Tara – Ritwik Ghatak (Bengali, 1960)
2. Charulata – Satyajit Ray (Bengali, 1964)
3. Pather Panchali – Satyajit Ray (Bengali, 1955)
4. Sholay – Ramesh Sippy (Hindi, 1975)
5. Do Bigha Zameen – Bimal Roy (Hindi, 1953)
6. Pyaasa – Guru Dutt (Hindi, 1957)
7. Bhuvan Shome – Mrinal Sen (Hindi, 1969)
8. Garam Hawa – M S Sathyu (Hindi, 1973)
9. Mother India – Mehboob Khan (Hindi, 1957)
10. Ghattashradha – Girish Kasaravalli (Kannada, 1977)
11. Elippathayam – Adoor Gopalakrishnan (Malayalam, 1981)
12. Mughal-e-Azam – K Asif (Hindi, 1960)
13. Nayagan – Mani Ratnam (Tamil, 1987)
14. Kaghaz Ke Phool – Guru Dutt (Hindi, 1959)
15. Apu Trilogy (Pather Panchali 1955, Aparajito 1956, Apur Sansar 1959) -Satyajit Ray (Bengali)
16. Sant Tukaram – Vishnupant Govind Damle, Sheikh Fattelal (Marathi, 1936)
17. Jaane Bhi Do Yaro – Kundan Shah (Hindi, 1983)
18. Guide – Vijay Anand (Hindi, 1965)
19. Madhumati – Bimal Roy (Hindi, 1958)
20. Anand – Hrishikesh Mukherjee (Hindi, 1971)

Sholay is ever green film in Bollywood history. Amitabh Bachchan and Dharmendra were played the key roles in this movie. R.D.Burman has composed music to this film. His music to this film is still entertaining the Bollywood audience.

Mehabooba Mehabooba is one among them. This is an item number. Helen has danced for this song. This song was shot in as open place. Its shown as villain’ den. Amjad Khan also appears in the song.

Helen has appeared in sexy green dress in this song. She attracted young audience very much. Still this is one of the best item number in Bollywood.

-ಜಿ ಎನ್ ಮೋಹನ್

ಪ್ಲೇಗೋ, ಕಾಲರಾನೋ ಬಂದರೆ ಊರಿಗೆ ಊರೇ ಇದ್ದ ಬದ್ದದ್ದನ್ನೆಲ್ಲಾ ಕಟ್ಟಿಕೊಂಡು, ಹೆಂಡತಿ ಮಕ್ಕಳನ್ನು ಬಗಲಿಗೆ ಹಾಕಿಕೊಂಡು ಗುಳೆ ಹೋಗುವುದು ಕೇಳಿ ಗೊತ್ತಿತ್ತು. ಈಗ ನಾನು ನೋಡುತ್ತಿರುವ ದೃಶ್ಯಕ್ಕೂ ಅದಕ್ಕೂ ಯಾವುದೇ ವ್ಯತ್ಯಾಸ ಇರಲಿಲ್ಲ. ಮಕ್ಕಳುಮರಿಗಳನ್ನ ಎತ್ತಿಕೊಂಡು, ಹಾದಿ ಬೀದಿಯ ಎಲ್ಲರಿಗೂ ಬರುವಂತೆ ಕೂಗಿ ಹೇಳಿ, ಇಡೀ ನಗರಕ್ಕೆ ನಗರವೇ ಗುಳೆ ಹೋಗತೊಡಗಿತ್ತು. ವ್ಯತ್ಯಾಸವೆಂದರೆ ಸಾಮಾನು ಸರಂಜಾಮು ಇರಲಿಲ್ಲ. ಮುಖದಲ್ಲಿ ಆತಂಕದ ಬದಲು ಸಂಭ್ರಮ ಇತ್ತು. ನನ್ನ ಕೈಯನ್ನೂ ಯಾರೋ ಹಿಡಿದು ಎಳೆದುಕೊಂಡರು. ನಾನು ತಿರುಪತಿಗೆ ಪಾದಯಾತ್ರೆ ಹೋಗುವವರ ಗುಂಪಿನಲ್ಲಿ ಸೇರಿಹೋದವನಂತಾದೆ. ಹೋಗಿ ನಿಂತದ್ದು ನಾಲ್ಕು ಬೀದಿ ದಾಟಿದರೆ ಸಿಗುವ ಸರ್ಕಲ್ ನಲ್ಲಿ. ಎಲ್ಲಿ ನೋಡಿದರೂ ಜನ. ಆಗೇನೂ ಬೆಂಗಳೂರಿಗೆ ಟ್ರಾಫಿಕ್ ಎಂಬ ಶಾಪ ಬಡೆದಿರಲಿಲ್ಲ. ಆದರೂ ಇದ್ದ ಬೈಸಿಕಲ್ ಗಳಿಗೇ ಪೀಪಿ ಊದುತ್ತಾ ಬದಿಗೆ ಸರಿಸುತ್ತಿದ್ದ ಪೋಲೀಸರು. ಅಷ್ಟರೊಳಗೆ ‘ರೂಂಯ್’ ಅಂತ ಶಬ್ದ ಮಾಡ್ತಾ  ಕಣ್ಣು ಮುಚ್ಚಿ ಬಿಡುವುದರೊಳಗಾಗಿ ಸಾಲು ಸಾಲು ವಾಹನಗಳು ಬರತೊಡಗಿದವು. ಎಲ್ಲಕ್ಕೂ ಏನೋ ಆತುರ. ಇಡೀ ಗುಂಪಿಗೆ ಸನ್ನಿ ಹಿಡಿದಂತಾಯ್ತು . ‘ಇಂದಿರಾಗಾಂಧಿ ಜಿಂದಾಬಾದ್’ ಅಂತ ಕೂಗಿದರು. ಅದು ಅಲೆ ಅಲೆಯಾಗಿ ಮೈಲುಗಟ್ಟಲೆ ಸೇರಿದ್ದ ಜನರ ಮಧ್ಯೆ ಸಾಗತೊಡಗಿತು. ಇದ್ದಕ್ಕಿದ್ದಂತೆ ಒಂದು ವಾಹನ ‘ಕಿರ್ರ್’ ಎನ್ನುತ್ತಾ ಬ್ರೇಕ್ ಹಾಕಿ ನಿಂತಿತು. ಬಾಗಿಲು ತೆರೆದು ಹೊರಗೆ  ಇಳಿದದ್ದು, ಯೆಸ್, ಅದೇ ಬಾಬ್ ಕೂದಲಿನ, ಉದ್ದ ಮೂಗಿನ, ಒಂದಿಷ್ಟೇ ಬೆಳ್ಳಿ ಕೂದಲ ಪ್ಯಾಚ್ ಹೊಂದಿದ, ವಾಹ್! ಎನಿಸುವ ಕಾಟನ್ ಸೀರೆಯ ಇಂದಿರಾಗಾಂಧಿ. ಕ್ಲಿಕ್ – ನನ್ನ ಮನಸ್ಸಿನೊಳಗೆ ಮೊದಲ ಬಿಂಬ ಮೂಡಿತು.

ಆಗ ಎಂಟನೇ ತರಗತಿ. ಎರಡು ಬಸ್ಸು ಹಿಡಿದು ಹೋಗಬೇಕಾದ ದೂರದ ಶಾಲೆ.  ಹೀಗಾಗಿ ಪಕ್ಕದ ದೇವಸ್ಥಾನದಲ್ಲಿ ಸುಬ್ಬುಲಕ್ಷ್ಮಿ ‘ಕಮಲಾಕುಚ ಚೂಚಕ ಕುಂಕುಮತೋ..’ ದನಿ ಎತ್ತುವ ವೇಳೆಗೆ ಎದ್ದೇ ಬಿಡಬೇಕಿತ್ತು. ಕಣ್ಣು ಹೊಸಕುತ್ತಾ ಇದ್ದವನಿಗೆ ಡಬ್ ಎಂದು ಪೇಪರ್ ಬಂದು ಬಿದ್ದ ಸದ್ದಾಯಿತು. ಹೋಗಿ ಕೈಗೆತ್ತಿಕೊಂಡೆ. ದಪ್ಪ ದಪ್ಪ ಅಕ್ಷರಗಳು. ಗಾಬರಿಯಾಯ್ತು. ಅಷ್ಟು ದಪ್ಪ ಅಕ್ಷರವನ್ನು ನಾನು ನೋಡಿದ್ದದ್ದು ಭಾರತ–ಪಾಕ್ ಯುದ್ಧದ ಸಮಯದಲ್ಲಿ. ಮತ್ತೆ ಯುದ್ಧ ಬಂತಾ ಎಂದು ಗಾಬರಿಯಾಯ್ತು. ಉಪ್ಪಿಟ್ಟಿಗೆ ಬೇಕಾದ  ಒಂದಿಷ್ಟು ರವೆಗೂ ಅಮ್ಮ ಒದ್ದಾಡುತ್ತಿದ್ದ ಚಿತ್ರ ಕಣ್ಣಿಗೆ ಕಟ್ಟಿತು. ಓಡಿಹೋಗಿ ಅಪ್ಪನ ಕೈಲಿಟ್ಟೆ. ಅಪ್ಪಾ, ಯುದ್ಧ ಬಂತಾ.. ಅಂತಾ. ಎರಡು ಕ್ಷಣ ಪೇಪರ್ ಮೇಲೆ ಕಣ್ಣಾಡಿಸಿದವರೇ. ತುರ್ತು ಪರಿಸ್ಥಿತಿ  ಅಂದ್ರು. ನಾನು ಇಣುಕಿ ನೋಡಿದೆ. ಪೇಪರ್ನಲ್ಲಿ ಅದೇ ಇಂದಿರಾಗಾಂಧಿ ಫೋಟೋ.  ಕ್ಲಿಕ್- ನನ್ನ ಮನಸ್ಸಿನೊಳಗೆ ಎರಡನೆಯ ಬಿಂಬ ಮೂಡಿತು.

ಪ್ರಸನ್ನ ನೇತೃತ್ವದಲ್ಲಿ ಸಮುದಾಯ ಸಾಂಸ್ಕೃತಿಕ ಜಾಥಾ ಆರಂಭವಾಗಿತ್ತು. ಬೀದಿಬೀದಿಯಲ್ಲಿ ನಾಟಕಗಳ ಹಬ್ಬ. ತಮಟೆ ಬಡಿದರೆ ಸಾಕು ಜನ ಗುಂಪುಗಟ್ಟಿ ನಿಂತು ಬಿಡೋರು. ಅದ್ಯಾವ ಆವೇಶವನ್ನು ಮೈಮೇಲೆ ಎಳೆದುಕೊಳ್ಳುತ್ತಿದ್ದರೋ. ಯುವಕರ ದಂಡೊಂದು ಸಿಟ್ಟಿನಿಂದ ’ತುರ್ತುಪರಿಸ್ಥಿತಿ ಕರಾಳ ರಾಣಿಯ ಕಥೆಯನು ಹೇಳ್ತೀವಿ, ಜನಗಳ ಸಾವಿರ ಸಂಕಟವನ್ನು ಜೊತೆಯಲಿ ಹೇಳ್ತೀವಿ, ಭಾರತ ದೇಶವ ಜೈಲನು ಮಾಡಿ, ಜನಗಳ ಬಾಯಿಗೆ ಬೀಗವ ಹಾಕಿ, ಮನೆ ಮನೆಯಲ್ಲೂ ಕೊಲೆಗಳ ಮಾಡಿ ..’ ಅಂತ ಸಿದ್ಧಲಿಂಗಯ್ಯನವರ ಕವಿತೆಯನ್ನು ದೊಡ್ಡ ಗಂಟಲಲ್ಲಿ  ಹಾಡುತ್ತಿದ್ದರು. ಅದೊಂದು ಕವಿಗೋಷ್ಟಿ. ಎಮರ್ಜೆನ್ಸಿಯಲ್ಲಿ ಜೈಲಿನೊಳಗಿದ್ದು ಬಂದ ಚಂಪಾ ಮುಖದಲ್ಲಿ ನಗು ತುಳುಕಿಸುತ್ತಾ  ಮೈಮೇಲಿನ ಕೊಳೆಯನ್ನೇ ಉಂಡೆ ಮಾಡಿ ಮಗನನ್ನು ಸೃಷ್ಟಿಸಿದ ಪಾರ್ವತಿ ಕುರಿತ ಕವನ ವಾಚನಕ್ಕೆ ಮುಂದಾಗುತ್ತಿದ್ದರು. ’ಎಲ್ಲರೂ ಹೇಳುತಾರೆ ಪಾರೋತಿ, ಇತ್ತಿತ್ಲಾಗೆ ನೀ ಬಾಳಾ ನಾರೂತಿ’ ಅಂತಂದಾಗ ಕೇಳುವವರೆಲ್ಲರೂ ಬಿದ್ದು ಬಿದ್ದು ನಗುತ್ತಿದ್ದರು. ಜಿ ಎಸ್ ಸದಾಶಿವ ಅವರ ಕಥಾಸಂಕಲನ ಕೈಗೆತ್ತಿಕೊಂಡಿದ್ದೆ. ಅದರಲ್ಲಿ ‘ಮೀಸೆಯವರು’ ಅನ್ನೋ ಕಥೆ. ಮೀಸೆ ಬೆಳೀತಾ ಹೋಗ್ತಾ ಇದೆ. ‘ಏನಾ ಹೇಳಲವ್ವಾ ಭಾರತಿ , ಇಡಿ ಜಗದಾಗೆಲ್ಲಾ ಹೆಚ್ಚೇತವ್ವ ನಿನ್ನಾ ಕೀರುತಿ’ ಅಂತ ಚಂದ್ರಶೇಖರ ಕಂಬಾರರು ಕ್ಯಾಸೆಟ್ ನೊಳಗೆ ಹಾಡುತ್ತಿದ್ದರು. ಕ್ಲಿಕ್..ಕ್ಲಿಕ್..ಕ್ಲಿಕ್.. ಕ್ಲಿಕ್..ಎಷ್ಟೊಂದು ಬಿಂಬಗಳು ಮನಸ್ಸಿನೊಳಗೆ ಶೇಖರವಾಗುತ್ತಾ ಹೋಯ್ತು.

ಪತ್ರಿಕೋದ್ಯಮದ  ಕ್ಲಾಸಿನಲ್ಲಿ ಕೂತಿದ್ದೆ. ಎನ್ ಎಸ್ ಅಶೋಕ್ ಕುಮಾರ್ ಒಂದಷ್ಟು ಪತ್ರಿಕೆಗಳ ರಾಶಿಯನ್ನೇ  ಹೊತ್ತು ಕೊಂಡು ಬಂದರು. ಒಂದೊಂದೇ ಪತ್ರಿಕೆಯನ್ನ ನಮ್ಮೆದುರು  ಹಿಡಿಯುತ್ತಾ ಹೋದರು. ಕನ್ನಡ , ಹಿಂದಿ, ಇಂಗ್ಲೀಷ್ , ಮರಾಠಿ, ಮಲಯಾಳಂ, ತೆಲುಗು… ಎಲ್ಲಾ ಪತ್ರಿಕೆಗಳ ನಡುವೆ ಇದ್ದ ಸಾಮ್ಯತೆ ಒಂದೇ.  ಮುಖಪುಟದಲ್ಲಿ ಸುದ್ದಿಗಳೇ ನಾಪತ್ತೆಯಾಗಿದ್ದವು. ಬಹುತೇಕ ಪತ್ರಿಕೆಗಳ ಮುಖಪುಟಗಳು ಯಾರೋ ಜೇಬುಗಳ್ಳರು ಪಿಕ್ ಪಾಕೆಟ್ ಮಾಡಿದಂತಿತ್ತು. ಸುದ್ದಿಗಳೇ ಇರಲಿಲ್ಲ. ಖಾಲಿ ಸ್ಥಳ. ಅದು ‘ಫ್ರೀಡಂ ಆಫ್ ಸ್ಪೀಚ್ ಅಂಡ್ ಎಕ್ಸ್ಪ್ರೆಶನ್’ ಬಗೆಗಿನ ತರಗತಿ. ಇದು ಎಮರ್ಜೆನ್ಸಿ ಕಾಲದ ಪೇಪರ್ ಗಳು ಅಂದರು ಅಶೋಕ್ .

ಇಂದಿರಾಗಾಂಧಿ ಇಲ್ಲವಾಗಿ ಈಗ 25 ವರ್ಷ. ತುರ್ತು ಪರಿಸ್ಥಿತಿ ಕರಾಳ ರಾಣಿ ಎಂದು ಬಣ್ಣಿಸಲ್ಪಟ್ಟ ಅದೇ ಇಂದಿರಾಗಾಂಧಿಯ ಬಗ್ಗೆ ಮತ್ತೆ ಒಂದು ರೌಂಡಿನ  ಮೌಲ್ಯಮಾಪನ ನಡೆಯುತ್ತಿದೆ. ನಿಜಕ್ಕೂ ಇಂದಿರಾಗಾಂಧಿ  ಎಮರ್ಜೆನ್ಸಿ ತಂದರೋ  ಅಥವಾ ಎಮರ್ಜೆನ್ಸಿ ತರಬೇಕು ಅನಿಸಿದವರು ಇಂದಿರಾಗಾಂಧಿಯನ್ನು ಹಳ್ಳಕ್ಕೆ ಕೆಡವಿದರೋ .. ಎಂಬ ಚರ್ಚೆ ನಡೆಯುತ್ತಿದೆ.

ಇದ್ದಕ್ಕಿದ್ದಂತೆ ಕನ್ನಡಪ್ರಭ ಕಚೇರಿಯ ಕರೆಂಟ್ ಕಟ್ಟಾಯಿತು. ಎನೋ ರಿಪೇರಿ ಕೆಲಸ ನಡೆಯುತ್ತಾ ಇದೆ ಎಂದು ಕೂತಿದ್ದವರಿಗೆ ಡೆಲ್ಲಿ ಇಂಡಿಯನ್ ಎಕ್ಸ್ಪ್ರೆಸ್ ನಿಂದ ‘ಅಲ್ಲಿ ಕರೆಂಟ್ ಇದೆಯಾ’ ಅನ್ನುವ ಕರೆ. ಫೋನ್ ಇಡುವಷ್ಟರಲ್ಲಿ  ಮದ್ರಾಸಿನಿಂದ ದೆಹಲಿಗೆ ಕರೆಂಟ್ ಇದೆಯಾ… ಇದೇ ಪರಿಸ್ಥಿತಿ ದೇಶದ ಬಹುತೇಕ ಎಲ್ಲಾ ಪತ್ರಿಕೆಗಳಿಗೂ. ಸುದ್ದಿಯ ವಾಸನೆ ಹಿಡಿದೇ ಬದುಕುವ ಜನರಿಗೆ ಗೊತ್ತಾಗಿ ಹೋಯಿತು ಏನೋ ಬರಬಾರದ್ದು ಬರಲಿದೆ ಅಂತ. ಎಷ್ಟೋ ಪತ್ರಿಕೆಗಳು ಪ್ರಿಂಟ್ ಆಗಲೇ ಇಲ್ಲ. ದೇಶದ ಪತ್ರಿಕಾ ಪ್ರಪಂಚಕ್ಕೆ ಒಂದೇ ರಾತ್ರಿಯಲ್ಲಿ ಕರೆಂಟ್ ಶಾಕ್ ನೀಡಿದ್ದು ಇಂದಿರಾಗಾಂಧಿ. ಪತ್ರಿಕೆಯವರ ಜೊತೆ ಚೆನ್ನಾಗಿದ್ದ ವಾರ್ತಾ ಸಚಿವ ಐ ಕೆ ಗುಜ್ರಾಲ್ ಅವರನ್ನ ಎತ್ತಂಗಡಿ ಮಾಡಿ ವಿ ಸಿ ಶುಕ್ಲಾ ಸೀಟಿಗೆ ಬಂತು ಕೂತರು. ದೇಶದ  ಆಂತರಿಕ ಭದ್ರತೆಗೆ ಅಪಾಯ ಇದೆ ಅಂತ  ಚೀರಿ ಎಮರ್ಜೆನ್ಸಿ ತಂದಿಡಲಾಯಿತು. ಪತ್ರಿಕೆಗಳ ಬಾಯಿ ಕಟ್ಟಿದರೆ ಸಾಕು ಭೀಮಬಲ ಎಂದು ಗೊತ್ತಿದ್ದ ಇಂದಿರಾ ಪ್ರೆಸ್ ಸೆನ್ಸಾರ್ ಷಿಪ್ ತಂದರು. ಸಂಪಾದಕ ‘ಓ ಕೆ’ ಅಂದದ್ದು ಏನಾದರೂ ಇರಲಿ ಪ್ರೆಸ್ ಸೆನ್ಸಾರ್ ಅಧಿಕಾರಿ ಒಪ್ಪಿಗೆಯ ಮುದ್ರೆ ಒತ್ತದಿದ್ದರೆ ಸುದ್ದಿ ಕಸದ ಬುಟ್ಟಿಗೆ ಹೋಗುತ್ತಿತ್ತು. ಅಂದಿನವರೆಗೂ ಬೇರೆಯವರ ಸುದ್ದಿಯನ್ನು  ಕಸದ ಬುಟ್ಟಿಗೆ ಎಸೆಯುತ್ತಿದ್ದವರ ಸುದ್ದಿಯನ್ನೇ ಕಸದ ಬುಟ್ಟಿಗೆ ಎಸೆಯಲಾಯಿತು. ಆರ್ಥಾತ್, ದೇಶದ ಪತ್ರಿಕೋದ್ಯಮವನ್ನೇ ಇಂದಿರಾ ಕಸದಬುಟ್ಟಿಗೆ ಎಸೆದು ಕೂತರು.

ತಮ್ಮ ಉದ್ದ ಕೂದಲನ್ನು ಕತ್ತರಿಗೆ ಒಡ್ಡಿ ಹೊಸ ಬಾಬ್ ಕೂದಲನ್ನು ಹೊತ್ತು ಬಂದ ಇಂದಿರಾ ‘ಹೇಗಿದೆ ನಯ್ಯರ್ ಜೀ ನನ್ನ ಹೊಸ ಹೇರ್ ಸ್ಟೈಲ್?’ ಅಂತ ಕುಲದೀಪ್ ನಯ್ಯರ್ ಅವರನ್ನ ಕೇಳಿದ್ರು. ಇಂದಿರಾಗೆ ಗೊತ್ತಿತ್ತು ಅದು ಹೇರ್ ಸ್ಟೈಲ್ ಇರಲಿ, ದೇಶದ ಸಮಸ್ಯೆ ಇರಲಿ ಓದುಗರು ಕುಲದೀಪ್ ನಯ್ಯರ್ ಕಡೆ ನೋಡ್ತಾರೆ ಅಂತ. ಹಾಗೇ ಗೊತ್ತಿದ್ದದ್ದೇ ತಪ್ಪಾಯ್ತು. ರಾತ್ರೋ ರಾತ್ರಿ ಪೊಲೀಸರು ನಯ್ಯರ್ ಮನೆ ಬಾಗಿಲು ಬಡಿದರು. ಮಾರನೇ ನಿಮಿಷದಲ್ಲಿ ನಯ್ಯರ್ ಇದ್ದದ್ದು ಜೈಲಿನೊಳಗೆ. ಅಪರಾಧ: ರೈಲ್ವೆ ಸ್ಟೇಶನ್ ನಲ್ಲಿ ದೇಶದ ವಿರುದ್ಧ ಮುಸ್ಲಿಮರನ್ನ ಎತ್ತಿ ಕಟ್ಟುತ್ತಾ ಇದ್ರು ಅಂತ. ಜೈಲಿನೊಳಗಿದ್ದ ನಯ್ಯರ್ ಅಂತ ನಯ್ಯರ್ ಅವರೇ ದಂಗು ಬಡಿದು ಹೋಗಿದ್ರು. ಅಲ್ಲಾ ಮೊನ್ನೆ ತಾನೇ ಹೇರ್ ಸ್ಟೈಲ್ ಹೇಗಿದೆ ಅಂತ ಕೇಳಿದವರು ಈಗ ದೇಶದ್ರೋಹಿ ಅನ್ನೋ ಹಾಗೇ ನೋಡಿದ್ರಲ್ಲಾ ಅಂತ. ಅವರಷ್ಟೇ ಅಲ್ಲ ೨೫೩ ಪ್ರಮುಖ ಪತ್ರಕರ್ತರು ಸರಳುಗಳ ಹಿಂದೆ ಇದ್ದರು.

ಎಮರ್ಜೆನ್ಸೀನಲ್ಲಿ ಮಾಧ್ಯಮಗಳನ್ನ ಹೇಗೆ ಹಿಂಡಿ ಹಿಪ್ಪೆ ಮಾಡಲಾಯ್ತು ಅಂತ ನಂತರ ಬಂದ ಸರ್ಕಾರ ಒಂದು ಶ್ವೇತ ಪತ್ರ ಹೊರಡಿಸಿದೆ. ಓದುತ್ತಾ ಹೋದ್ರೆ ‘ಅಬ್ಬಬ್ಬಾ ಇಂದಿರಾ!’ ಅನಿಸುತ್ತೆ. ಜಯಪ್ರಕಾಶ್ ನಾರಾಯಣ್ ಅವರ ಸಭೆ ಇತ್ತು. ಸಿಕ್ಕಾಪಟ್ಟೆ ಜನ ಸೇರ್ತಾರೆ ಅಂತ ಇಂಟಲಿಜೆನ್ಸ್ ರಿಪೋರ್ಟ್ ಬಂತು. ತಕ್ಷಣ ದೂರದರ್ಶನಕ್ಕೆ ಆರ್ಡರ್ ಹೋಯ್ತು. ‘ಬಾಬ್ಬಿ’ ಫಿಲಂ ಪ್ರಸಾರ ಮಾಡಿ ಅಂತ. 6 ಘಂಟೆಗೆ ಜೆ. ಪಿ. ಭಾಷಣ. 5 ಘಂಟೆಗೆ ‘ಬಾಬ್ಬಿ’ ಸಿನೆಮಾ. ಫಿಲಂ ಪ್ರಸಾರ ಮಾಡ್ತೀವಿ ಅಂತ ಡಿ ಡಿ ಘೋಷಿಸಿ ಬಿಡ್ತು. ಆದ್ರೆ ಎಲ್ಲಿದೆ ಪ್ರಿಂಟು. ಬಾಂಬೆ, ಮದ್ರಾಸ್, ಡೈರೆಕ್ಟರ್, ಪ್ರೊಡ್ಯೂಸರ್ ಅಂತ ಎಲ್ಲಾ ಕಡೆ ಹುಡುಕಿದ್ದಾಯ್ತು. ಕೊನೆಗೆ ಚಾಂದನಿ ಚೌಕ್ ನಲ್ಲಿ ಕಿತ್ತು ಹೋಗಿರೋ ಒಂದು ಪ್ರಿಂಟ್ ಸಿಕ್ತು. ಅದನ್ನೇ ರಿಪೇರಿ ಮಾಡಿ ಪ್ರಸಾರ ಮಾಡಿದ್ರು. ‘ವಕ್ತ್’ ಸಿನೆಮಾ ಬದಲು ಇದನ್ಯಾಕೆ ಪ್ರಸಾರ ಮಾಡಿದ್ರಿ ಅಂತ ಜನ ಕೇಳಿದ್ರೆ ಏನ್ ಹೇಳೋದು ಅಂತ ಡಿ ಡಿ ಆಫೀಸರ್ಸ್ ಕೇಳಿದ್ರು. ಆ ಸಿನೆಮಾ ಪ್ರಿಂಟ್ ನ ಕಾಲು ಕೆಳಗೆ ಹಾಕಿ ಉಜ್ಜಿ ರಿಪೇರಿ ಮಾಡಿ ಅಂತ ಉತ್ತರ ಬಂತು.

‘ಆಂಧಿ’ ಸಿನೆಮಾದ್ದಂತೂ ಇನ್ನೂ ವಿಚಿತ್ರ. ಅದರ ಹೀರೋಯಿನ್ ಇಂದಿರಾ ಗಾಂಧಿ ಥರಾ ಇದ್ರು. ಅಷ್ಟೇ ಸೆನ್ಸಾರ್ ಮುಂದೆ ‘ಆಂಧಿ’ ತಲೆಕೆಳಗಾಗಿ ನಿಂತ್ಕೋ ಬೇಕಾಯ್ತು. ‘ಶೋಲೆ’ ಫಿಲಂದೂ ಅದೇ ಕಥೆ. ಸಿಕ್ಕಾಪಟ್ಟೆ ಕತ್ತರಿ ಆಡ್ಸಿ ‘ಎ’ ಸರ್ಟಿಫಿಕೆಟ್ ಕೊಟ್ರು. ಅಮಿತಾಬ್ ಅಂತ ಅಮಿತಾಬ್ ಗೂ ಬೆವರು ಇಳಿದ ಮೇಲೇ ’ಯು’ ಸರ್ಟಿಫಿಕೆಟ್ ಸಿಕ್ಕಿದ್ದು. ಆದ್ರೆ ಸಿನೆಮಾ ಎಂಡಿಂಗ್ ಚೇಂಜ್ ಆಗಿ ಹೋಗಿತ್ತು.

‘ಮಾತೃಭೂಮಿ’ ಗೋಲ್ಡನ್ ಜ್ಯೂಬಿಲಿನಲ್ಲಿ ಇಂದಿರಾ ಗಾಂಧಿ ‘ಪತ್ರಿಕೆ ಕೆಲಸ ಜನರಿಗೆ ಸುದ್ದಿ ನೀಡೋದು ಅಷ್ಟೇ, ಸರ್ಕಾರಕ್ಕೆ ಬುದ್ದಿವಾದ ಹೇಳೋದಲ್ಲ’ ಅಂದ್ರು. ಯಾರ್ಯಾರು ಅದನ್ನ ಏನೇನು ಅರ್ಥ ಮಾಡ್ಕೊಂಡ್ರೋ..? ಅಬು ಅಬ್ರಹಾಂ ಕಾರ್ಟೂನ್ ಕಿತ್ತೆಸೆದ್ರು, ರಾಜಿಂದರ್ ಪುರಿ ಅಕ್ರೆಡಿಟೆಶನ್ ಕಿತ್ತುಕೊಂಡರು. ರವೀಂದ್ರನಾಥ್ ಠಾಗೂರ್ ಕವಿತೇನೂ ಅಷ್ಟೇ ಕೇಳೀನೇ ಹಾಕ್ಬೇಕು ಅಂದ್ರು. ಗಾಂಧಿ ಹೇಳಿದ್ದಾದರೂ ಸರಿ ಸೆನ್ಸಾರ್ ಮುಂದೆ ಬರಲಿ ಅಂದ್ರು, ಅಮೇರಿಕಾ ಲಿಬರ್ಟಿ ಸ್ಟಾಚ್ಯೂ ಬಗ್ಗೆ ಬರೆದಿದ್ದಕ್ಕೆ ಕಣ್ಣು ಕೆಂಪಗಾಯ್ತು. ಪಾಕಿಸ್ತಾನದ  ಭುಟ್ಟೊ ಬಗ್ಗೇನೂ ಬರೀಬಾರ್ದು ಅಂತ ಆಯ್ತು. ಇದನ್ನೆಲ್ಲ್ಲ ನೋಡೀನೇ ಹಿರಿಯ ಡಿ ಆರ್ ಮಂಕೇಕರ್ ಅವ್ರು ‘ರೆಸ್ಪಾನ್ಸಿಬಲ್ ಜರ್ನಲಿಸಂ ಅಂದ್ರೆ ಸರ್ಕಾರಕ್ಕೆ ರೆಸ್ಪಾನ್ಸಿಬಲ್ ಆಗಿರೋ ಪತ್ರಿಕೋದ್ಯಮ, ಕಮಿಟೆಡ್ ಜರ್ನಲಿಸಂ ಅಂದ್ರೆ ರೂಲಿಂಗ್ ಪಾರ್ಟಿಗೆ ಕಮಿಟ್ ಆಗಿರೋ ಪತ್ರಿಕೋದ್ಯಮ’ ಅಂತ ವ್ಯಾಖ್ಯಾನ ನೀಡಿದರು.

ಒಂದು ಇಂಡಿಯನ್ ಎಕ್ಪ್ರೆಸ್ ಪೇಪರ್ ಮಾರೋ ಅಂಗಡಿ. ‘ಇಲ್ಲಿ ಮುದ್ರಿಸಲು ಯೋಗ್ಯವಾದ ಸುದ್ದಿಗಳನ್ನ ಮಾತ್ರ ಮಾರಾಟ ಮಾಡಲಾಗುತ್ತೆ’ ಅಂತ ಬೋರ್ಡ್ ಇದೆ. ‘ಟಪ್’ ಅಂತ ಬಿತ್ತು- ಸೆನ್ಸಾರ್ ನವರ ಸೀಲು. ಅದನ್ನ ಬರೆದ ಅಬು ಅಬ್ರಹಾಂ ಅವರು ‘ನನ್ನ ಆಲೋಚನಾ ರೈಲು ಹಳಿ ತಪ್ಪಿದೆ’ ಅಂತ ಇನ್ನೊಂದು ಕಾರ್ಟೂನು ಬರೆದರು. ಟಪ್ ಅಂತ ಮತ್ತೆ ಸೀಲ್ ಗುದ್ದಿದರು. ಇದು sense of humor ಅಲ್ಲ censor of humor  ಅಂತ ಇನ್ನೊಂದು ಕಾರ್ಟೂನ್ ಬರೆದು ಗೇಲಿ ಮಾಡಿದ್ರು. ಆಗಲೂ ಸೀಲು ಗುದ್ದಿದ ಸಪ್ಪಳ ಕೇಳಿಸ್ತು. ಅಬು ಅಬ್ರಹಾಂ ನಕ್ಕು ಹೇಳಿದ್ರು ‘ಅದಕ್ಕೆ ಹೇಳೋದು, ಮಾತು ಬೆಳ್ಳಿ ಮೌನ ಬಂಗಾರ’ ಅಂತ.

ಬುಕ್ ಟಾಕ್

ದೇಶ ಕಂಡ ಮಹತ್ವದ ಪತ್ರಕರ್ತರಲ್ಲಿ ಕುಲದೀಪ್ ನಯ್ಯರ್ ಮೊದಲ ಸಾಲಿನಲ್ಲಿ ನಿಲ್ಲುತ್ತಾರೆ. ನಯ್ಯರ್ ದೇಶದ ದಿಕ್ಕು ಬದಲಿಸಿದ ಪ್ರಮುಖ ಘಟನೆಗಳಿಗೆ ಸಾಕ್ಷಿ ಸಹಾ. ಆಗತಾನೆ ಪತ್ರಿಕೋದ್ಯಮ ಪ್ರವೇಶಿಸಿದ್ದ ನಯ್ಯರ್ ಅವರಿಗೆ ಎದುರಾದ ಮೊದಲ ಸವಾಲೇ ಗಾಂಧಿ ಹತ್ಯೆಯ ವರದಿ. ಅಲ್ಲಿಂದ ಇಲ್ಲಿಯವರೆಗೂ ಅನೇಕ ‘ಸ್ಕೂಪ್’ಗಳನ್ನು ಪತ್ರಿಕೋದ್ಯಮಕ್ಕೆ ಕೊಟ್ಟಿದ್ದಾರೆ. ಇವರ ವರದಿಗಳು ದೇಶದ ರಾಜಕೀಯದ ದಿಕ್ಕನ್ನೂ ಬದಲಿಸಿದೆ. ಮೊರಾರ್ಜಿ ದೇಸಾಯಿ ಅವರಿಗೆ ನಯ್ಯರ್ ವರದಿಯಿಂದಾಗಿಯೇ ಪ್ರಧಾನಿ ಸ್ಥಾನ ಕೈತಪ್ಪಿ ಹೋಯಿತು.  ತುರ್ತುಪರಿಸ್ಥಿತಿಯಲ್ಲಿ ಜೈಲು ಕಂಡದ್ದೂ ಇವರ ವರದಿಗಾರಿಕೆಯ ಶಕ್ತಿಗೆ ಒಂದು ನಿದರ್ಶನವೇ. ಲಾಲ್ ಬಹದ್ದೂರ್ ಶಾಸ್ತ್ರಿ ಅವರ ಊಟದಲ್ಲಿ ವಿಷವಿಡಲಾಗಿತ್ತೇ ಎಂಬ ಪ್ರಶ್ನೆಯನ್ನು ನಯ್ಯರ್ ಅವರು ಮಾತ್ರ ಚರ್ಚಿಸಲು ಸಾಧ್ಯ. ದೇಶ ಕಂಡ ಎರಡು ಯುದ್ಧಗಳು, ಅಧಿಕಾರಕ್ಕೆ ಬರಲು ಇಂದಿರಾಗಾಂಧಿ ನಡೆಸಿದ ತಂತ್ರಗಳು, ನ್ಯಾಯಾಂಗದ ಮುಖಕ್ಕೆ ಮೆತ್ತಿದ ಮಸಿ, ಸಂಜಯ್ ಗಾಂಧಿ ಆಟಾಟೋಪ ಎಲ್ಲವೂ ನಯ್ಯರ್ ಲೇಖನಿಯಲ್ಲಿ ಮೊನಚು ಪಡೆದುಕೊಳ್ಳುತ್ತವೆ. ಇಂತಹ ಕುಲದೀಪ್ ನಯ್ಯರ್ ಅವರು ತಾವು ಕಂಡ ಕಾಲಕ್ಕೆ ಹಿಡಿದ ಕನ್ನಡಿಯೇ ‘ಸ್ಕೂಪ್’. ಕನ್ನಡ, ಇಂಗ್ಲಿಷ್ ಎರಡೂ ಭಾಷೆಯಲ್ಲಿ ಈ ಪುಸ್ತಕ ಲಭ್ಯ. ಕನ್ನಡ ಆವೃತ್ತಿಯನ್ನು ’ಪ್ರಜಾವಾಣಿ ಪ್ರಕಾಶನ’ ಪ್ರಕಟಿಸಿದೆ

ಕೆಂಪ್ ಮೆಣಸಿನ್ಕಾಯ್

ರವೀಂದ್ರ ಕಲಾಕ್ಷೇತ್ರದಲ್ಲಿ ಸಿಕ್ಕಾಪಟ್ಟೆ ಜನ ಸೇರಿದ್ರು. ರಾಮಚಂದ್ರ ಗುಹಾ ಬರ್ತಾರೆ, ಆಶೀಶ್ ನಂದಿ ಬರ್ತಾರೆ ಅಂತ ಎಲ್ಲೆಲ್ಲಿಂದಾನೋ ಬಂದಿದ್ರು. ಅನಂತಮೂರ್ತಿ ಬರ್ತಾರೆ ಅಂದ್ರೆ ಅವರ ಆರೋಗ್ಯ ಸರಿಹೋಯ್ತಾ ಅಂತ ಕೇಳ್ತಿದ್ರು. ಆದ್ರೆ ಕಲಾಕ್ಷೇತ್ರ ಮಾತ್ರ ಬಾಗಿಲು ಮುಚ್ಚಿತ್ತು. ಪ್ರೋಗ್ರಾಂ ಶುರುವಾಗಬೇಕಾಗಿದ್ದು ಬೆಳಗೆ 9-30. ಆದರೂ ಏನೂ ಸದ್ದಿಲ್ಲ, ಗೆಸ್ಟ್ ಬರೋ ಸುಳಿವಿಲ್ಲ, ಹೋಗ್ಲಿ ಅಂದ್ರೆ ಪ್ರೋಗ್ರಾಮ್ ಮಾಡಬೇಕಾದ ‘ದೇಶ ಕಾಲ’ದವರೂ ಇರ್ಲಿಲ್ಲ. ಆಗಿದ್ ಇಷ್ಟೇ, ಪ್ರಜಾವಾಣಿ ‘ನಗರದಲ್ಲಿ ಇಂದು’ ಒಳಗೆ ಹಿಂದೆ ಎಂದೋ ಆಗಿಹೋದ ಕಾರ್ಯಕ್ರಮ ಮೂರು ತಿಂಗಳ ನಂತರ ಪ್ರತ್ಯಕ್ಷ ಆಗಿತ್ತು. . ‘ಅವರ ಪ್ರೋಗ್ರಾಂ ಹಾಕಬೇಡ ಇವರ ಪ್ರೋಗ್ರಾಂ ಬರಬಾರದು’ ಅಂತ ದುರ್ಬೀನು ಹಿಡಕೊಂಡು ನಿಂತರೆ ಪಾಪ ರಿಪೋರ್ಟರ್ ಏನ್ ಮಾಡ್ತಾನೆ? ಹಳೇದೇ ಮತ್ತೆ ತುಂಬ್ತಾನೆ.

Mediamirchi.vk@gmail.com

Bobby was the biggest hit of  Bollywood in 1973. It was biggest hit in 1970’s after Sholay. Rishi Kapoor and Dimple Kapadia were paired opposite each other. It was a feel good love story directed Raj Kapoor.

Story revolves around a rich business man Mr. Nath (Pran)’s only son Raj Nath (Rishi Kapoor) and a poor fisher man Jack (Prem Nath)’s daughter Bobby (Dimple Kapadia). Jack respects his daughter’s love and tries to speak with Mr.Nath.

But Mr. Nath humiliates jack and arranges marriage to Raj with a rich girl (Farida Jala). Raj escapes from home to meet Bobby. How Bobby and Raj wins their love and what are the problems they faced in their journey is the remaining story

Sholay (source: topnews.in)

Directed by Ramesh Sippy

Imagine a movie about which we felt in synthesis what we feel separately for Citizen Kane, Star Wars, The Usual Suspects, and The Princess Bride. This movie is, for Indians, Sholay. It is the Bollywood classic, and it stars the Bollywood superstar of all time (this can’t be exaggerated), Amitabh Bachchan. This is a movie about which it is best to approach knowing nothing of the plot, so I will simply tell you that it is usually put in the category of “curry westerns,” but you should not let this stop you if westerns aren’t your thing. I am not a western fan. This movie is more along the lines of a classic, culture-transcendent epic. The narrative is broad and sweeping, covering the span of several years and told with intermittent, easily-followed flashbacks (Bollywood’s got a corner on flashbacks). The story inhabits many genres easily, as all great epics should, including comedy, farce, tragedy, romance, excitement, war, and social commentary.  This movie was so beloved that a separate soundtrack of just the dialogue was sold; many people have the lines memorized. The acting is superb and never brash—the one case where it might seem such, with a Hitler-like jailer—is appropriate to the farce genre the movie was in at that time.

Song Highlights: The song in which the villagers celebrate Holi, the festival of colors. The directing and cinematography in this item number is joyous, capturing the villagers in a time when they feel they can freely celebrate life. This contributes to an immediate irony in the song, as Holi also celebrates the vanquishing of evil, yet the song opens immediately after the villain asks, “When does the village celebrate Holi?” Another highlight is “Jab tak hai jaan jaan,” when Basanti is forced to sing and dance; it includes a reference to the famous dance scene in Pakeezah, when the main character dances over broken glass for her lost love. Helen does a dance number as well (the requisite sexy-dance-for-the-band-of-bad-guys); Helen is one of the the ladies of Bollywood, most known for her dancing, usually as the vamp. Music by R.D. Burman and lyrics by Anand Bakshi.

Tidbits: The two main love interests in the movie were married in real life; Hema Malini (who played Basanti), although very conservative (as was expected of Indian women), actually became Dharmendra’s second wife (Dharmendra played the other of the two professional thieves with Amitabh). And Amitabh is married to Jaya Bhadhuri. Another interesting fact is that I called an Indian store here to see if they had this movie; their response was “Isn’t that an old movie?” So either the books I read exaggerate its influence, or those owners weren’t major Bollywood fans.

Rating: This is a good choice for the first Bollywood movie to see. The storyline is more than accessible (as I’ve said, it’s cross-culturally epic) and most of the “stereotypes” of Bollywood are nonexistent. Just disregard the first song, “Yeh dosti,” when Amitabh and Dharmendra steal a little bike cart. The song was very popular in India, but does not translate culturally or aurally.

Library Collection: Whatever the motivation for the collection, this should be included. It is Bollywood’s most beloved movie, it is an epic in its own right, it has great music, and it serves to show an important historical point in the Bombay film industry.

© 2009 Jill Wohlgemuth

Barusan dapat gambar aneh…ada-ada aja nih orang-orang…

Film poster for Mahal (1949)

Indian cinema has again returned to UK television as Channel Four kicks off another season of Bollywood films.

For the last 28 years the channel has provided a masala mix of Indian films from Mumbai and beyond. This time around it’s a 12 film season focused on early Bollywood classics.

It kicked off last week with the first two films, but before that the scene was set with The Golden Years of Indian Cinema, a 75-minute special from Movie Mahal, the Indian cinema series from the late 1980s.

As Channel Four put it in the press release to accompany Movie Mahal:

“The programme provides an insight into the glorious years of Hindi cinema from the late 1940s to the early 1960s. Concentrating on songs, singers, composers and lyricists, there are interviews with key film personalities Lata Mangeshkar, Helen, Javed Akhtar and Gulzar as well as archive footage featuring songwriters and singers Talat Mahmood, Majrooh Sultanpuri and Laxmikant.

“It also looks at the work of actors like  Dilip Kumar, Dev Anand and Amitabh Bachchan. Despite the tremendous increase in production and far wider reach of what is called ‘Bollywood’ today, The Golden Years of Indian Cinema shows the enduring impact of the 1950s, the decade in which great masters of Indian film started making world-class cinema.”

The films being aired  – in the usual insomniac-friendly slots reserved for Indian cinema – are:

• Mother India – aired Monday 6 September, 02:15-05:15
• Andaaz – aired Tuesday 7 September, 00:45-03:25
• Mahal – Monday 14 September, 01:10-03:40
• Mr & Mrs ‘55 – Tuesday 15 September, 12:45-03:20
• Pyaasa – Monday 21 September
• Madhumati – Tuesday 22 September
• Awaara – Monday 28 September
• Shree 420 – Tuesday 29 September
• Junglee – Sunday 4 October
• Mere Mehboob -Monday 5 October
• Gunja Jumna – Monday 11 October
• Sholay – Tuesday 12 October

I’m not sure if the last film on the list will be Shole (1953) or the more famous Sholay (1975), the former seems possible given the release dates of the other films. If so, perhaps the latter will be shown in a future 1970s/80s retrospective.

Films will be shown very early in the morning on the dates given above – i.e. set your recorders the day before or you’ll miss them.

10. Sholay (1975)

It’s a tad difficult to fit ‘Sholay’ into a single paragraph. Arguably the most complete and entertaining film of all times, the film boasts of some of the biggest stars of its time-Amitabh Bachchan, Sanjeev Kumar, Dharmendra, Hema Malini, Jaya Bhaduri. It also made a star out of a character called Gabbar Singh -the most imitated character of Hindi cinema. The legendary Gabbar’s dialogues are now folk-lore ( Pachas pachas kos door gaon mein jab bachcha raat ko rota hai to maa kahti hai beta soja ..soja nahin to Gabbar Singh aa jaayega ) peppered with his quirky vicious laughter showing his tobacco-stained teeth or the trademark ferocity ( Yeh haath mujhe de de Thakur ), Amjad Khan as Gabbar Singh is a true blue cult-figure. Each and every character of Sholay is a part of the cinematic folklore, but apart from Gabbar the other most popular characters are Hindi cinema’s best-known buddies, Jai- Veeru and Veeru’s blabbermouth love interest, Basanti. The two friends singing ‘ Yeh dosti hum nahin chhodenge’ makes the most enduring image of screen friendship. Hema Malini as the chatterbox Basanti was a laugh riot. The three share some of the most memorable scenes in the film. Sholay is a classic to be watched again and again.

09. Deewaar (1975)

Deewaar

Yash Chopra’s ‘Deewaar’ is a classic example of a perfect Indian melodrama of the 70s –two brothers raised by a long suffering mother. One turns out to be good and the other gets strayed into the big bad world of crime. Amitabh had already made a mark with ‘Zanjeer’ as the ‘angry young man’ and with ‘Deewaar’ he enforced his image emerging as a force to reckon with. The potent dialogues written by the hit duo of Salim-Javed left a huge impact on the audiences receiving whistles and claps by the front-benchers. Who hasn’t heard “ Aaj mere paas bangla hai, gaadi hai, bank balance hai. Tumhare paas kya hai? Mere paas … Maaa Hai ”! Amitabh Bachchan and Shashi Kapoor play brothers and Nirupa Roy their mother. In the climax when Amitabh is shot by his own brother to drive home the good-over-bad philosophy, he staggers into a temple where he dies in the arms of his mother. It was one of the most powerful scenes in the film. Though the entire cast including Shashi Kapoor, Nirupa Roy, Parveen Babi and Neetu Singh did a good job but the film belonged to Amitabh Bachchan who made ‘Deewaar’ a fare to remember with his powerhouse performance.

08. Arth (1982)

Arth

One of the best films coming from the filmmaker Mahesh Bhat, ‘Arth’ was known to be based on his relationship with the late actress Parveen Babi. The film had two of the best actresses of Hindi cinema, Shabana Azmi and Smita Patil pitted against each other resulting in some super-volatile performances. The soulful songs rendered by Jagjit Singh and Chitra Singh were truly beautiful. The film is about the complexities of an extra-marital relationship from the points of view of the husband (Kulbhushan Kharbanda), the wife (Shabana Azmi) and the mistress (Smita Patil). Shabana excelled in the role of a wronged wife and gave the character a certain dignity hitherto absent in such roles despite the scene when in a drunken state she calls her husband’s mistress a whore publicly. But Smita walked away with the accolades as a guilt ridden, insecure ‘other woman’ and her final scene with Shabana when in a hallucination she picks up the imaginary mangalsutra beads of Shabana shakes you up completely.

07. Jane Bhi Do Yaaron

Jane Bhi Do Yaaron

You just can’t not watch this film and then once you have watched it you can’t stop talking about it. One of the most brilliant satires coming out of Hindi cinema, ‘Jane Bhi Do Yaaron’ has some of the brightest actors of Hindi cinema. The film is about two simple and honest photographer friends, Naseeruddin Shah and Ravi Vaswani. By chance they witness a murder and are dragged into the corrupt real estate deals with politicians and bureaucrats. Actors like Pankaj Kapoor, Om Puri, Satish Shah and Satish Kaushik shared some incredibly funny scenes in the film. Like Sholay people remember the outrageously funny dialogues of the film. Naseeruddin Shah’s “Thoda khao, thoda phenko”, Om Puri’s “Oye DMello, Tu to gaya” are some of the most memorable lines from the film. Some of the funniest scenes include a drunk Om Puri trying to help Satish Shah’s dead body start his ‘car’ (coffin) and the famous Ramlila scene are side-splitting.

06. Mr. India (1987)

Mr. India

Shekhar Kapoor’s ‘Mr. India’ had all the ingredients required for the superhit status that it acquired. A superhero like protagonist, great plot, Sridevi at her sexiest best, catchy songs and Hindi cinema’s most adorable villain, ‘Mogambo’. Anil Kapoor as the guy who had the power to go invisible was just awesome in the film. Amrish Puri’s menacing act as Mogambo was not just a turning point in his career but also the most memorable comic-book-villain-acts in Hindi cinema. The audiences were thrilled every time Amrish Puri glared down at them with his fiercely bulbous eyes sporting an atrocious blond wig and garish knee high silver heeled boots. They came back again and again to hear him mouth possibly the most repeated line of Hindi cinema (post 80s), ‘Mogambo khush hua’. Children loved the film for its special effects and the kiddie brigade taking on the villain. The grown ups couldn’t get enough of Sridevi in one of the most erotic ‘wet saree’ (blue clingy chiffon) songs ever in Hindi films, ‘ Kaate Nahin kat te’.

05.Qayamat Se Qayamat Tak (1988)

Qayamat Se Qayamat Tak

Aamir Khan’s debut film, ‘Qayamat Se Qayamat Tak’ made him an instant heartthrob. ‘QSQT’ is one of the landmark films of Hindi cinema. It was a welcome break from the violent 70s and 80s with all and sundry doing their ‘angry young man’ act. Even the original ‘angry young man’ was no longer angry. ‘QSQT’ was a simple youthful love story with a fresh look at doomed romance. It is about a star-crossed young couple from traditional feuding families a la ‘Romeo and Juliet’. The young lovers elope and are chased by their parents. When they find no hope for their love they decide to die and make their love immortal. The film was a blockbuster making Aamir Khan and Juhi Chawla household names.

04. Dilwale Dulhania Le Jayenge (1995)

Dilwale Dulhania Le Jayenge

The film that may soon make an entry into the Guinness Book Of World Records, ‘Dilwale Dulhania Le Jayenge’ has run in Mumbai’s Maratha Mandir for 500 weeks. It completed 500 weeks on May 13 and will complete 10 years in October 2005. The film has won ten Filmfare awards – a record for a Hindi film. A complete entertainer, ‘DDLJ’ was a sweet love story in an NRI backdrop. Directed by Yash Chopra’s eldest son, Aditya Chopra in 1995 at the age of 23, it was a trendsetter of sorts with the lead couple being second generation Indians living in England with deep Indian values. The music of the film was superhit and so were the ‘great Indian wedding’ preparation scenes portrayed in the film. Shah Rukh – Kajol chemistry crackled on screen and they achieved the numero uno spot in Bollywood post ‘DDLJ’.

03. Satya (1998)

Satya

’Satya’ spawned numerous gangster flicks but it remains one of the best in its genre. The film was about the genesis of a criminal from an innocent man called Satya. Another character that made a star out of a ‘nobody’, Bhiku Mhatre was a no-frills-no-nonsense role portrayed brilliantly by Manoj Bajpai. The dreaded gangster Bhikubhai is not your regular formula baddie. He is a trigger-happy underworld don who doesn’t need a ‘get-up’ to look the part. Despite being a sadist he evokes sympathy and has a great sense of humour. Manoj Bajpai’s intensity was almost reminiscent of a certain ‘angry young man’ of yore. Bhiku Mhatre floored the audiences as an attitude ‘bhai’ with killer statements like, “Mumbai ka raja kaun? Bhiku Mhatre!”

02. Lagaan (2001)

Lagaan

’Lagaan’ was the most volatile combo of the two things that makes Indians tick- cricket and Bollywood. The result no doubt was exhilarating. The film was three hours long, but it passed in front of you in a jiffy, each ball being cheered, each shot being egged on. It’s a complete entertainer with songs that became instant hits. The film is a period drama set in the 19th century British-ruled India. Set in a small village called Champaner it tells the story of the simple village-folk struggling to pay off the annual debts (Lagaan) to the British. It had all the trappings of a blockbuster; Aamir Khan, great songs, humour, good-over evil storyline and to top it all, cricket. ‘Lagaan’ went on to be nominated as one of the five entries at the Oscars, the only film after ‘Mother India’ and ‘Salaam Bombay’. It won eight Filmfare awards in all the major categories.

01. Black (2005)

Black

Sanjay Leela Bhansali’s ‘Black’ is made with astounding sensitivity and enthralling quest for perfection. It tells the story of a deaf and blind girl, Michelle McNally and her teacher, Debraj Sahai. They together embark on a journey to get Michelle out of an animalistic existence to reach a common goal; of knowledge and respectability. ‘Black’ is inspired by the life of Helen Keller and her teacher Anne Sullivan. Bhansali has extracted mind-blowing performances out of his actors, whether it’s Ayesha Kapoor as a boorish young Michelle or a full-o-beans adult Michelle played by Rani Mukerji or even the alcoholic teacher superbly enacted by Amitabh Bachchan. ‘Black’ is bi-lingual set against an Anglo-Indian family living in the picturesque Shimla. The filmmaker and his actors have bettered their previous best to create a luminous piece of work called ‘Black.’

CHETAN KRISHNASWAMY writes from Bangalore: Sparks of cinematic brilliance crackle in isolated bursts all through Vishal Bharadwaj’s  densely textured film Kaminey. Unfortunately, a rather dysfunctional script makes it stutter and stammer, much like its protagonist Guddu, and is ultimately unable to convey anything coherent to a bewildered audience.

The entire string of good and bad people in the film are after a guitar case, which carries a Rs 10 crore haul of cocaine. This includes two estranged brothers, Charlie and Guddu, superbly enacted by Shahid Kapoor.

Emotionally devastated by their father’s suicide as kids, the brothers embrace different paths. While the unscrupulous Charlie pulls his stunts in the race course, Guddu, who works for an NGO, fantasizes a corporate life, even as he constantly rummages his hovel in search of a condom to make love to his  randy girlfriend Sweety Bhope, played to perfection by Priyanka Chopra.

Guddu’s ambitions come to a grinding halt, when he realizes that a pregnant Sweety is the sister of a fanatical thug, who loathes the non-Maratha interlopers who have come into Bombay and appropriated what rightfully belongs to locals like him. That Guddu originally hails from Uttar Pradesh doesn’t help him either. Bhope’s sole aim is to get this upstart out of his sister’s life.

Charlie’s villainous propensities lead him to a hotel room where he subjects a double-crossing jockey to third degree methods to retrieve the lakh that he has lost in a bet.

A chain of events in the hotel room lead to Charlie escaping with the cocaine stash in the guitar box. From somewhere here,  Bhardwaj loses his grip, and like a severed plastic-kite buffeted by unruly winds, the film goes awry, until the gun-fire smothered climax decisively tears it asunder .

Like the famed Langdaa Tyaagi in Omkaara, Bhardwaj crafts his characters masterfully, endowing commonplace quirks and attributes that make them stand out in the unimpressive pantheon of Bollywood caricatures. But the rich characterization alone fails to hold sway and save the disastrous film.

Reinforcing Bharadwaj’s creative sensibilities is the film’s musical score. Exceptional and completely unusual, it pounds into you, drawing you into the vortex of a searing, pulsating rhythm. Gulzar’s colloquial lyrics add to the magic.

However, Bhardwaj cannot  be brushed away as a “faltering filmmaker” or “as the most overrated director of the nineties”. His stylistic embellishments and ability to inject novelty and anticipation into the most  humdrum of scenes is a talent that is rare: almost reminiscent in grandeur of the legendary Gabbar scene in Sholay. There is evidence of this in certain sequences in Kaminey.

Bhardwaj, like Anurag Kashyap, belongs to that radical new crop of filmmakers who specialize in what I would call the ‘shock & awe’  genre.  The audience is instinctively repulsed by the many stark facets of this brand of intelligent, layered film-making , but eventually relates to it. The trappings of commercial cinema actually making them more palatable than the contrived arty-types.

Probably, there is an element of self-obsession in these films, but which piece of creative work isn’t? Distinctiveness is the hallmark of all great works.  But Kaminey by no means is a great work. Moreover, the non-linear, kaleidoscopic narrative, at times swathed in dull, fading monochrome, makes Kaminey a difficult film to watch.

Kaminey falls flat on its face but Vishal Bharadwaj needn’t worry: his credentials are intact.

Also read: Thank god, one critic thinks Kaminey is crap

Kamal Hassan: Conceited, egotistical, narcissistic. The greatest?

A hit, yes, but why does Rajnikanth have such a hold?

Bonus read: 9+1 ways of identifying a US-returned techie

What is Common between Sholay – the most popular movie in the Indian Film Industry and

eZdia - the first technology startup of its kind.

Experts and Freelancers

Ssshhhhhhhhhhh!!!! The train slowly stops and two young entrepreneurs, Jai and Veeru stepped out on the small dusty station of Ramgarh. They had spent their last two years honing their expertise in the government prison and had been hired by the Thakur as freelancers to do what no man had done before.

Their mission was to catch Gabbar, the ferocious dacoit who would kill anyone at his whim. Thakur was impressed by their skills and expertise in combat, deception, and loyalty after he had seen their work in action.

The story goes through some dramatic twists with Jai giving up his life to save Veeru and his fiancé but in the end expertise, and righteousness triumphs over evil. One of the most popular movies in the Indian Film industry teaches us a lot about people and how they solve their problems. It is not always necessary to hire the best or the largest organization to solve your issue but getting the right experts at the right price is the most effective way to go when you are looking at solution.

So, what is common with ezdia and Sholay?

Sholay talks about freelancers, using their expertise to solve a problem (Gabbar and his atrocities). While ezdia is an online platform where solution seekers like Thakur would check out freelancers like Jai, Veeru and hire them to solve the problem.

Thakur can go through the Knowledge Buckets of the two freelancers to check on their expertise and experience. The Knowledge Bucket would also show him the other associated experts which increases the choice and diversity. Imagine Thakur inviting Indiana Jones or Rambo to catch Gabbar and solve his issue.

Once satisfied with the initial research he can talk to them personally through chat or skype.

The process of selection and execution remains similar in concept but what has changed is the medium of transactions and the geographic limitations. You can now search through the worldwide database of experts, browse through their Knowledge Buckets for those little known evidence of hard to find skills, and hire them after due diligence. There is no such thing as Utopia but ezdia reduces your overheads while creating a trusted platform where you can get your solutions from the right experts at the right time at the right cost.

About Sholay: The Movies

http://en.wikipedia.org/wiki/Sholay

The story is about a retired police officer Thakur Baldev Singh (Sanjeev Kumar) living in a village that is being terrorized by Gabbar Singh (Amjad Khan). Thakur recruits two small time crooks Veeru (Dharmendra) and Jaidev (Amitabh), whom he had encountered during his work in the force, to capture Gabbar. The film has various other sub-plots including a comedic love story between the funny romantic Veeru and the never-shuts-up local simpleton Basanti (Hema Malini), and a more serious one between Jaidev and widow and Thakur’s family member Radha (Jaya Bhaduri).

About eZdia: The Company

eZdia is an online Knowledge Platform where people start with associating content with their different areas of expertise. The various options allow users to highlight if they know everything in a particular area by associating as an expert or if they want to learn about a particular area, they can indicate their interest.

eZdia allows users to search by Content/ Knowledge or by Experts. The additional capability to talk to experts in real time to ask questions and get problems resolved provides a trusted and quality way to get answers anytime and anywhere.

The so called “first family of Bollywood” have left no stone unturned, to show their supremacy over the movie dome. Infact their story is somewhat like a bollywood movie titled – Bachchan Inc.

Amitabh Bachchan is a damn good actor. In 1973 he found an able match in supremely talented Jaya Bhaduri. While Bachchan was riding high in the 70’s with great hits like Zanjeer,Amar Akbar Anthony,Sholay,Deewar,etc. Jaya was the girl next door with Mili, Guddi,Jawaani Deewani,Bawarchi, Chupke Chupke,etc. They had two kids. Through the years the Bachchan aura did not fade one bit as Amitabh continued to rule the roost. Their daughter Shweta settled for a happy married life but son Abhishek decided to follow his parents footsteps and ventured in to acting. Like one cannot judge a book by its cover, one can never tell if the son of a talented father will also be able to match him. Such was the case with Abhishek who has never been able to fulfill the expectations around him.

The so called “aura” of the Bachchans is nothing mere HYPE, created by their PR team and our media.

The Indian media has always been in awe of the Amitabh Bachchan and why shouldn’t they since he’s a great actor but not quiet the greatest. By calling him the greatest why do they forget that the height of his greatness can only be measured with his performances and what brought out the best in him were his co-actors.

Had Nirupa Roy not played his on-screen Mom so many times, would he be able to deliver his performance as the angry young man who is fighting with God for his mothers life, would the Lamboo have been able to deliver his best in Coolie without the Tingoo Rishi Kapoor,would he have been able to deliver the performance of a lifetime in Deewar without Shashi Kapoor as his brother, would Anthony alone have made the movie hit without Amar and Akbar by his side, what I mean to say is that his co-actors have played a vital part in his success which should not be forgotten.

The Bachchans

I am in no way saying that the family does not deserve their fame but by calling Amitabh the greatest one should not undermine the efforts of actors like Raj Kapoor, Dilip Kumar,Sanjeev Kumar, Dharmendra, Rajesh Khanna, etc. and by calling Aishwarya the actress of the decade, lets not forget the performances of actresses like Priety Zinta and Kajol.

Sholay (1975) 2CD DvdRip Sub

IMDB Link

http://www.imdb.com/title/tt0073707/

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If one script given to two directors than two different movies is made, so if Sholay given to Mr. Manmohan Desai (Sultan of Lost & Found) than how he makes? So let us start, LIGHTS, CAMERA, and ACTION!!!

Opening scene the small village heavy rains, flooding and rivers overflowing , people are running, drowning, one family husband and wife and two young kids all four separated, elder son jumps, Amitabh Bachchan entry, and younger one pushed in the lockup and Dharmendra entry and the TITLE rolls.

Jay and Veeru are friends, they go on the mission of Thakur, both met Basanti and Radha, song all four singing (humko tum se ho gaya hai pyar) Thakur saw widow Radha happy with Jay, mausi sees Veeru with Basanti, she beats him with bamboo stick and he drinks and climb on the water tank.

Gabbar sees the black mole on Jay’s right forearm and he recognized his son, Veeru see his childhood photo in Jay’s wallet and cries ‘bhayaa’ and all three re-unites and Gabbar ask ‘Tumari Maa kahan hai’ Thakur shouts ‘Gabbar ko mere hawale kar do’ the fight between both and mausi comes Gabbar recognize her his wife, the full family hugged each other, Gabbar apologized and Thakur forgives him.

Final scene of wedding night, by mistake Jay goes to Basanti’s room and Veeru in Radha’s room and both comes out with shy the scene gets freeze – THE END, audience laughing and says ‘paisa vasool, full time pass hai’