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Music brings solace – Day 1765

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John is heartbroken, and only music can provide him solace but not for long and John disappears one day. Twelve years pass by… Kris returns as a young dancer, with a burning need to reconnect with his father, and to heal himself of a deep trauma. Valli, his childhood companion, is now a beautiful woman and Parvathi still paints and dances. It is an unusual story of rather unusual people in unusual circumstances. Directed by Kaarthikeyan Kirubhakara who is a multifaceted artiste himself has put his heart and soul in the making of His Father’s Voice more like an offering to a deity.

Kirubhakara is of the firm belief that problems come into our lives to provide opportunities so that we evolve and find ways to heal ourselves. It prepares us to deal with separation from our loved ones, fuels our own growth, and brings us gifts, that only we can give ourselves.

@bhawanasomaaya

Making of His Father’s Voice – Day 1764

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Some films are meant to not just be watched but experienced and His Father’s Voie by A Kaavaadi Production is among them.  Combining all art forms and shot in the picturesque location of Pondicherry it tells the story of an American family, Jon, Clara, and their son Kris, live with Parvathi, Nagarajan and their daughter Valli, inside a Music and Dance School in Tamilnadu, India. Jon is a Musician, deeply inspired by Indian Classical Music.

It is not as if we have not seen films made on artistes but this is a film made with love and it transcends to the audience, it is not possible to remain unaffected by the film. Every frame, every taking is mesmerising!

There is reverence for nature, for art and in a simple story of two families, the writer weaves the nav rasas. You empathize with Clara when she gets jealous of Parvathi’s influence over Jon and Kris and arrives at the decision to leave Kaavadi.  Sounds like a regular story? Trust me it isn’t, more tomorrow…

@bhawanasomaaya

Angry man in a romantic role – day 1763

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There were some rumors in the papers at that time that Nutan was offered the role of Waheeda Rehman but Nutan denied it, she had never worked with Chopra in her entire career while Rehman did a number of films with Chopra before and after Kabhi Kabhie. The distributors were skeptical about the film even though the media was giving it a lot of attention. They thought Amitabh Bachchan in a moustache and in a romantic role in first half and negative role in the second half was a 100 percent failure but Yash Chopra was confident it would work and it did.

@bhawanasomaaya

Rishi Kapoor had declined the role – Day 1762

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Rishi Kapoor had initially refused the film and even though Yash Chopra spent a lot of time explaining the importance of the project Kapoor remained stubborn. Chopra had no appropriate option for Rishi and went to Shashi Kapoor to help him. Shashi Kapoor asked Chopra to plan his schedule and promised to bring Rishi Kapoor to the sets, he did and Chopra for the first few days only shot with Rishi Kapoor so that incase Rishi changed his mind again he could not leave the film.

To be continued

@bhawanasomaaya

Neetu Singh was Punjabi kuddi – Day 1761

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Raakhee’s confusion led to a lot of misunderstanding but eventually she was part of the cast and the large unit with the actors and their spouses left for a month-long shooting to Kashmir. The media called Chopra’s outdoor stint honeymoon holidays because all the actors were newly wedded be it Waheeda Rehman, Amitabh Bachchan, Raakhee even though she was not accompanied to the shoot by her writer husband. Only Rishi Kapoor and Neetu Singh were single, not yet in love with each other but all the time surrounded by love both on and off screen.

Neetu Singh was not the first choice for the role and Tine Munim was auditioned for the part because Rishi Kapoor had seen her somewhere and was very keen on working her. Yash Chopra screen tested her but preferred Punjabi kudi Singh for Waheeda Rehman’s love child in the film. He was keen on Bindiya Goswami for the third role of the triangle but when Mumtaz called Yash Chopra and requested him to cast her niece Naseem for the part he agreed without a moment’s hesitation.

Deewar takes over the slot – Day 1760

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Yash Chopra loved the script and Bachchan insisted that he start the second film before the first since the project was taking long in any case. Yash Chopra agreed and work began on Deewar the very next day. Deewar proved a super hit and Amitabh Bachchan became a superstar. Yash Chopra’s banner was a front runner and actors went out of their way to block dates for his films.

Raakhee is the focus of Kabhi Kabhie and she was promised the role when Yash Chopra was shooting Daag with her. She had agreed to the project and Chopra had begun his preproduction but post Daag and pre Kabhi Kabhie Raakhee got married and her husband writer Gulzar it seems had a precondition that his wife will not work in films. Raakhee was in love with Gulzar and had agreed to it. She had agreed to Yash Chopra as well because it was a role of a lifetime and unable to say no to either of them.

To be continued

@bhawanasomaaya

The making of Kabhi Kabhie – Day 1759

By Films

Valentine Day is over but the hangover of love persists and call it a coincidence that the biggest love story of Hindi cinema was released a week after the Valentine. On 23 this month Yash Raj Films Kabhi Kabhie completes 41 years and what is remarkable is that after four long decades, so many changes in trends, subjects and technology the film strikes a chord with the audience.

It is said that Yash Chopra went to sign Amitabh Bachchan for Kabhi Kabhie after the success of Zanjeer and Bachchan agreed but the multi-star cast was taking a long time to confirm dates and schedules and in the meantime Salim and Javed approached  Chopra with a brilliant script which was a combination of Mother India and Ganga Jamuna and wanted to cast Amitabh Bachchan as the protagonist.

 To be continued

@bhawanasomaaya

Movie Review: Thappad (Day 1758)

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Changing Mindset

Film: Thappad

Release: 28.02.2019

Writer: Anubhav Sinha, Mrunmayee Lagoo

Director: Anubhav Sinha

Cast: Tapsee Pannu, Pavail Gulati, Kumud Mishra, Ratna Pathak Shah, Tanvi Azmi, Dia Mirza

Ratings: 4 stars

Every time there is marital abuse, the husband invariably has a justification for his action and this has continued for centuries. Lord Ram had justification for making Sita walk the fire path. He was the emperor and could not let down his subjects. In another century, king Dharamraj had justification for summoning Draupadi into the court. He was committed to Duryodhan and therefore helpless. Corporate executive Vikram/ Pavail Gulati in Anubhav Sinha written-directed Thappad has justification for slapping his wife Amrita/ Tapsee Pannu, he is under pressure, stressed out, angry and frustrated!

The question is does Amrita have the right to interfere in her husband’s professional altercation, was it appropriate for her to have trespassed at that moment or should Amrita have waited till the tempers cooled down? Is logic possible in moment of rage, probably not, besides is Amrita in any way disconnected from any dream or dilemma of Vikram? I don’t think so and in which case, how can Amrita keep out of the brewing storm? In a marital relationship who determines the boundary lines of private space and when does this change?

Ammu/Amrita represents the archetypal homemaker whose follies are familiar, she is devoted and she is efficient and most important, she is soaked in the fragrance of her husband’s dreams.

Mrunmayee Lagoo and Anubhav Sinha written Thappad tells the story of an impulsive slap and the varied reactions it triggers among people around the protagonist couple – Amrita’s parents/ Kumud Mishra- Ratna Pathak Shah are devastated, Vikram’s family, colleagues are concerned, their advocates/ Ram Kapoor and Sarao reflective, the house maid/ Ohlyan discovers she is not the only victim and Amrita’s 13-year-old students asks her mother/ Diya Mirza if her dad has ever hit her?

Disturbing questions, domestic abuse is rampant across class and age and we have over the decades watched innumerable films addressing the issue but Thappad is the most significant because it emphasizes on woman’s need for self-respect and even a single slap is unpardonable!

Superbly narrated with effective dialogues, believable characterizations, touching interpersonal relationships, soothing music, lyrics, real sets and sparkling performances from the ensemble cast there is not a false chord in the film where the message is the hero that to change society we need to change perspective to marriage, alter as individuals, as family because in the end it is about happiness, about self-respect.

When Lord Ram sends Sita to exile for the second time, it is Ram’s mother Kaushalya who breaks down and post Draupadi’s disrobing in the court it is Duryodhan’s mother Gandhari who is outraged by the audacity. In Anubhav Sinha’s Thappad too it is Vikram’s mother/ Tanve Azmi who bids an emotional farewell to her daughter-in-law, a terrific scene superbly performed by both Tapsee Pannu and Tanve Azmi that leaves you teary eyed.

Thappad is not a film that can be restricted to gender boundaries, it is a mindset that needs to be changed. In the 2016 released Pink Tapsee Pannu said ‘No is no’ and in 2020 Tapasee says ‘Not even one slap will be pardoned’.

Director Anubhav Sinha take a bow for three significant films in a row 2018/Mulk 2019/Article 15 and 2020/Thappad. Congratulations to the entire team of Thappad, a must watch film for all men/ women/ young/ old even kids and I’m tempted to add one slap for those who don’t watch it!!

I rate the courageous Thappad with 4 stars.

Bhawana Somaaya