The Kanada film ‘Handinelentu’, a masterful creation by the talented Prithvi Konanur, unfolds with the closing situation of an elite higher school in the city. Students Hari and Deepa share an intimate moment in a classroom. During that time, Hari gives her a locket engraved with the words ‘I love you’. The scene ends with Hari recording a video of their intimate moment on his cell phone. Throughout the film, sporadic title cards are displayed. After this scene, the last title card appears, marking the beginning of the main story.

There is a sports event happening on the school playground. Hari, a student from a privileged background, is among the spectators, showing a video on his mobile to some boys nearby. From their gestures, it seems the video is about the female body. The next scene occurs the following day, with school in session and boys and girls arriving. Hari enters college, and his friend informs him that the Principal has summoned him. Hari goes to the Principal’s room, where he is scolded and asked to call his parents. This moment marks the beginning of the central dramatic tension of the film: the school begins discussing the possibility of expelling the boy and the girl. The boy comes from a wealthy family, so the school management body is lenient towards him. The girl, on the other hand, comes from a low-income family and belongs to a lower caste, so there is no one to show sympathy for her. The discussions start in this manner but gradually intensify, highlighting the personal struggles of the characters and the harsh realities they face.

Deepa, a member of the oppressed Dalit community from an economically disadvantaged background, and Hari, from an upper-middle-class Brahmin family, are the central figures in this societal drama. The film’s critique is explicit: the different social statuses and the discriminatory attitudes towards the accused, based on their caste and economic background, paint a grim picture of society.

Some deliberately try to destroy Deepa’s bright prospects as a player. On the contrary, the upper-caste family plans to send Hari to study abroad. The biased attitude expressed by the school principal exposes another facade of caste discrimination. The composition of the committee formed to decide the punishment for the accused, with four upper-caste and only one lower-caste teacher, reveals the administration’s casteist mindset in the educational institution.

The film is primarily school-centric. As the story unfolds, the families of the two accused also come into the picture. The entry of various characters at different stages has made the film’s narrative pacy. The technique of unravelling the story is akin to that of a thriller genre film. The director, Prithvi Konanur, has skillfully created and sustained the curiosity of ‘What next?’ His portrayal of how caste and economic discrimination permeates different levels of society, getting expressed sometimes overtly and sometimes covertly when opportunities arise, is a testament to his skill in depicting societal issues. He does not advocate for any one side nor show excessive sympathy towards anyone. This self-restrained neutrality and epic detachment lends him the dignity of an unbiased, sensitive artist of society. Earlier, works propagating specific political ideologies under the garb of social awareness were termed progressive by certain quarters. Times have changed now. Artists like Prithvi Konanur prove that a sensitive filmmaker can make a socially aware film without propagating political ideologies. His earlier film ‘Pinki Elii’ also depicted the life and struggles of marginalised people.

The film moves thrillingly but doesn’t rely on surprising camera angles to create excitement, even though the story provides opportunities. The director’s artistic ideology is to depict a picture of society impartially. Arjun Raja’s cinematography also aligns with this ideology. Many outdoor school scenes show the verandah, with parallel and perpendicular lines of grills and railings against pale, clean backgrounds, adding complexity to the shots in line with the film’s narrative. The cinematographer uses a handheld camera for some parts of the film, and the resulting slight jerkiness adds another dimension to conveying the mental unrest in the characters and the story. The physical intimacy video is the film’s driving force, but the director did not show it to the audience. However, viewers can easily guess its contents. This restraint and decency have enhanced the film’s and the director’s dignity.

Editor Sivakumar Swamy skillfully weaved shots of different moods into a seamless flow, keeping pace with the story’s progressively increasing momentum and adding to the film’s appeal. Sherlyn Bhosle delivered a lively and authentic portrayal of Deepa’s inner turmoil, remorse, and despair, while Rekha Kudligi convincingly portrayed the role of the school’s Vice-principal. Through their authentic embodiment of their characters, all the actors have successfully elicited a strong emotional response from the audience. It is challenging to elicit consistent acting from various actors, and the director has succeeded admirably in this aspect.

The standout feature of ‘Hadinelenthu’ is its ability to provoke thought and discussion on the harsh reality of caste discrimination, touching upon various aspects of society through a contemporary issue. The film contains a lot of dialogue; reducing this and giving more prominence to visual images in some scenes could have made the aesthetic aspects more meaningful. The film’s thought-provoking narrative and ability to spark discussions on such a sensitive issue testify to its impact on the audience.

Actor AUROSIKHA DEY participated in the Cannes Film Festival, representing the film The Shameless, in which she played the character Durwa. I talked to her and wanted to know about the experiences she had gained. Here are the excerpts of that conversation.

Congratulations on representing your film “The Shameless” at the prestigious Cannes Film Festival. Could you share your experience and your movie’s reception at the festival?

When I first heard the news from my director and producer, I was numb for a fraction of a second, searching for the perfect expression. This is a dream come true; I feel ecstatic. It is an honour to represent my film on such a prestigious platform and present it to a global audience. I am both happy and humbled by this opportunity. I had a great time in Cannes. It was a privilege to meet many professionals worldwide, learn about new cultures and passions, and discuss ideas and filmmaking. The film was received extremely well at Cannes. The audience’s reaction was incredible. They appreciated both the story and my performance in the movie. I am very humbled and honoured by the response.

Please tell me about your character in “The Shameless” and how you felt working with Anusuya. 

I am thrilled to contribute to this exceptional project. My director, Konstantin Bojanov, crafted a brilliant script and meticulously outlined the character ‘Durwa’, which provided invaluable clarity for my preparation. As a primary cast member, Durwa introduces shades of grey and compels the audience to confront the conflict between conventional norms and individual will. She is aggressive and fiercely focused on securing her daily livelihood above all.

I had a great time working with Anusuya. I am thrilled and proud of the global adulation and appreciation the film and the entire team have received.

The Cannes Film Festival is known for its glamour and star-studded red-carpet events. Can you describe any memorable moments or interactions with fellow artists or industry professionals during the festival?

I was extremely excited to be on the Cannes red carpet and present my film. I was wearing a beautiful saree designed by Priyanka Raajiv. Right before walking on the red carpet, I was a bit nervous and jittery but also thrilled. There were so many photographers ready to take our pictures. I chatted with my co-actors, and they all shared the same feelings. It was my day.

As an artist, how do you view the importance of platforms like Cannes in promoting diverse and thought-provoking cinema worldwide, and what impact do you hope your film will have on audiences globally?

It’s an honour to represent my film on such a prestigious platform and present it to a global audience. I am both happy and humbled by this opportunity.

It’s a significant achievement to showcase my work on such a grand stage. As an actor, you always aspire to reach a broader audience, allowing your work to be visible and appreciated. Being able to do so on a platform like Cannes, one of the biggest film festivals in the world, not only marks a proud moment for me as an actor but also reaffirms faith and confidence in myself.

With the success of “The Shameless” at Cannes, what are your future aspirations and goals as an actor? Are there any dream roles or collaborations you’d like to pursue in the coming years?

Both the role and the story are integral parts of any project. The role has to be significant enough that one cannot imagine the story without it. It’s about the weight of the role. There are so many roles to choose from for my dream role that it is tough to select. I want to do as much work as possible with as many versatile directors in as many complex roles as possible.

Mumbai, the city of dreams, beckons ambitious young people, including women, who aspire to conquer the Hindi film industry. These women, like Fermin, face a myriad of challenges: competition, financial struggles, gender stereotypes, and the uphill battle of a male-dominated field. Yet, they persist, honing their skills and fighting for recognition in roles traditionally reserved for men. Like Fermin’s, their journey paves the way for future generations, inspiring others with their stories of resilience and success and proving that dreams can come true.

One such girl is Fermin. She is from Goalpara, a small town in Assam. At a very young age, she left Assam, went to Bangalore with her brother, and graduated from Bangalore University. After graduation, she enrolled in the Natya Institute of Kathak and Choreography to become a choreographer, as I had been into dance since childhood. While pursuing this, she realised that acquiring knowledge of cameras and frames would help her improve her skills as a choreographer. So, after completing the course, she left for Mumbai to learn cinematography. There, she joined ZIMA – Zee Institute of Media and Arts under the guidance of DOP Nadeem Khan. Now, she is working in the Bollywood industry not as a choreographer but as a cinematographer.

What were some of the biggest challenges you faced when you first moved to Mumbai to pursue a career in cinematography? How did you overcome those obstacles?

Mumbai is the epicentre of India’s film industry, and moving there was both thrilling and daunting. When I arrived, I didn’t know anyone, neither in the city nor in the industry. It was tough to build a network or get a break. I still remember calling the DOPs and production houses, not for days or weeks but for months, and going to the meetings whenever called upon. I must tell you that navigating in Mumbai is neither cheap nor living; the financial crunches I went through in my starting days were too much. It’s not like you go for some meetings, and you’ll get a break; I went through so many rejections that I can’t remember. But I didn’t quit and just went on. So, I started working on some small projects like ads, music videos, short films, and events to make ends meet and create a portfolio. One day, all the planets were aligned. I got my first official project as an assistant Cinematographer in “Gulaab Gang”.

Mumbai, the heart of India’s film industry, is renowned for its cutthroat competition. As an outsider from Assam, how did you break into this fiercely competitive field?

When I graduated, I had yet to learn where to work, whom to assist, and how to move forward. But one thing was crystal clear in my mind without a shadow of a doubt: for me, there was no other option. No matter the problems, I had to face them and move forward, as filmmaking was the only thing I knew and wanted to do. So I did everything: working as an intern, as an assistant for a much longer time, working 12-15 hours per day in extreme weather, or lifting the lights. After a long time, I got my first independent project. It’s just because I never quit; I went through all the hoops to get where I am.

Can you describe your journey and some essential projects/films that helped establish you as a respected cinematographer in Mumbai?

My journey as a cinematographer in Mumbai has been slow but fulfilling. One of my earliest milestones was working as an intern for the movie “Anjaan” alongside the visionary Santosh Sivan, whose guidance and expertise shaped my understanding of visual storytelling.

Following that, “Gulaab Gang” “Hero,” “Arranged Love,” and “Katti Batti” provided another significant platform for me. Assisting on “Zid” with the esteemed Yash Bhatt elevated my mindset further. In addition to mainstream cinema, I’ve also delved into regional films, contributing to Malayalam, Tamil, Telugu, and Marathi films.

Recently, I had the privilege of working on a documentary with Emmy Award-winning director Erika Cohn.

Currently, I’m immersed in my second documentary endeavour, collaborating with director Svati Chakraborty Bhatkal, known for her work on the ground-breaking “Satyamev Jayate” TV series. This new project promises to be another milestone in my journey.

What advice would you give aspiring cinematographers, especially those from smaller cities/towns, who dream of making it big in the Indian film industry?

I don’t think that I have achieved my goal or I am the right person to give advice, but I’ll share some small things that can help if anyone wants to pursue anything, not just this. Formal education and training are the foundation for anything, without which it would be very hard to achieve anything. Secondly, if you want to be a cinematographer, make small short films as it’s something you can learn by doing. Most importantly, you cannot be lazy if you want to work in this industry.

Always stay true to your vision while adapting to industry demands and maintain your unique perspective and style; authenticity can set you apart in any field.

Would you love to work in your state, Assam, in a regional film with a budget comparatively low to Bollywood’s?

I would love to work in Assam. In my home state, the budget will not be a constraint for good creative work.

Biswajit Das, a filmmaker who has not only revolutionised storytelling in the film industry, mostly documentary films, but also continues to make a profound impact on the creative community. His film ‘March’ a testament to his innovative style, captivated audiences and earned him the prestigious Best Director award at the Chalachitram National Film Festival. This recognition is not just a testament to the power of his unique approach, but also a source of inspiration for all of us in the creative community.

Biswajit Das’s latest venture, ‘The First Issue, March 24,’ is not just a monthly publication, but a groundbreaking platform that breaks new ground in storytelling. This innovative magazine is a treasure trove of one-page graphic stories, with the first issue boasting twenty-seven tales that span a diverse spectrum of themes and tones. From heartwarming to thought-provoking, there’s something unique and intriguing to pique the interest of every reader.

Within graphic fiction, visual designs play a pivotal role in shaping the narrative experience. The illustrations’ content, design elements, placement, and skilful use of various tones all contribute to developing and enhancing the central theme and narrative pattern. Biswajit Das curated a selection of one-page stories for the magazine, allowing readers to immerse themselves in a dynamic interplay of words and visuals. This unique approach to storytelling promises to take the reader on a journey like no other.

While most of the stories seamlessly blend graphics and narratives, creating a harmonious synergy, some stories in the magazine embrace a more poetic form, transcending traditional storytelling conventions. Additionally, the publication features an Assamese tale, adding a touch of linguistic diversity to its pages.

However, there are a few areas that could benefit from further refinement. The typography could be more prominent and visually appealing in specific stories, enhancing the reading experience. Moreover, the author’s names could be displayed more prominently, ensuring due recognition for their contributions.

‘The First Issue, March 24’ is not just a milestone for Biswajit Das but also a testament to the collaborative spirit and unity of the creative community. This groundbreaking project has brought together the talents of Hrishitonoy Dutta, Bulbul Das, Raghu Sinha, and Biswadeep, each contributing their unique artistic and creative expertise to the magazine’s diverse content. Their collective efforts have truly made this magazine a masterpiece, reflecting the strength and unity of our creative community.

A review by Sanjiva Sahai

If you’re into drowning in grandeur and have a lifetime to spare, indulge in this 8-hour-and-a-half spectacle called हीरामण्डी where the set design gets more screen time than the plot itself.

    Who needs historical accuracy when we can have a jolly good मुंबइया spin in all the recently released movies? Who cares about facts anyway when we’ve got the glitz and glamour of a Bhansali extravaganza to distract us?

    Indeed, amidst the narrative, several performances shine with profound depth. Manisha Koirala, Sonakshi Sinha,  Aditi Rao Hydari, Richa Chadha and the entire female ensemble deliver commendable portrayals, leaving a lasting impression. Additionally, the music, both vocal and instrumental, stands as a formidable asset.

    Ah, if only Bhansali had a knack for precision! A concise 2-hour 15-minute film instead of this drawn-out series would have spared us all a lot of eye-rolling and tea breaks.
          __ Sanjiva Sahai

By Sunil Sarpal

Sunil Grover is the most versatile comedian to have graced The Kapil Sharma Show.  There is a Hindi song which depicts his aura:

 “TERE CHAHRE SE NAZAR NAHIN HAT TI,  NAZARE HUM KYA DEKHEN…”

When he is on view, all other actors hide behind him.  The eyes are glued to him till the time he departs. 

He brings about such a charismatic approach that his aura becomes larger than life.  On the Kapil Sharma Show, the most revered actor was Sunil Grover.  In his presence, sometimes, even Kapil Sharma took a back seat. 

How a meaningless spat between Kapil Sharma and Sunil Grover, on a flight back from Australia resulted in Sunil withdrawing from the show.  His absence from the show was then felt by the audience.  His replacement, Krushna, was nowhere near a match to his talent. 

On the Kapil Sharma show, Sunil first played the character of Guthi and then Dr Mashoor Gulati.  His portrayal of both the characters was unique and audience realised his comic potential.  His acting brings in new flavour to the audience.  His sense of comic timing, dialogue delivery, attire and the pregnant pauses that he takes, before delivering the punch line, makes him a very special comedian.  He simply tickles the funny bone of the audience.  Sunil has portrayed the characters of Amitabh Bachchan,  Kapil Dev, and Sidhu with distinction.  He also played many a characters with a style of his own and left the audience in splits.  Sunil is also capable of copying the voice patterns of a number of actors.  He is simply a gifted pro. 

When Amitabh Bachchan was first launched as an actor, he was tagged as an Angry Young Man.  The writers then used to write scripts to suit his image and movies were made where Amitabh invariably played the character of the Angry Man.  Amitabh’s success story on big screen was possible with his  image.   Similarly, now scripts have to be written keeping in mind Sunil Grover as a comedy actor.  His extra ordinary comedy skills could be given further boost so that Sunil’s potential is harnessed fully. Watch one more of his charades below:

By Sunil Sarpal

Their names should be revered with a lot of respect and gratitude as they are the Role Models in our society. 

Both resurrect the society where Administration fails in fulfilling their duties and responsibilities towards mankind, particularly down-trodden strata of society. 

During Covid time, when migrant workers were rendered homeless and hapless, Sonu Sood came to their rescue and provided them with suitable transport so that they could reach their homes safely.  In doing so, he had to deal with a high level of dignitaries to get permission to transport them from one state to another.  He turned out the messiah for the down-trodden then.

Sonu, by profession, is an actor and plays generally the role of a villain in South movies.  But for the above cause, he turned out to be a real hero in the public eye. 

Gautam Gambhir, an ex Indian Cricketer is another live example whose heart beats for the poor and down-trodden.  He is running 4-5 outlets where free food is supplied to the poor  of society.  He claims to have no such means to provide food but earn this money by playing competitive cricket. 

Society these days has turned selfish and self-centered.  They hardly think in terms of less privileged. 

Me and mine are the buzzwords.  . 

Human being sans humanity is in the blood of today’s man.  As a result, people keep fighting for petty issues. 

God provides money to fulfill our basic necessities i.e. ROTI, KAPRA, AND MAKAN. 

What is the difference between a human being and animal if the latter consumes animal food  We are human beings and humanity should be reflective in our persona i.e. in thought, action and reaction.  If not, we need to still improve upon otherwise we remain animals in human form.  If we remain animals in human form, what kind of society we are building.  What kind of heritage we are leaving behind for our next generation to step into. 

When will we improve upon even if people like Sonu Sood and Gautam Gambhir set unprecedented examples in front of us.  If we still do not improve upon,  we are cowards and ‘C’ class citizens of society. 

Even if we are rich and people just gather around us, of what use.  One of them will stab us on our back and run away with our false pride 

लेख: डॉ. तबस्सुम जहां

 बॉलीवुड के उभरते कलाकार योगेश भारद्वाज न सिर्फ एक सफल अभिनेता हैं बल्कि कवि और कहानीकार भी हैं।

 उनका जन्म रोहतक (हरियाणा) के एक छोटे से गाँव ‘बसाना’ में हुआ था। चूँकि उन्हें बचपन से ही भजन गाने और लिखने का शौक था, इसी शौक ने उन्हें एक बहुत बड़ी जागरण पार्टी में शामिल होने का मौका दिया। वह चार साल तक इस जागरण पार्टी से जुड़े रहे जहाँ उनके भजन बहुत लोकप्रिय हुए। बकौल योगेश, ”मैंने कभी नहीं सोचा था कि जब मैं बड़ा होऊंगा तो कला मेरा पेशा बन जाएगा। 12वीं की परीक्षा पास करने के बाद जब मैं रोहतक शहर के जाट कॉलेज में पढ़ने गया तो मुझे यूथ फेस्टिवल के बारे में पता चला। यूथ फेस्टिवल के दौरान एक नाटक के दौरान मेरी मुलाकात बॉलीवुड के मशहूर अभिनेता जयदीप अहलावत से हुई। उन्होंने मेरी प्रतिभा देखकर कहा कि मैं इस क्षेत्र में अच्छा कर सकता हूं। मैं उनसे बहुत प्रभावित हुआ और मैंने अभिनय को अपना जीवन बनाने का फैसला किया।”

 साल 2012 में योगेश एक्टिंग की पढ़ाई करने के लिए रोहतक स्थित फिल्म इंस्टीट्यूट गए। वहाँ उन्हें समझ आया कि उनकी भूख ‘प्रसिद्धि’ की नहीं बल्कि ‘सिद्धि’ की है। वहाँ से निकलने के बाद उन्होंने तीन हरियाणवी फिल्मों में काम किया और कुछ म्यूजिक एल्बम का निर्देशन भी किया। जल्द ही उन्हें लगने लगा कि उनका कार्यक्षेत्र छोटा होता जा रहा है। उनके शब्दों में, ”संसाधन और पैसा दोनों कम पड़ रहे थे. कुछ नया सीखने और बड़ा काम करने के लिए मुझे ऐसी जगह जाना था जहाँ बड़े पैमाने पर सिनेमा बनता हो. दिसंबर 2017 के अंत में मैं सपनों के शहर मुंबई आ गया। यहाँ आने के बाद मुझे मुंबई के मशहूर कास्टिंग डायरेक्टर मिस्टर जोगी मलंग सर के साथ काम करने का मौका मिला।”

मुंबई आने के बाद योगेश भारद्वाज को काम के नये अवसर मिले। बाद में उन्हें बॉलीवुड की कुछ बेहतरीन फिल्मों में काम करने का मौका मिला। 2019 में योगेश भारद्वाज की एक के बाद एक तीन बॉलीवुड फिल्में रिलीज हुईं- ‘एक लड़की को देखा तो ऐसा लगा’, ‘एस पी चौहान’, ‘सैटेलाइट शंकर’। इन फिल्मों से योगेश ने बॉलीवुड की दुनिया में अपना नाम बनाया है। फिल्म ‘छिपकली’ और ‘कॉलेज कांड’ वेब सीरीज की सफलता ने योगेश भारद्वाज को सिनेमा जगत में एक मंझे हुए कलाकार के रूप में स्थापित कर दिया है।

योगेश भारद्वाज का मानना है कि निजी तौर पर और एक अभिनेता के तौर पर उन्हें ऐसी फिल्में पसंद हैं जो भरपूर मनोरंजन के साथ-साथ दर्शकों को समाज की कुछ छुपी और अहम सच्चाई से भी रूबरू कराती हैं। जिसके नायक आम लोगों की जिंदगी के बारे में बात करते हैं।

फिल्म छिपकली में काम करने के बारे में योगेश कहते हैं कि वह अपने पसंदीदा अभिनेता और गुरु मशहूर बॉलीवुड अभिनेता निर्देशक यशपाल शर्मा के साथ उनकी पहली निर्देशित फिल्म दादा लखमी में काम कर रहा थे तभी एक दिन उन्होंने कहा कि आप किसी की तलाश में हैं आपको बड़ी फिल्म के बड़ी भूमिका मिलनी चाहिए। लेकिन जब कोविड काल आया तो सब कुछ बंद हो गया। ऐसे में योगेश की लेखनी ने उन्हें बचा लिया। कविताएँ और कहानियाँ लिखते रहे। कोविड के बाद दोबारा मुंबई पहुंचे। एक दिन यशपाल सर ने फोन किया और मिलने को कहा। कहा कि तुम्हें एक बड़ी फिल्म में बड़ा रोल मिल रहा है। इस तरह ‘छिपकली’ बॉलीवुड में उनकी पहली मुख्य भूमिका वाली फिल्म बन गई।’

फिल्म छिपकली में अपने किरदार के बारे में वह आगे कहते हैं कि छिपकली में उनके किरदार रुद्राक्ष नाम के एक निजी जासूस का है जो एक लेखक के घर उसकी पत्नी और बेटे की मौत का रहस्य जानने के लिए आता है। बाकी फिल्मों से छिपकली इसलिए अलग है क्योंकि अब तक हमने बहुत सारी सस्पेंस थ्रिलर सुनी और देखी हैं, लेकिन यह पहली दार्शनिक थ्रिलर है जो एक मर्डर मिस्ट्री को सुलझाने के साथ-साथ कई सामाजिक मुद्दों और विज्ञान के बारे में बात करती है।

 मुंबई से जुड़े अपने संघर्ष के बारे में योगेश कहते हैं कि मुंबई आने के बाद उन्हें ज्यादा संघर्ष नहीं करना पड़ा। यहाँ आते ही उन्हें काम मिलना शुरू हो गया। उनके मुताबिक, “मेरा संघर्ष बाहरी से ज्यादा आंतरिक रहा है कि मुझे अपने बाहरी काम के साथ-साथ अपनी कला के जरिए भी अपने विचार व्यक्त करने हैं, जो एक कलाकार के तौर पर मैं समाज से कहना चाहता हूं।”

 योगेश भारद्वाज के मुताबिक बॉलीवुड इस वक्त काफी विविधता के साथ काम कर रहा है। और वह हर तरह के किरदार करना चाहते हैं। इसके अलावा वह उन किरदारों को करना पसंद करेंगे जिनके होने या न होने से कहानी पर पूरा असर पड़ेगा।

 हरियाणा सिनेमा जगत के लिए मील का पत्थर साबित हुई फिल्म दादा लखमी के बारे में योगेश का मानना ​​है कि निस्संदेह दादा लखमी हरियाणा की अब तक की सबसे बड़ी और मजबूत फिल्म है। इस फिल्म ने देश के हर राज्य और विश्व मंच पर हरियाणवी संस्कृति को दर्शाया है। ये सिर्फ एक फिल्म नहीं बल्कि हरियाणवी सिनेमा की धरोहर है. अब अगर किसी को हरियाणा में विश्व स्तरीय सिनेमा बनाना है तो उसे दादा लखमी के मानकों से आगे बढ़कर काम करना होगा।

हरियाणवी सिनेमा और उसके कलाकारों के भविष्य के सवाल पर योगेश कहते हैं कि स्टेज ऐप के आने से हरियाणा के कलाकारों को अपना सिनेमा बनाने और उसे लोगों के सामने पेश करने का मंच मिला है। जो लोग मुंबई आने का सपना नहीं देखते थे और किसी कारणवश उस सपने को पूरा नहीं कर पाए उनके लिए अब अपने क्षेत्र में रहकर सिनेमा में काम करने के अधिक अवसर हैं। 

बॉलीवुड के बड़े अभिनेताओं के साथ काम करने के अपने अनुभव को साझा करते हुए योगेश भारद्वाज कहते हैं कि सभी के साथ यह एक अद्भुत अनुभव था। अभिनय की पढ़ाई के दौरान जिन कलाकारों को मैं अपना आदर्श मानता था उनके साथ काम करना एक उपलब्धि की तरह था। वे सभी दिग्गज अभिनेता हैं। उनके साथ काम करके मुझे बहुत सी नई चीजें सीखने को मिलीं और एक अभिनेता के रूप में खुद को अधिक परिपक्व महसूस किया।

 योगेश भारद्वाज एक अभिनेता के साथ-साथ एक दिलदार कवि भी हैं। अपनी लेखनी और कविता संग्रह के बारे में योगेश कहते हैं कि उन्हें बचपन से ही लिखने का शौक रहा है। पहले वह भजन और गीत लिखते थे। लेकिन मुझे नहीं पता था कि एक दिन कविताएं इतना बड़ा आकार ले लेंगी और मेरी जिंदगी का इतना बड़ा हिस्सा बन जाएंगी। मेरा पहला कविता संग्रह पिछले वर्ष “रास्ते ही मंजिल हैं” नाम से प्रकाशित हुआ है, जिसे पाठकों का भरपूर प्यार मिल रहा है।

 अंत में योगेश अपने प्रशंसकों और सिनेमा जगत में नए आए लोगों को संदेश देते हैं कि इस क्षेत्र को अपना व्यवसाय बनाने से पहले इसके बारे में सही जानकारी होना बहुत जरूरी है। यह पता लगाना जरूरी है कि क्या यह सिर्फ आपका शौक है या आप इसमें अपना सर्वश्रेष्ठ काम कर सकते हैं।

वर्ष 2023 में, योगेश की फिल्म ‘लॉस्ट’, ‘कड़क सिंह’ क्रमशः हिंदुस्तानी सिनेमा के दिग्गज अभिनेता श्री पंकज कपूर जी और यामी गौतम और पंकज त्रिपाठी जी के साथ रिलीज़ हुई। उन्होंने एक नाटक ‘अणु’ भी प्रस्तुत किया, जो उनके द्वारा ही लिखा, निर्देशित और प्रस्तुत किया गया था और इसे बड़ी सफलता मिली। उसी वर्ष उनका पहला कविता संग्रह “रास्ते ही मंजिल हैं” प्रकाशित हुआ और पाठकों ने उन्हें एक लेखक के रूप में दिल से स्वीकार कर लिया। बॉलीवुड में बतौर लीड एक्टर उनकी दूसरी फिल्म बनकर तैयार है, जिसका फिल्म फेस्टिवल्स का सफर शुरू हो चुका है। इस साल “बवाल” नाम की एक वेब सीरीज भी रिलीज होने वाली है जिसका निर्देशन राजेश अमरलाल बब्बर ने किया है।

आजकल वह अपनी पत्नी के साथ मुंबई में रहते हैं और सफलता हासिल करने के लिए अभी भी लगातार सीख रहे हैं। जल्द ही उनका एक और स्वलिखित नाटक भी रिलीज़ होने वाला है, जिसका निर्देशन और अभिनय योगेश भारद्वाज करेंगे।

Tarali Sharma’s cinematic song, ‘Upomar Sipare,’ is her latest contribution to the industry. She earned the National Film Award for Best Female Singer for the Assamese film ‘Akashitorar Kathare,’ a well-deserved recognition that thrust her into the national spotlight. Before receiving this accolade, her talent had been confined to the regional sphere. Once she transcended those boundaries, she faced the challenge of maintaining her prowess on a national scale. Working in a remote place like Assam, within a small film world with limited resources, it was difficult for her to maintain a national level in all her work.

Yet, through dedication and hard work, she sustained her capabilities and showcased her multifaceted talents as a singer, lyricist, music composer, and director for both stage and film productions. She also served as a jury member in the National Film Award, enriching her with a wide variety of cinematic experiences. Her diverse experiences in these interconnected fields enhanced her creative pursuits, exemplified by her latest song ‘Upomar Sipare.’

Presented in a visual format, this song defies prevailing norms in music videos. Rahul Gautam Sharma, an upcoming lyricist-singer, penned the song, showcasing his praiseworthy command over the Assamese language. The song takes the form of a short film (duration 8 minutes), depicting emotional moments between a singer and her fan during a brief encounter. Tarali herself portrays the singer, staying true to her character.

The narrative unfolds as she encounters a young boy at a homestay near her house. Their gradual acquaintance reveals him as a devoted fan. The young boy purchases a biography of Tarali Sharma and asks her to sign the book. The book, written by Alex Figo, portrays the musical journey of Tarali Sharma. In the film, director Anup Baruah establishes her as she is and includes the fictional character of the photographer. Anup establishes her residence ‘Puwati’ (early morning), known to most culturally inclined people of Assam. Again, the homestay he shows is a fictional entity. This interesting mix of a real character with a fictional makes the narrative intriguing, diminishing the thin line between fact and fiction. When the photographer leaves, he gifts her a beautiful portrait, prompting Tarali to reflect on the unexplained bond they shared.

Anup Baruah, a renowned still photographer, crafts this sweet and concise film. Each frame is meticulously composed to convey the adjacent emotions of the narrative. Despite being dialogue-free, Baruah skilfully captures expressive moments.

As the central character, Tarali shoulders the responsibility of conveying all emotional nuances through the journey. The film may be short in length, but it exhibits the growth of a drama feature film. Tarali effortlessly breathes life into the visuals, portraying subtle expressions with rapid transitions—a testament to her acting competence.

Bishnu Nath, portraying the young photographer, complements Tarali’s performance by doing justice to his character. Cinematography by Chandra Kumar Das supports the simple yet underplayed dramatic narrative.

Integral to this creation is the song, serving as practical background music. It enhances the visual moods, with melody and instrumental sounds playing pivotal roles while the lyrics align with powerful visuals. The composition weaves the vocal part seamlessly into the entire musical narrative. As a busy music director in Assam, Tarali’s vast experience prompted her to experiment with a different musical pattern for this song, combining instrumental and vocal elements to create a unique musical experience.

This experimental approach served as a crucial test for both the director and the music director. In the end, they have delivered a meaningful and out-of-the-box experience

—- Utpal Datta.

First published in The Daily Eye (www.thedailyeye.info)

Film Criticism | Behrupiya

It sounds pathetic, but the reality is that a huge number of folk art forms are on the verge of vanishing from the world. There may be many reasons for this disappearing state within our society. Several Indian films have been made on this existential crisis of folk art forms and the void it has created. Bhaskar Biswanathan’s short film ‘Behrupia,’ based on a similar theme, has been selected for this year’s Indian Panorama.

‘Behrupia’ is a familiar character in rural areas of India, mainly in the Hindi belts. Currently, these multifaceted ‘Behrupiyas’ are mainly confined to Hanuman, Shiva, and Kali forms. These three characters are immensely respected and worshipped by the common public. There are also stories about how kings and emperors used such ‘Behrupiyas’ for spying.

The film’s ‘Behrupiya’ is a member of the present day’s world. He carries a small sound system on his bicycle. He travels from place to place, performing his art of being a ‘Behrupiya,’ enacting popular dialogues from Hindi films and television serials. He also uses costumes to enhance the look of the character he plays. Most of his audience is comprised of children, with a small number being women. No matter how happy the children are, they cannot afford to support him financially. The village women also lack financial capacity, so some of them give rice and other food items. Incidentally, once his foot gets hurt, he cannot work. One day, while fetching water and returning home, he finds that his costumes are gone. Despite his unimaginable injuries, he wanders the village in search of his stolen costumes.The story is simple, and the audience is often familiar with the expected sadness and pain of the ending of such stories. The extinction of folk art is sad for connoisseurs, yet there is no way but to accept it as part of the evolution of time. The film is about the life of a modern-day Behrupiya. This modern Behrupiya is a creation of the story-writer. Such modifications will certainly hurt the traditional character of folk art, but they will also reveal a picture of the recent trend of folk life in a society where the influence of cinema and TV serials is unimaginable. The story writer-director may have thought that some modernization could give a new life to this endangered folk art form. In support of this, he shows that the costumes and dialogues of the characters attracted the children’s community, and some children have even expressed their desire to become a ‘Behrupiya.’ This positive attitude distinguishes the film from other films on the same subject. In Buddhadev Dasgupta’s ‘Bagh Bahadur,’ the folk artist died of exhaustion in the struggle for survival, announcing the tragic end of an art form. In contrast, Bhaskar Biswanathan’s film is a message of hope that the younger generation is showing interest in the multifaceted and going along with it, distinguishing the film from similar films.

The film’s lead actor, Devesh Ranjan, makes the character believable. His expressions were explosive, especially in the silent parts. Earlier, he successfully played the central role in Kamakhya Narayan Singh’s ‘Bhor.’

A calm and lively picture of a village in Bihar is beautifully captured by the camera, creating the necessary local setting for the story. The camera plays a significant role in capturing the subtle expressions of the main character. Director of Photography Yogendra Panda has helped the director realize the vision of the director. The film is edited by Himanshu Dwivedi and Deepankar Sarkar. The editor’s skill is particularly noticeable in the scenes where the devastated ‘Behrupiya’ goes around looking for the clothes after they are stolen. In terms of the story, the character’s mind was restless and fast at that moment, but the injury to his leg prevented him from walking fast. The editor has balanced the pace of the film by properly controlling these two opposing motions. The music of the film also keeps the plot moving. The film is produced by Aditi Santosh Tapasvi and Bikram Viswanathan.

Two Assamese technicians were associated with the film in editing and BGM, and they are Dipankar Sarkar and Arnab Deka, respectively.

—- Utpal Datta