Heaven on Earth

Heaven on Earth (2008)
Directed by: Deepa Mehta
Writer: Deepa Mehta
Starrting: Preity Zinta (Chand), Balinder Johal (Maji), Rajinder Singh Cheema (Papaji), Gourrav Sihan (Baldev), Vansh Bhardwaj (Rocky), Geetika Sharma (Loveleen), Orville Maciel (Kabir), Raman-jit Kaur (Aman)

I have a very bad habit of fast forwarding a film to its end before I begin to see it, especially, if I am seeing it on my laptop; that's where I mostly see my movies. I don't believe in suspense. Frankly, I cannot handle suspense. I must know how the film ends. After that I can settle down and see how the end unfolds.
So, as I was doing the same with Heaven On Earth (Or Videsh, as it is released in India; I was seeing the Hindi/Punjabi version.), and after a few frame, I knew this was 'Nagamandala,' a play I am very fond of. I think this is one of Girish Karnad's masterpieces.
But ‘Nagamandala’ in Canada? That's the problem with Deepa Mehta's Heaven or Videsh. We don't blame her for trying to do something different, only if she had succeeded in doing so. Mehta has been acclaimed as a realistic director and showed ample proof of it in her element trilogy ‘Fire,’ ‘Earth’ and especially ‘Water.’ We can conveniently ignore ‘Hollywood/Bollywood.’ So, when she tries to tell us a quasi-mythical (mystical) tale set in all too-real Canada and in an all too-real background of domestic violence, something goes missing. (The film is not even a adaptation of Nagamandala for that matter, but rather inspired by it...) The things about the 'love potion' and 'nag pariksha' does not really fit into the landscape, it's okay if it happens in some remote village in India... And like ‘Fire,’ at the end, the film's protagonist, Chand, takes a stand, she leaves the house; but it's too late and too hurried and without much impact.
The film had potential. It could have been a rejoinder to 'Provoked' and it ends up being nothing.
Yet, the film is and will always be a milestone for Preity Zinta, for the transformation from a girl who speaks her mind to a bruised wife longing for love. She is marvellous.
Debutant Vansh Bhardwaj is as the mercurial Rockey is good in patches, though he reminds you of Yashpal Sharma.

Guru Dutt and ‘Gulaal’

Last week, I wrote a blog about the resonance of a Guru Dutt song in a modern song (‘Pyasaa,’ and Rabbi Shergil’s ‘Bilqis;’ Jinhe Naaz Hain Hind Par). Guru Dutt and Shahir Ludhiyanvi's poetry cames to the fore again, the song, 'Agar yeh duniya mil bhi jaye toh kya hain' (what's the point even if you get the world!!) in Piyush Mishra's lyric and music, in the 'Duniya' song in Anurag Kashyap's ‘Gulaal’ soundtrack.
The film recently opened to good reviews. It's surprising, in the last few months, most Hindi movies are opening to good reviews, one 'Jai Veeru' here and there apart. For Kashyap, it's duble whammy, after the wash out of 'No Smoking.' I haven't see the film. I havn't even seen 'Dev.D.' In the time of recession, paying 120 bucks in the theatre is too much. Probably, I will buy the film in that money once it is out on DVD, or somebody may give me a torrent download.
Anyways, I have been listening to the soundtrack, and I absolutely adore it, especially two songs, 'Arambh' and 'Sheher' and also Ranaji, for its 'contemporary' lyrics. In Hindi film soundtrack, the songs are always, always about love and romance, pyar mohabbat, milan and zudai.
And here, we have songs which are hard-hitting poetry at its best. In the 'Arambh' song, one line actually says, "...the poet who says life is a poetry, you dismiss that poet.' Instead, you talk about war, fight...
The best of the lot is 'Sheher', a beautiful poem turned into a beautiful song, very hauntingly rendered, with such strong images that you are bound to be moved. The occasional use of Rajasthani words and tones only adds to the song's versatality.
The song is about how we have been immune to all the happenings around us. It tells the story of what happened when "our town was asleep." "when on the lonely corner of the city, a lone dog was barking incessantly... when the town rained blood.. and the world asks when all these things were happening, why was our town sleeping... each image in the song is vivid, alive and real.
And, as you listen, it does something to you...

Dibyajyoti Sarma

Here’s the lyric from http://www.indifun.com/sheher-lyrics-gulaal-songs-lyrics

Sheher

[Aye ek waqt ki baat bataye,
Ek waqt ki,
Jab sheher hamara so gayo tho,
Wo raaj gajab ki] -2 times
Hey chahu aur sab ore disha se laali chaayi re,
Jugni naache chunar odhe, khoon nahayi re,
chahu aur sab ore disha se laali chaayi re,
Jugni naache chunar odhe, khoon nahayi re,
Sab oro gulaal put gayo, sab oro mein,
Heyyy sab oro gulaal put gayo, vipda chaayi re,
Jis raat gagan se khoon ki baarish aayi re,
Jis raat sheher mein khoon ki baarish aayi re,
Jis raat gagan se khoon ki baarish aayi re,
Jis raat sheher mein khoon ki baarish aayi re…

Sarabor ho gayo sheher aur sarabor ho gayi dhara,
Sarabor ho gayo re jattha insaano ka bada bada,
Sabhi jagat yeh pooche tha, jab itna sab kuch ho riyo tho,
To sheher hamara kahe bhaisaab aankh mood ke so riyo tho,
To sheher yeh boliyo neend gajab ki aisi aayi re,
Jis raat gagan se khoon ki baarish aayi re,
Jis raat sheher mein khoon ki baarish aayi re- 2 times

Sanataa viraana khamoshi anjaani,
Zindagi leti hai karwate toofani,
Ghirte hai saaye ghanehre se,
Rookhe baalon ko bikhere se,
Badhte hai andhere pishaacho se,
Kaanpe hai jee unke naacho se,
Kahin pe wo jooto ki khat khat hai,
Kahin pe alawo ki chat pat hai,
Kahin pe hai jhingur ki aawazen,
Kahin pe wo nalke ki tap tap hai,
Kahin pe wo kaali si khidki hai,
Kahin wo andheri si chimni hai,
Kahin hilte pedon ka jattha hai,
Kahin kuch mundero pe rakkha hai,
Re re re..re re re re…
Hoo hoo hoo hoo….
Sunsaan galli ke nukaad pe jo koi kutta,
Cheekh cheekh kar rota hai,
Jab lamp post ki gandli pilli, ghup roshni,
Mein kuch kuch sa hota hai,
Jab koi saaya khud ko thoda bacha bacha kar,
Gum saayo mein khota hai,
Jab pool ke khambho ko gaadi ka garm ujaala,
Dheeme dheeme dhota hai,
Tab sheher hamara sota hai-3 times
Hooo hooo…

Jab sheher hamara sota hai, to maloom tumko,
Haan kya kya hota hai,
Idhar jaagti hai laashen,
Zinda ho murda, udhar zindagi khota hai,
Idhar cheekhti hai dahua,
Khairaati uss aspataal mein bifri si,
Aaankh mein uske agle hi pal,
Garam maas ka naram lothda hota hai,
Idhar uthi har takraaren, jismo ke jhatpat len den mein uchi si,
Udhar ghaav se riste phoonko, door guzarti aakhen dekhe rookhi si,
Lekin usko leke rang birange mailon mein gun jaayi, shoti hai,
Nashe mein doobe sehan se khoonkhaar chutkulo ki paidaaish hoti hai,
Adh nange jismo ki dekho, lipi putti se lagi numaaish hoti hai,
Laar tapakte chehro ko kuch shitaani karne ki khwahish hoti hai,
Wo pooche hai hairaan hokar, aisa sab kuch hota hai kab,
Wo batalo to unko aisa tab tab tab tab hota hai,
Jab sheher hamara sota hai- 3 times
Hooo hoo hoo…

The King and the Clown

Wang-ui namja (2005)
Directed by: Jun-ik Lee
Writers: Seok-Hwan Choi (writer); Tae-woong Kim (play)
Starring: Woo-seong Kam (Jang-sang); Jin-yeong Jeong (King Yeonsan), Seong-Yeon Kang (Nok-su Jang (as Sung-Yeon Kang)); Jun-gi Lee (Gong-gil)

Why and how does a movie works for you? That’s a very difficult question. You may cite reasons of artistic excellence, the story, the screenplay, the acting, the directing, the camera work and so on. Yet, it’s difficult to put your finger on a particular aspect and say, this film works for this particular reason.
I enjoyed the 2005 Korean film ‘The King and the Clown’. Directed by Lee Jun-ik, the film was the first highest grossing film in Korea till it was toppled by the monster-comedy ‘The Host’ and it was the country’s official entry to the Oscars in 2005. I can recommend the film to anyone. It’s a minor masterpiece, no doubt. I had problems galore with the film, and yet, I LOVED the film. Let me explain the contradiction.
First the film. It begins with a disclaimer that it is a true story based on the history of Yeonsangun of Joseon, a Joseon dynasty king who falls in love with a court clown who mocks him. Probably it is. But as far as the storytelling goes, it’s filled with allusions to Shakespeare, especially King Lear, where the fool dares to tell poor, old Lear about his follies. There are even sentences in the film (especially in the English subtitle) that’s a direct copy of King Lear (“As flies to wanton boy, we are to gods, they kill us for their sport.”).
At the heart of the story are two street jugglers, two players and tight-rope walkers (in the film they are called minstrels): Jang saeng and Gong gil. In their acts, Jang saeng plays the male and Gong gil plays the female, largely owing to his striking feminine features and body language. He is even forced to sell his body to their patrons by the owner of the troupe for whom they play. This is something Jang saeng does not like. Why? No, that’s not explained. Is Jang saeng in love with Gong gil? We don't know. But he does barge into the house of the patron as he was about to deflower Gong. A fight ensures. The troupe owner is killed, and the two jugglers decide to go to Seoul to find better prospects. This is where the film begins.
They come to Seoul and meet another group of street artistes. Soon, Jang becomes their captain, and decides to mock the king and his mistress in their act, as they are most talked about subjects among the public. The crowd loves their show. Soon, the king’s personal assistant spots them, and puts them in jail. Here, Jang strike a bargain. They should be set free if they can make the king laugh. After a nail-biting sequence, with their lives hanged in balance, the king finally laughs. Not only that, he is now fascinated by Gong, and asks the troupe to stay in the palace. So far so good.
But his ministers oppose the idea, and a clash begins between the king and his ministers. The king’s assistant takes this opportunity to use the players to expose the corruption of the ministers. Thus, begins the play within the play within the play. The king begins to react to the players' jokes and starts to act. He also begins to be fascinated be Gong. He even deserts his concubine and invites Gong to his chamber to entertain him. There’s even a scene of him kissing Gong, finally.
This of course distresses Jang. He wants to leave Seoul, but not without Gong. But Gong is sympathetic to the king, whereas his ministers have had enough. What happens next?
It's a nail-biting drama; that’s the film’s main strength. As the events unfold, you don’t have the time to ponder over other issues, other than what’s happening on the screen. Add to that the marvellously choreographed Korean folk art sequences, especially the tight rope walking sequences, you have a shimmering picture of high-drama, veering towards theatricality, yet touching and lifelike. For that you have to thank the production design, the sets and the costumes, which even though 15th century Korean, never look gaudy and dramatic, but becomes part of the narrative.
It’s extraordinary. That’s where the problems start for me. There’s no character development in the story, and the entire drama unfold without even bothering to identify the issue, which actually forms the main crux of the story: ‘the queer identity.’
Except for the king’s character that show a slight variation, a tyrant with a troubled past, probably there is a hope for his redemption, all the other characters are pure cardboard, beautiful to look at, probably you know them slightly, but without depth.
First and foremost, why does Jang is so possessive about Gong? Is he in love with him? Apparently. But there’s nothing to show and tell, to betray his emotion. The king’s reaction is equally ambivalent. Does he loves Gong for his skills, his art, or for his body? At least we can guess here, there’s a tiny shot when the king kisses Gong. Hurrah!!!
It’s a fun to watch a film where the script is fully in control, where it leaves clues in the beginning of the film only to explain at the end, where the same imagery is explained in different contexts. Here’s there are several such instances. There's Jang’s rope tricks to prove his expertise in the art, which comes to play a pivotal role once (spoiler!!) he goes blind. Then the blindness itself. In the beginning of the film, on their way to Seoul, Jang and Gong plays two blind man just for the fun of it, and at the end of the film, Jang is actually blind. But the problem is the dialogues (I really don't know how good the English translation is, but from my experience, I can tell subtitles are never a patch on the real dialogues of the films). In his last rope trick, Jang goes to explain his blindness, and links it with the king’s tyrannies... but the two and fro conversations between the two lovers (Jang and Gong, and we don’t know if they are lovers) becomes heavily poetic, heavily Shakespearean, so much so that it finally becomes almost meaningless, and somehow mars the impact of the end. But, all these are miraculously saved by the on-the-spot performance of the three leads, the king and the two clowns, especially the king.
Whatever we may say, ‘The King and the Clown’ is a beautiful film, a must-watch, a near-masterpiece.
— Dibyajyoti Sarma

Rabbi Shergill’s Bilqis

Something happened the other day. I am actually very orthodox about listening to music. I like to hear songs which I know, especially on my MP3 player. I have to hear the song somewhere, be it radio or someone else’s mobile before it can come to my player. A month ago, a friend transferred some songs on my player, which he claimed was his playlist. It was lying there on my player for a long time. The other day I decided to try out his selection, and lo and behold, I was in for a revelation.
His is not a typical singer's voice. It sounds more like a poet reciting, with a distinct guitar sound. When the 4.19 minutes song was over, I replayed it and again and again. And everytime the song is over, I would get goosebumps. It was an incredible experience.
The song is ‘Bilqis (Jinhe Naaz Hai Hind Par)’ by Rabbi Shergill of ‘Bulla ke Jaana’ fame, from his latest album ‘Avengi Ja Nahin.’
There is a haunting quality about the song. It's not about protest or patriotism, and it ends up being both, a commentary about the politics of modern India. The song tells the story of four people, the victim of the system and the country: Bilqis Yakub Rasool, Satyendra Dubey, Anna Manjunath and Navleen Kumar. It is their story, and all of them ask just one question: "Jinhe naaz hai hind par vo kahan the/ Jinhe naaz hai vo kahan hain (Where were they who are proud of India/ Where are they who are proud of India.)
This reminds me of the song that asked the same question, Guru Dutt's ‘Pyaasa,’ where poet Vijay roams about in a red-light district, holding a glass of booze and complaining about the state of affairs, and asking, where are the people who are proud about India. The song, beautifully recited by Md Rafi was romantic at its best, where Shergill's gem is culture commentary.
Here's the lyric downloaded from the net, and my translations below:

RABBI SHERGILL: BILQIS (JINHE NAAZ HAI)

Mera naam Bilqis Yakub Rasool
Mujhse hui bas ek hi bhool
Ki jab dhhundhhte thhe vo Ram ko
To maen kharhi thhi rah mein
Pehle ek ne puchha na mujhe kuchh pata thha
Dujey ko bhi mera yehi javab thha
Fir itno ne puchha ki mera ab saval hai ki

Jinhe naaz hai hind par vo kahan the
Jinhe naaz hai vo kahan hain

Mera naam shriman Satyendra Dubey
Jo kehna thha vo keh chukey
Ab parhey hain rah mein
Dil mein liye ik goli

Bas itna kasur ki hamne likha thha
Vo sach jo har kisi ki zuban thha
Par sach yahan ho jatey hain zahriley

Jinhe naaz hai hind par vo kahan the
Jinhe naaz hai vo kahan hain

Mujhe kehte hain Anna Manjunath
Maine dekhi bhatakti ek laash
Zamir ki beech sarhak Lakhimpur Kherhi

Adarsh phasan jahan naaron mein
Aur chor bharey darbaron mein
Vahan maut akhlaq ki hai ik khabar baasi

Jinhe naaz hai hind par vo kahan hain
Jinhe naaz hai vo kahan hain

Mazha nau aahe Navleen Kumar
Unnees june unnees var
Unnees unnees unnees unnees
Unnees vaar

Unnees unnees unnees unnees
Unnees unnees unnees unnees
Unnees unnees unnees unnees
Unnees vaar

Looto dehaat kholo bazaar
Nalla Sopara aur Virar
Chheeno zameen hamse hamein
Bhejo pataal

Jinhe naaz hai hind par vo kahan hain
Jinhe naaz hai vo kahan hain

==========

My name is Bilqis Yakub Rasool
I've made just one mistake that
When they’re looking for Ram
I was standing there, on the road
First no one asked and I did not know anything
Same was my answer for the second one
Then so many of them asked my that now I've a question

Where were they who are proud of India
Where are they who are proud of India

My name's Mr Satyendra Dubey
Said whatever I had to say
Now I lie on the road
Currying a bullet on my heart

My crime was that I wrote
That truth which was on everyone's lips
But truth turns into poison here

Where were they who are proud of India
Where are they who are proud of India

I'm called Anna Manjunath
I have seen a lost dead body
The road in the middle of the land in Lakhimpur Kherhi

Where ideal is entangled in slogans
And thieves on the royal court
Where death becomes a stale news

Where were they who are proud of India
Where are they who are proud of India

My name's Navleen Kumar
Nineteenth June nineteenth times
Nineteenth, Nineteenth, Nineteenth
Nineteenth, Nineteenth, Nineteenth...
........

Rob the villages, open markets
Nalla Sopara and Virar
Snatch our lands and send us
to hell

Where were they who are proud of India
Where are they who are proud of India

Dibyajyoti Sarma