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#bhojpuri poetry
willowstreetstories · 2 years
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Erotic Things there is no self just rapture By Rajiv Mohabir
The texture of wet clay on a throwing wheel
The blue of an eastern bluebird when spring crashes on the heels of winter
Keats’s negative capability has the potential *
Mistaking your lover for someone else when he turns his back
Exotic sounds like exotic. But not when people call me this * The erotic makes sense when we think of jouissance and how that means there is no self just rapture. When I say jouissance, I like the eroticism of it being in French with that final nasal and sibilant. Doesn’t this sound like how a romance novelist would write it—and to me my own auto-colonial reading is not erotic, of French that is. Of English and Spanish too—they sound like colonial coercion, and that’s not erotic.  *
The pharmakon: how snake venom poisons, how the antidote distills from that very venom
The space of indeterminacy  *
Dark-skinned men in short shirts and shorts, men with bubble butts and thick thighs  *
“Another important way in which the erotic connection functions is the open and fearless underlining of my capacity for joy.” —Audre Lorde *
Queers and not fitting in one envelope or one’s shorts
But maybe eros is exotic, and by this, I mean the very textural gesture of the word, what it points to, what we hide in clothes or words *
The texture of language
The linguistic texture of Bhojpuri, Creolese, and English brush up together—living their taboos together—through the act of emergence despite repression
Secret languages that we speak to each other in *
The lips when they bite strawberries, how they envelop the red
Swollen strawberry guava. The smell as they rot on the ground—like wine. I remember tramping through a sprawling forest path at Kuli‘ou‘ou Ridge where the forest floor practiced its winemaking. The entire climb was perfumed and that was erotic, the emerald of the mountain, the cloud cover like fog and the turning of sugar into liquor.
Rajiv Mohabir is the author of Cutlish (Four Way Books 2021, finalist for the 2022 National Book Critics Circle Award, longlisted for the 2022 PEN/Voelcker Award for Poetry), The Cowherd’s Son (Tupelo Press 2017, winner of the 2015 Kundiman Prize; Eric Hoffer Honorable Mention 2018), and The Taxidermist’s Cut (Four Way Books 2016, winner of the Four Way Books Intro to Poetry Prize, finalist for the Lambda Literary Award for Gay Poetry in 2017), and translator of I Even Regret Night: Holi Songs of Demerara (1916) (Kaya Press 2019) which received a PEN/Heim Translation Fund Grant Award and the 2020 Harold Morton Landon Translation Award from the Academy of American Poets.
His essays can be found in places like Asian American Writers Workshop’s The Margins, Bamboo Ridge Journal, Moko Magazine, Cherry Tree, Kweli, and others, and has been a “Notable Essay” in Best American Essays 2018. His memoir Antiman (Restless Books 2021, finalist for the PEN Open Book Award, and the 2022 Publishing Triangle Randy Shilts Award and the Lambda Literary Award for Gay Memoir), received the 2019 Restless Books Prize for New Immigrant Writing. Currently he is an assistant professor of poetry in the MFA program at Emerson College and the translations editor at Waxwing Journal.
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ksgias · 8 months
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How to Prepare UPSC Maithili Language Paper 2022 – IAS Mains
best ias coaching in bangalore is Maithili is one of the three main languages of Bihar State including Magdahi and Bhojpuri. It is the language of old Mithila ( the area of the ancient Videha, currently Tirhut). It is an Indo-Aryan language of the Indo-European language family. It is also the only Bihari language with a script of its own, named Tirhuta.
The success rate of candidates opting for literature subjects is consistently rising. Everyone is aware of the importance of the optional subject in the UPSC mains exam. Before opting for an optional subject, candidates must keep a few things in mind. What is the current demand and scope of the subjects, and how much effort do they need to put in to get a good score in the optional subject.
Tips to Prepare for the UPSC Maithili language papers 2022 Go through the syllabus of the optional subject thoroughly. Prepare a study plan. Identify the standard books and notes required to prepare for this subject. Work on timeline and deadlines. Prepare your notes for preparation. Practice previous year’s question papers. Give mock exams.
Syllabus MAITHILI PAPER I
HISTORY OF MAITHILI LANGUAGE AND ITS LITERATURE
(Answers must be written in Maithili) PART A
History of Maithili Language
Place of Maithili in Indo-European Language family. Origin and development of Maithili language. (Sanskrit, Prakrit, Avhatt, Maithili) Periodic division of Maithili Language. (Beginning, Middle era, Modern era). Maithili and its different dialects. Relationship between Maithili and other Eastern languages (Bengali, Asamese, Oriya) Origin and Development of Tirhuta Script. Pronouns and Verbs in Maithili Language. PART B
History of Maithili Literature
Background of Maithili Literature (Religious, Economic, Social, Cultural). Periodic division of Maithili literature. Pre-Vidyapati Literature. Vidyapati and his tradition. Medieval Maithili Drama (Kirtaniya Natak, Ankia Nat, Maithili dramas written in Nepal). Maithili Folk Literature (Folk Tales, Folk Drama, Folk Stories, Folk Songs). Development of different literary forms in modern era : Prabandh-kavya Muktak-kavya Novel Short Story Drama Essay Criticism Memoirs Translation Development of Maithili Magazines and Journals. PAPER -II
(Answers must be written in Maithili)
The paper will require first-hand reading of the prescribed texts and will test the critical ability of the candidates.
PART A
Poetry
Vidyapati Geet-Shati—Publisher : Sahitya Akademi, New Delhi (Lyrics— 1 to 50) Govind Das Bhajanavali—Publisher : Maithili Acadamy, Patna (Lyrics— 1 to 25) Krishnajanm—Manbodh Mithilabhasha Ramayana—Chanda Jha (only Sunder-Kand) Rameshwar Charit Mithila Ramayan—Lal Das (only Bal-kand) Keechak-Vadh—Tantra Nath Jha. Datta-Vati—Surendra Jah ‘Suman’ (only 1st and 2nd Cantos). Chitra-Yatri Samakaleen Maithili Kavita—Publisher: Sahitaya Akademi, New Delhi. PART-B
Varna Ratnakar—Jyotirishwar (only 2nd Kallol) Khattar Kakak Tarang—Hari Mohan Jha Lorik—Vijaya Manipadma Prithvi Putra—Lalit Bhaphait Chahak Jinagi—Sudhanshu ‘Shekhar’ Choudhary Kriti Rajkamlak—Publisher: Maithili Acadamy, Patna (First Ten Stories only) Katha–Sangrah–Publisher: Maithili Acadamy, Patna
Reference books Recommended books for Maithili:
Maithili Sahityak Itihas – Dr. Durganath Jha “Shreesh”, Jaykant Mishra, Dr. Dinesh Kumar Jha Maithili Patrakaritak Itihas – Chandranath Mishra Amar Tirhuta Lipik Vikas – Dr. Rajeshwar Jha Maithili Kathak Vikas – Sahitya Academy, New Delhi Maithili Padyak Vikas – Sahitya Academy, New Delhi Maithili Gadyak Vikas – Sahitya Academy, New Delhi Maithili Parichayika
Prepare a study plan Make a monthly, weekly, and daily plan based on the number of hours you have in a day to devote to preparation. Stick to this plan modifying it when needed. Usually, it takes around 3-4 months to complete the optional subject so use this time wisely.
Practice previous year’s Mains exam question papers Use the previous year’s papers as your guide to predicting the questions that can be asked in future. UPSC has a tendency to repeat questions by changing certain keywords. Candidates who have a strong grip on the past papers have higher chances of scoring good marks in the actual examination.
Important topics from Paper 1 and 2 Paper 1 contains History of Maithili Language and History of Maithili Literature. The topics from for Paper 2 in Optional Languages ​​will require first-hand reading and will be designed to test the critical ability of the candidate.
We all know that in the final list, optional paper marks are crucial to deciding rank.
Students have to perform well on the preferred paper. Since the rest of the papers are compulsory for all, it’s only the optional paper that can make or break your fortune. So don’t go for the selective reading, as there is a single optional paper.
Who can opt for the Maithili language paper for the IAS Exam? This language is spoken by the people of the Indian state of Bihar in the northern and eastern regions. As an optional subject, candidates can opt for the Maithili language if they have graduated in the literature of Maithili language as the main subject. It is highly recommended for people who are good in the language. The syllabus is more or less static and limited.
If the candidate is creative and has a good conceptual understanding of the subject this optional is good for them. Good writing skill is also required.
Preparation tips for candidates Clear the basic concepts of the Maithili language to handle paper 2 Every language demands good writing skills, so don’t forget to work on it. Attempt the essay question at least with at least 40 minutes to spare. Write it in a simple and effective language. Write the essay after winding up the other sections. so, candidates write and elaborate the essay accordingly, without wasting time. Developing a reading habit of newspapers of the Maithili language, at least 15-20 minutes every day improves writing skills and gives students the awareness of the recent and modern writing patterns of their language and vocabulary.
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shodharthi · 4 years
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slicedblackolives · 3 years
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Sanskrit began to replace Persian. But Sanskrit was the language of ritual and scripture, the language of priests and holy men. Its vocabulary was not exactly forged on the anvil of everyday human experience. It was not the language of mortal love, or toil, or weariness, or yearning. It was not the language of song or poetry of ordinary people. That would have been Awadhi, Maithili, Braj Bhasha, Bhojpuri, or one of a myriad other dialects. Rarely if ever has there been an example in history of an effort to deplete language rather than enrich it. It was like wanting to replace an ocean with an aquarium.
(AZADI, arundhati roy)
do you ever read something and have your entire life make sense?
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UNESCO Intangible Cultural Heritage List
Source: https://en.wikipedia.org/wiki/UNESCO_Intangible_Cultural_Heritage_Lists
Music Highlights include: Albanian folk iso-polyphony (Albania) Ahellil of Gourara (Algeria) Tango (Argentina, Uruguay) Duduk and its music (Armenia) Kochari, traditional group dance (Armenia) Art of Azerbaijani Ashiq (Azerbaijan) Craftmanship and performance art of the Tar, a long-necked string musical instrument (Azerbaijan) Art of crafting and playing with Kamantcheh/ Kamancha, a bowed string musical instrument (Azerbaijan, Iran) Heritage of Dede Qorqud/ Korkyt Ata/ Dede Korkut, epic culture, folk talks and music (Azerbaijan, Kazakhstan, Turkey) Baul songs (Bangladesh) Language, dance and music of the Garifuna (Belize, Guatemala, Honduras, Nicaragua) Mask dance of the drums from Drametse (Bhutan) Pujllay and Ayarichi, music and dances of the Yampara culture (Bolivia) Samba de Roda of the Reconcavo of Bahia (Brazil) Frevo, performing arts of the Carnival of Recife (Brazil) Bistritsa Babi, archaic polyphony, dances and rituals from the Shoplouk region (Bulgaria) Cultural practices and expressions linked to the balafon of the Senufo communities of Mali, Burkina Faso and Cote d’Ivoire (Burkina Faso, Mali, Cote d’Ivoire) Ritual dance of the royal drum (Burundi) Royal ballet of Cambodia (Cambodia) Polyphonic singing of the Aka Pygmies of Central Africa (Central African Republic) Baile Chino (Chile) Kun Qu opera (China) Guqin and its music (China) Uyghur Muqam of Xinjiang (China) Farmers’ dance of China’s Korean ethnic group (China) Grand song of the Dong ethnic people (China) Hua’er (China) Nanyin (China) Tibetan Opera (China) Xi’an wind and percussion ensemble (China) Yueju opera (China) Peking opera (China) Mongolian Urtiin Duu (Traditional Folk Long Song) (China, Mongolia) Mongolian art of singing: Khoomei (China, Mongolia) Marimba music, traditional chants and dances from the Colombia South Pacific region and Esmeraldas Province of Ecuador (Columbia, Ecuador) Gbofe of Afounkaha, the music of the transverse trumps of the Tagbana community (Cote d’Ivoire) Zaouli, popular music and dance of the Guro communities in Cote d’Ivoire (Cote d’Ivoire) Two-part singing and playing in the Istrian scale (Croatia) Becarac singing and playing from Eastern Croatia (Croatia) Nijemo Kolo, silent circle dance of the Dalmatian hinterland (Croatia) Klapa Multipart singing of Dalmatia, southern Croatia (Croatia)  Medimurka popevka, a folksong from Medimurje (Croatia) La Tumba Francesa. (Cuba) Punto (Cuba) Slovacko Verbunk, recruit dances (Czech Republic) Cocolo Dance Drama Tradition (Dominican Republic) Seto Léelo, Seto Polyphonic singing tradition (Estonia) Baltic (Estonian, Latvian and Lithuanian) song and dance celebrations (Estonia, Latvia, Lithuania) Maloya (France) Fest-Noz, festive gathering based on the collective practice of traditional dances of Brittany (France) Gwoka: music, song, dance and cultural practice representative of Guadeloupean identity (France) Georgian polyphonic singing (Georgia) Organ craftmanship and music (Germany) Rebetiko (Greece) Rabinal Achi dance drama tradition (Guatemala) Koodiyattam, Sanskrit Theatre, Kerala (India) Mudiyett: a ritual theatre of Kerala (India) The Tradition of Vedic Chanting (India) Ramlila - the Traditional performance of the Ramayana (India) Kalbelia: folk songs and dances of Rajasthan (India) Chhau dance: a tradition from eastern India (India) Buddhist chanting of Ladakh: recitation of sacred Buddhist texts in the trans-Himalayan Ladakh region, Jammu and Kashmir, India (India) Sankirtana, ritual singing, drumming and dancing of Manipur (India) Indonesian Angklung (Indonesia) Three genres of traditional dance in Bali (Indonesia) Radif of Iranian music (Iran) Music of the Bakhshis of Khorasan (Iran) The Iraqi Maqam (Iraq) Uilleann piping (Ireland) Opera dei Pupi, Sicilean Puppet Theatre (Italy) Canto a tenore, Sardinian Pastoral Songs (Italy) Traditional violin craftsmanship in Cremora (Italy) Reggae (Jamaica) Nogaku Theatre (Japan) Ningyo Johruri Bunraku Puppet Theatre (Japan) Kabuki Theatre (Japan) Akiu no Taue Odori (Japan) Chakkirako (Japan) Dainichido Bugaku (Japan) Gagaku (Japan) Traditional Ainu dance (Japan) Kumiodori, traditional Okinawan musical theatre (Japan) Sada Shin Noh, sacred dancing at Sara shrine, Shimane (Japan) The Art of Akyns, Kyrgyz Epic Tellers (Kyrgyzstan) Khaen music of the Lae people (Laos) Zajal, recited or sung poetry (Lebanon) Sutartines, Lithuanian multipart songs (Lithuania) Kopachkata, a social dance from the village of Dramche, Pijanec (Macedonia) Mak Long Theatre (Malaysia) Parachicos in the traditional January feast of Chiapa de Corzo (Mexico) Pirekua, traditional song of the Purepecha (Mexico) Mariachi, string music, song and trumpet (Mexico) The Christmas Carols in masculine hoarde (shared with Romania) (Moldova) The Traditional Music of the Morin Khuur (Mongolia) Tsuur end-blown flute (Mongolia) The Chopi Timbila (Mozambique) Traditional Mauritian Sega (Mauritius) Bhojpuri folk songs in Mauritius, Geet-Gawai (Mauritius) Sega tambour of Rodrigues Island (Mauritius) El Gueguense (Nicaragua) Huaconada, ritual dance of Mito (Peru) The scissors dance (Peru) Virgen de la Candelaria, Harakmbut sung prayers of Peru’s Huachinpaire people (Peru) The Hudhud Chants of the Ifugao (Philippines) The Fade, urban popular song of Portugal, performance genre incorporating music and poetry widely practiced in the country and among emigrant communities (Portugal) The Cante Alentejano, polyphonic singing from Alentejo, southern Portugal (Portugal) Pansori Epic Chant (South Korea) Cheoyongmu (South Korea) Ganggangsullea (South Korea) Namsadang Nori (South Korea) Gagok, lyric song cycles accompanied by an orchestra (South Korea) Arirang, lyrical folk song in the Republic of Korea (South Korea) Nongak, community band music, dance and rituals in the Republic of Korea (South Korea) Doina (Romania) The Christmas Carols in masculine horde (shared with Moldova) (Romania) Lad’s Dances (Romania) Alardah Alnajdiyah, dance, drumming and poetry in Saudi Arabia (Saudi Arabia) Almezmar, drumming and dancing with sticks (Saudi Arabia) Kolo, traditoinal folk dance (Serbia) Fujara and its music (Slovakia) Music of Terchova (Slovakia) Bagpipe Culture (Slovakia) Multipart singing of Horehronie (Slovakia) Whistled language of the island of La Gomera (Spain) Flamenco (Spain) The chant of the Sybil on Majorca (Spain) Khon, masked dance drama in Thailand (Thailand) The Lakalaka, Danes and sung speeches of Tonga (Tonga) Ashik tradition (Turkey) Kushtdepdi rite of singing and dancing (Turkmenistan) Cossack’s songs of Dnipropetrovsk Region (Ukraine) Sashmaqom Music (Uzbekistan) Space of gong culture (Vietnam) Nha Nhac, Vietnamese court music (Vietnam) Qual Ho Bac Ninh folk songs (Vietnam) Art of Don ca tai our music and song in southern Vietnam (Vietnam) Vi and Giam folk songs of the Nigh Tinh (Vietnam) Song of Sana’a (Yemen) The Mbende Jerusarema Dance (Zimbabwe)
**In need of Urgent Safeguarding** Yalli (Kochari, Tenzere) traditional group dances of Nakhchivan (Azerbaijan) Dikopelo folk music of Bakgatla ba Kgafela in Kgatleng District (Botswana) Traditional Vallenato music of the Greater Magdalena region (Columbia) Colombian-Venezuelan Ilano for songs (Columbia, Venezuela) Ojkanje singing (Croatia) Traditional Hand Puppetry - Al-Aragoz (Egypt) Saman dance (Indonesia) Naqqali, Iranian dramatic story-telling (Iran) Glasoechko, male two-part singing in Dolni Polog (Macedonia) Mongol Biyelgee, Mongolian traditional folk dance (Mongolia) Folk long song performance technique of Limbe performances - circular breathing (Mongolia) Taskwiwin, martial dance of the western High Atlas (Morocco) Eshuva, Harakmbut sung prayers of Peru’s Huachipaire people (Peru) whistled language (Turkey) Bigwaka, gourd trumpet music and dance of the Busoga Kingdom in Uganda (Uganda) Ma’di bowl lyre music and dance (Uganda) Ca try singing (Vietnam) Xoan singing of Phu Tho Province, Vietnam (Vietnam)
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prwizard · 2 years
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Jalaj Kumar Anupam says that very soon the whole world will talk about Bhojpuri literature and culture
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Jalaj Kumar Anupam, a native of Champaran Bihar currently resides in Delhi, has been constantly engaged in enhancing the prestige of Bhojpuri language. He believes that very soon, the world will talk about Bhojpuri literature and culture. He is the author of two books, the first book titled “Hamar Pahchan” published in the Bhojpuri language on behalf of Maithili Bhojpuri Academy, Delhi Government. His second book is a children’s poetry collection titled “Atkan-Achkan”, which was duly appreciated and received critical acclaim by Bhojpuri scholars across the globe. He says that Dr Brajbhushan Mishra and Dr Ashok Dwivedi contribute to make me fond of Bhojpuri literature.
 The author shares his journey and experience in a crux, “when he first arrived in Delhi in the year 2013 and he observed that there are many institutes working for Bhojpuri but there is lack of unity among them. He made an attempt to bring some institutions together but unfortunately, but that effort was unsuccessful. In 2015, he started a blog in the name of Bhojpuri Manthan to discuss different aspects Bhojpuri. Furthermore, he explained that when he watched the literature festival of other languages being held in Delhi he felt that why there could not have a Bhojpuri literature festival whose literary heritage is already so rich. So he made a draft of the Bhojpuri literature festival and tried contacting few people. Initially, it was a bit challenging for him as people did not show much interest in it but apparently and eventually Avinash Tripathi, the founder of the Bhojpuri Association of India went ahead and gave him encouragement of forging ahead. After this Mr Ajit Dubey, President of Bhojpuri Samaj in Delhi also extended a lot of support. And in this way, the first literature festival of Bhojpuri was held in 2018 in the association of “Bhojpuri Asociation of India” and “Maithili Bhojpuri Academy, Delhi Government”. In 2019, we also performed the same.
 Jalaj further explained that he always keeps on talking to Mr Ajit Dubey and takes information about the movement related to the recognition of Bhojpuri in the Eighth schedule. His own belief is that before the Eighth Schedule government adds Bhojpuri, the government should bring Bhojpuri as a language in the Sahitya Akademi. Education which is in the concurrent list, based on this, states should put pressure on UGC and include Bhojpuri. By which the children who are studying in Bhojpuri and moving ahead have a bright future!
 Jalaj says that Bhojpuri is the most spoken language in India after Hindi. Respecting this language is like giving respect to Guru Gorakhnath and Kabir. Remembering the first President of the country, he says that when he used to correspond with his wife, his language was Bhojpuri. There is immense potential in Bhojpuri and Bhojpuri regions. The government should take meaningful steps for the development of Bhojpuri. He says with great sadness that Bhojpuri is constantly falling into the maze of deceit and conspiracies. He expresses hope from the present central government that this government is in favour of Indian languages. Now, it has to be seen whether it can do justice to the identity of the 25 crores Bhojpuriya people.
 Every kind of rich literature is already present in Bhojpuri and is being written continuously even today. Since there is less talk on Bhojpuri literature in cities like Delhi-Mumbai, many people do not know, and there is confusion among the people. He expresses that very soon, the whole world will talk about Bhojpuri literature, and for that, Bhojpuri people will have to come forward and fight for it.Jalaj has recently got the responsibility of Sanskar Bharti, the convener of Bhojpuri cultural group in Bihar state and minister in North Bihar province. He is preparing to organize the first art festival of Bhojpuri this year through Sanskar Bharti Bihar in Champaran.
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indyaspeak · 4 years
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bollywoodirect · 7 years
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Remembering famous lyricist #Anjaan on his 20th death anniversary. Anjaan (24 October 1929 – 13 September 1997) was the nom-de-plume of Lalji Pandey, the Hindi movie lyricist famous for songs such as "Khaike Paan Banaraswala" from Don and "Rote Hue Aate Hain Sab" from Muqaddar Ka Sikandar. Anjaan, a native of Varanasi, often used the Bhojpuri dialect of Hindi in his lyrics. His sonSameer Anjaan is also a famous lyricist. Anjaan got his first break with the 1953 Premnath production Prisoner Of Golconda where he wrote "Lehar Yeh Dole Koyal Bole" and "Shaheedon Amar Hai Tumhari Kahani". After this he remained fairly busy, but in small films. His only popular number was "Mat Poonch Mera Hai Mera Kaun Watan" (Lambe Haath) with music by G. S. Kohli, with whom he did many small films. He was first noticed for his work with the Raaj Kumar film Godaan, based on the Premchand classic, with music by Ravi Shankar. This film got him a few good assignments in the mid - 60’s with big composers like O. P. Nayyar ("Aap Ke Haseen Rukh") in Guru Dutt’s Baharen Phir Bhi Aayengi and G. P. Sippy's Bandhan, which established him commercially with "Bina Badraa Ke Bijuriya Kaise Barse". This also saw the forging with fellow lyricist Indeevar and composers Kalyanji-Anandji. This was followed by songs in Kalyanji - Anandji’s Kab? Kyon? Aur Kahan?. Shankar - Jaikishan’s Umang, Rivaaj and Ek Nari Ek Brahmachari, Ravi's Vandana ("Aap Ki Inaayat Aap Ke Karam"), R. D. Burman’s Hungama (‘Wah Ri Kismat’, ‘Suraj Se Jo Kiran Ka Naata’ which was the first ever song filmed on Zeenat Aman) and a few other films. And yet it took Anjaan many more years before he emerged as a very prolific writer who amalgamated a lot of his commercial songs with lyricism and poetry. He was at his best in the Amitabh Bachchan films of Kalyanji Anandji, beginning with Do Anjaane ("Luk Chhip Luk Chhip Jao Na") in 1976. Followed Hera Pheri ("Barson Purana Yeh Yaarana"), Khoon Pasina ("Title Song" and "Bani Rahe Jodi Raja Rani Ki"), Muqaddar Ka Sikandar ("Rote Hue Aate Hain Sab", "O Saathi Re", "Pyar Zindagi Hai", "Dil To Hai Dil"), Don with his biggest hit of the career "Khaike Paan Banaras Wala", ("Ee Hai Bambai Nagariya", "Jiska Mujhe Tha Intezaar"), Lawaaris ("Jiska Koi Nahin", "Kab Ke Bichhde") and Jaadugar. He also wrote hits for Bachchan with other composers like Rajesh Roshan (Do Aur Do Paanch, Yaarana), Bappi Lahiri (Namak Halaal, Sharaabi) and R. D. Burman (Mahaan). His liaison with Prakash Mehra also yielded hits like Zindagi Ek Juaa, Dalaal and other films like Jwalamukhi, Ghunghroo, Mohabbat Ke Dushman, Muqaddar Ka Faisla, Imaandaar, Chameli Ki Shaadi and Himalay Se Ooncha. In the 80’s, he even emerged as the writers of choice for Mithun Chakravarty’s films like Disco Dancer and Dance Dance and struck a gold mine in the films of Bappi Lahiri, Shibu Mitra and B. Subhash. Among his hits with them were the songs of Aandhi Toofan, Ilzaam, Aag Hi Aag, Paap Ki Duniya and Tarzan. His work with others was almost schizophrenically different, with songs like R. D. Burman’s "Yeh Faasle Yeh Duriyan" (Zameen Aasman), "Laagi Lag Jaaye Logon" (Poonam / Anu Malik), "Ganga Mein Dooba" (Apne Rang Hazaar), ‘Meri Saanson Ko Jo’, "Na Jaane Kaise" and "Woh Woh Na Rahe" (Badaltey Rishtey, "Hamrahi Mere Humrahi" (Do Dilon Ki Daastaan), ‘Yashoda Ka Nandlala (Sanjog), ‘Sadiyan Beet Gayi’ (Triveni) and the beautiful songs of Eeshwar (all these films were with Laxmikant-Pyarelal showing a poetic vein). Another major hit was Anu Malik’s breakthrough film Ek Jaan Hain Hum. His health suffered a major setback in the early 90’s, though he delivered hits with Zindagi Ek Juaa, Dalaal, Ghayal and the 1990 chartbuster "Gori Hain Kalaiyan" (Aaj Ka Arjun) and his last hit Shola Aur Shabnam (1992). His other films in the 90’s included Vishnu Devaa, Parakrami, Insaniyat, Police Aur Mujrim, First Love Letter, Aandhiyaan, Phool Bane Angaarey and others. In the 60’s, Anjaan also wrote several non - films albums composed by Shyam Sagar and sung by Mohammad Rafi, Manna Dey and Suman Kalyanpur. Rafi’s song "Main Kab Gaata" was a big hit then. Anjaan also entered the world of Bhojpuri films with the massive hit Balam Pardesia in the late 70’s. The song "Gourki Patarki Re" became a rage and set the stage for many more films with a resurgent Chitragupta and laying the foundation for the personal - and later - professional liaison between their respective sons Sameer and Anand-Milind. Anjaan was a very successful all - rounder for almost 20 years in Hindi films, but his poetry still had the colour of Bhojpuri language and the ethos and culture of Uttar Pradesh, the citadel of hindi. This is why, says Sameer. he could write "Khaike Paan", "Bina Badra Ke Bijuriya" and similar songs with great skill. His own favourites were his songs from Apne Rang Hazaar and Badaltey Rishtey and "Maano To Main Ganga Maa Hoon Maano To Behta Paani" and "Chal Musafir" from Ganga Ki Saugandh. A few months before his death on 13 September 1997, his only book of poems, Ganga Tath Ka Banjara (A Gypsy from the Shores of the Ganges) was released at the hands of Amitabh Bachchan. Like बॉलीवुड डायरेक्ट Bollywoodirect
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prakask · 5 years
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6 Best Tamil Films From 2018 That You Must Watch!
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Since the cinema came into existence, varieties of films have been coming out to the audience from the nook and corner of the globe. Indian cinema plays the biggest role in producing films and generating revenue from it. As we all know Indian cinema involves many other national as well as regional film industries which popularly include Hindi Cinema, Tamil, Telugu, Malayalam, Kannada, Marathi, Bhojpuri, Punjabi, and Assamese among others. Above all, Tamil cinema is an integral part of Indian cinema. It has been very content since its origins. Tamil cinema has produced many legendary directors, producers, cinematographers, editors, actors, actress, musicians, and writers and so on. The year 2018 proved to very significant for the film industry as in this year films from art house cinema to mass cinema created a buzz in the country. On one hand, when films like “2.0,” made history by being one of the highest budget Indian film of all time, at the other hand, films like “To Let” created history by changing the course of the Tamil cinema by its content and representation. Here, we will be discussing about six most important Tamil films of 2018 which can’t be left behind by a true cinephile. The list of these films is based on the writer’s own taste and understanding, however, your suggestion is welcome. Feel free to share your list of Tamil best films from 2018. Pariyerum Perumal
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This is one of the finest, genuine and intense movies I have watched in the year 2018. As said by K.R. Narayanan, “inherited caste system still remains with us”.  The movie brilliantly portrayed the harsh reality of our society, about the ideologies of caste, inequality, life of oppressed people and honor Killings. It’s hard hitting and thought provoking. No hero build ups, no lengthy dialogues, no taking revenge, no blame games, everything is portrayed in a subtle way, carefully balanced from all the aspects. The film boldly asks major questions revolving around the caste system and beautifully portrays a message for the same without ever sacrificing the story-line. Very depressing yet very eye opening movie brilliantly acted out by the majority of the cast, mainly by the protagonist Kathir, who played his role with ease and precision and aptly captured by Sridhar. Some of the songs bring out the emotions pointing to the evils of the rotten system. You feel exhilarated and empowered by the end of the movie.  Vada Chennai
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Vada Chennai lives up to the expectation and hype it created since it was announced years back. The movie is raw yet so refined; the story telling is complex yet simple. The movie in itself has badness with goodness. It’s a perfect mix of things you never thought would sync together. The camera work and realistic feel is incredible. Very well edited and acted out by a talented cast, this movie which portrays a natural north Chennai slum not only is a masterpiece but also an eye candy for the viewers. However, what works great for this movie is its attention to detailing, strong characterization, art direction, background score and the non-linear story telling that keeps us engaged and intrigued throughout the film. This film is directed by one of most promising young breed of Tamil film director called Vetrimaaran – who got name and fame by making one of the most radical, realistic, original and authentic film ‘Visaranai’ in 2015 which was India’s official entry for the Oscars. Vada Chennai is undoubtedly the finest work of Vetrimaaran. Ratsasan
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The opening frame of this film will remind you of the Korean classics ‘Memories of Murder and I saw the Devil’. It is one of most nerve wreaking thriller in a long time in Indian Cinema, you will be in the edge of the seat for the entire movie. You can’t even imagine that this movie was directed by the same guy who has directed Mundasupatti (a hard-core romantic drama). Such a strong story line and he has handled with ease. Each and every character in the movie has done a fabulous job. The unpredictability is another major element that you will fall for while watching it. BGM was right there bringing you the much needed anticipation throughout the movie. Psycho thriller genre is not very successful in Tamil cinema as very few directors have explored this area. However, the director of the film Ram Kumar has definitely done justice to his work bringing us an ambient visual treatment. Climax of the films more intelligent, terrifying, and hypnotizing and the entire team made sure that there are no logical flaws or whatsoever in the movie. 96
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Love is an abstract word that no dictionary can define but its effect on humanity and life as such is astonishing. Some died, sacrificed themselves and some lived for it. This movie has brought out that beauty which made us realize that the word love is not just a few late night calls, letters and gifts; it’s all about giving a bit of you to another person. This film strokes all the right string of emotions with its artistic subtlety. The 90s, the dying years of the ‘simple life’ and perhaps the one snapshot in time that most people over 30 today would want to relive forms the premise of this story. Each and every frame in the movie is admirable. Clear cut scene delivery. Sound effects are brilliant from the bird’s chirping when Ram and Janu are talking in the school campus to the rain sound when they are having conversation at Ram’s apartment, audience immersed into the film very easily. It’s a very simple yet hitting film which showcases how humans are trapped into social norms lose their own self in between. In some of the scenes you will get glimpses of ‘In the Mood For Love’. It has been executed flawlessly. Merku Thodarchi Malai
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‘Poetry in Motion’ describes this film in a completely pure way. Story of the film revolves around a group of landless workers living along the foothills of the Western Ghats in India. It depicts how the introduction of commercialization creates conflicts in the lives of villagers. There are very few Tamil films which has this level of cinematography. The camera simply goes from one place to another and you too as a viewer travel with the camera. Characters and locations look as natural as these could be. Legendary music composer, Illayaraja has composed the background Music of the film which makes the visuals look more appealing, engaging and impactful. The film ends with a series of shots that show the helpful nature of humans who go beyond religion, caste, creed and region to help on another.  In one scene, a Muslim man provides land to the hero without asking for money. In another, the heroine takes debt for the marriage of a girl who is not related to her. Tamil Superstar Vijay Sethupathi has produced the film under his banner and he should be appreciated for supporting such a radical and experimental film. Mercury
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One of the most radical and new age film maker Karthik Subbaraj has already made a name of himself in the Indian film industry, especially in Tamil cinema with films like Pizza, Jigarthandha and Iraivi. Mercury is an addition into his filmography which clearly indicates the versatility of his film making style. Rommance, horror, reality and brutality are the elements that his films consist. Mercury is undoubtedly another master piece from Subbaraj. It is a Silent movie and there is also a strong reason for the film being silent. You can understand that within five minutes of the movie. The story revolves around five people who are accidentally driven in to an old abandoned mercury factory and their attempts to escape from there. This film speaks about the environmental abuse by the corporate and also the emotional complexities of life. The cinematography, color tone and Background music is amazing. The film is described as silent but ends up being loud, noisy and disturbing. The list and its sequencing are based on cinematic sensibilities of the writer. However, you are welcome to give your suggestion.         Read the full article
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mredlich21 · 7 years
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I’ve been tossing around the idea of doing a post that tries to put Bahubali 2‘s all India success into context.  And then both T.J Stevens and Cerusee indicated that they would be interested, so the poor Samarth-Mukherjee family has to wait another week for me to finish them, because I want to try a brief history of “regional” films.
Non-Usual Disclaimer: Hindi film is my area, I know all kinds of things about Hindi film, but I only have the tiniest knowledge of non-Hindi films from India.  So I will do my best, but forgive me if I miss things.
  Indian film did start in Bombay, everyone agrees on that.  The actual film is disagreed on, it was either Raja Harischandra in 1913 or Shree Pundalik in 1912.  But either way it was in Bombay where it started.  And then film spread very very rapidly through out the rest of India, with multiple film centres popping up for each language.
And it wasn’t just a matter of different languages.  Because a language isn’t just a language in India.  You might as well say that the only difference between Spain and Sweden is language.
Bengali films tended to be literary, complex social issues and characters and so on.  Marathi films had a kind of hearty earthy comedy.  And the Telugu films were epic historicals.  And so on and so forth.
In the silent era, there was some travel between industries, since it was a simple matter of swapping out intertitles to open up films between language groups.  But there wasn’t as much travel as you would think, audiences liked what they liked, and it wasn’t just about the language the intertitles were in.  It was about the stories being told, familiar stories from childhood, and the architecture, and the character names, and everything else.
(remember my epic Devdas posts?  remake after remake after remake?  Because each audience wanted a version in their own language.  I didn’t even talk about the Telugu version!)
Sure, there were cross-overs.  Bengali to Hindi was a common one in that era, Devdas and Parineeta.  But the cross-overs tended to increase as there was actual mass migrations of ethnicities.  So, after the Bengal famine, more and more Bengali filmmakers moved to Bombay, along with massive groups of refugees, and the Hindi industry shifted to accommodate them.  And there was an influx of Urdu poetry and the creation of the “Muslim Social” genre after Partition, when masses of artists from the Lahore industry, along with more refugees, suddenly found themselves part of the Hindi audience.
(Chaudvin Ka Chand, in Hindi and Urdu, set in Lucknow, and produced and filmed in Bombay)
But, as we all know, the south was something different entirely.  Bengali and Hindi, Urdu and Hindi, dozens of other smaller regional languages and societies had elements in common.  The audience members shifted back and forth across borders, and so did artists.  And a Hindi audience could vaguely follow a Bengali film, the architecture wasn’t that different, neither were the clothes or the religious festivals or any of the rest of it.  It wasn’t the same, I definitely don’t want to say it was the same.  But it was similar.
But the south, that was something different.  Just as Bombay attracted artists from all over the north of India, so did Chennai/Madras start attracting artists from all over the south.  And while the Tamil audience was not the same as the Telugu audience, they were similar.  Much more similar than Tamil and Bengali, say.
I’m not talking about actual film styles here.  Or not only about film styles.  Bengali social dramas with strong female characters share a lot of Venn diagram elements with Tamil social dramas with strong female characters.  But it’s the little things, the kind of pictures on the walls, the colors used in the costumes, the way of doing hair, it’s all just different if it’s not from your home region.
(Two strong 1970s heroines, but one is Tamil and one is Bengali and they look totally different.  In little bitty ways)
And you combine that with the genre differences that are there, and it is all just too different to cross-over.  If you are raised on Telugu historical epics and action films, with heroes wearing lungis and heroines who never wear Salwars, with mustaches on the men and heavy eye-liner on the women, and Bharat Natyam dancing instead of Kathak, than any other kind of film from anywhere else in India just isn’t going to feel “right”.
And so by the 1950s, Indian film had settled down into a nice segmented audience with a nice segmented map.  Tamil films and Telugu films played side by side, each taking one half of the southern regions with the occasional blurry areas that they shared.  Bengali films stayed fairly firm and steady in the East.  And there were the smaller areas, each with their own little personalities, Bhojpuri and Malayalam and all the others.  Tiny hidden gems.
And thinly smeared all over north India, like butter that can’t quite cover the toast, was Hindi.  Every other genre has this strong identity, specific to particular ethnicities, but Hindi kind of doesn’t.  There’s quite a bit of Punjabi in there, and some Marathi, and a touch of Bengali, a little Gujurati, and this that and the other thing.  But it is a rare Hindi film that makes you go “yes!  That is exactly and specifically what it was like to grow up in my hometown!”
(Chashme Baddoor was one of those rare Hindi films that actually felt like it was in a real place, and then of course it got remade as a ridiculous sex farce)
Hindi played down south too, just not as much.  But it did play at least.  If you wanted to, you could see a big release anywhere in India.  Unlike the southern films, which would rarely make it out of the southern half of the country, and even more rarely overseas.
And this was life from, say, 1950 to 1980.  Everyone had their regional language films as a main course, with Hindi as a side dish.  And in most areas in the south, you had your local films as a dessert on top of the Tamil and/or Telugu main course.  Languages like Malayalam had their own industry, but they weren’t bringing out films every single week, if you wanted to go to the movies each Friday, you would primarily be watching Tamil/Telugu and the release in your own language would be a special occasion.  And then there would be Hindi, if there was nothing else, or if there was something really remarkable, you might as well watch it.
And then in the 1980s, things started to shift.  Not artistically at first, but technically.  VHS came in.  Suddenly if you had grown up in Madras and were now living in Delhi for work, you could just rent a movie from home instead of suffering in some Hindi theater.  And if you were living in New York, you no longer had to suffer through some Hollywood film, you could rent a Hindi film from back home too.
(Aw, I’m all sentimental for VHS now!)
Hindi film went from being spread very very thinly all over India to being spread even more thinly all over the world.  The flavor kind of got sucked out of it, you know?  It became truly “Indian film” with no real specific identity.  And I say that as someone who loves Hindi film!  But if I watch it, I might pick up a few words of Hindi and a basic idea of the Ramayana and see Marine Drive in Bombay about a million times.  But I will never really get an Idea of what it is like to live in a village in India, or on the streets of a city, or the political history of the country, or the artistic traditions, or any of the rest of it.
There was a lot of other stuff going on in the 80s too of course.  Amitabh had kind of taken over the industry, with his action films, and the women and children were being driven out of theaters, there was a general artistic decline.  And, this is my personal theory, but I think this artistic decline was self-perpetuating because great art attracts great artists.  If I am a filmmaker in, say, Kerala.  And I am watching amazing films coming out of Bombay in the 1970s, the heyday of Salim-Javed and Yash Chopra and all those other brilliant people.  Then I will think “boy, I want to go to Bombay and work with these people!”.  But if I am that same filmmaker in Kerala in the late 80s and I am watching the current Hindi films, one repetitive chauvinistic action film after another, I am going to want to stay where I am and work with all the other interesting people who are staying in Kerala as well.
(I really need to watch Aalkkoottathil Thaniye again.  Also, this kind of deep character drama is what Kerala was making while Hindi films were cranking out Amitabh movie after Amitabh movie)
And so, in the 1980s, for the first time those regional films started to chip away at the traditionally solid Hindi audience.  Tamil and Telugu hits started making waves in Bombay.  And being remade in Bombay.  Boney Kapoor, that’s how he made his money to start with, going down to Chennai and funding some southern stuff, and then taking those same scripts and remaking them in Bombay for the Bombay audience.  Taking some southern stars along as well.  Sridevi, of course.  Also Mithun Chakraborty.  Kamal Haasan and K. Balachander, on the slightly more artistic side, also made their way north in this era.  And the Hindi industry started running scared.
Look at the old Agneepath, for example.  It was supposed to be a major Amitabh hit.  But not only was Mithunda brought in as a second hero, his character was aggressively southern, a desperate attempt to grasp at the audience that Hindi films could feel slipping away.
  But there was nothing to worry about, really.  It was just a natural shift of the industry.  Hindi films were in an artistic funk, and were confused by the new reality that forced them to fight a bit harder to keep their audience.
And then it all got sorted out in the 1990s.  Hindi films firmed up their domination globally, and started to find their new home in India in the slightly higher priced theaters, making going to the theater an experience again, something that no VHS tape could compete with.  And regional films firmed up their audience as well.  And found their own global presence, I’m sure we have all heard stories of how big Rajnikanth is in Japan.  And obviously Tamil films rule Malaysia with no competition able to break through, and I am sure there are various other older pockets around the world I don’t know about.
This is also the era when the 3 biggest artistic breakthroughs from the south came up to Bombay.  Which kind of proved that the boundaries were firm, I mean, we don’t talk about how Yash Chopra was a Punjabi filmmaker in the same way that we talk about Mani Ratnam as a Tamil director.  Because he went back home, you know?  He made Roja, it was dubbed in Hindi and released all over the country and became a massive hit.  The first film (so far as I know) to do that.  And then Ratnam went back home to Madras and kept working there.  Heck, his production company is called “Madras Talkies”!  And Ram Gopal Verma did the same thing, came up north to make Rangeela, massive hit, and Satya, massive hit, and then kept shuttling back and forth between Hindi and Telugu films, never really landing on one more than the other.  And of course AR Rahman has made his commitments very clear, 3 Tamil films to every one Hindi or English.  Mostly, we know the boundaries are firm because these are called “crossover artists” and their films are “crossover films”.  Which means there must have been a border for them to cross over.
(If you want to know more about Ratnam and Rahman, you can check out my post on them)
And this brings us to the 2000s!  When everything changed again, some more.  Firstly, there was that global audience.  It had just started to spread in the 80s/early 90s.  But by 2000, it was firmly in place.  Hindi films played in mainstream theaters all over the world.  Non-Hindi films were slowly following their lead.  They both started the same way, small community groups renting out church basements and playing reels they’d shipped over through some funky little distributor.  And then slowly getting big enough to rent a theater in a multiplex and sell tickets, and get the reel from a real grown-up distributor that had started investing in Indian film.  And finally getting so big that regular American theaters and distributors were dealing directly with Indian producers.  Only, Hindi films started out like that in the early 90s, and non-Hindi films started out like that about 5-10 years later.  They have been running to catch up ever since and just in the past few years, they finally have. (if you want to know more about the global audience, you can check out my thesis.  And if you want to know more about Hindi film history in general, check out my book)
Let me back up for a second to that 50s-80s era when every language group had its own set audience and Hindi film kind of filled in the gaps.  One huge thing to remember about this era is that there were no “all India hits” of the way we have them now.  Because there were no all India releases.  It was a simple matter of the number of prints made up.  Back then, dozens of prints were a big deal.  Now we are talking about thousands upon thousands of prints.  Bahubali 2 supposedly took up 80% of all screens in India.  I don’t believe that for a second, by the way, but just the fact that the producers feel comfortable making that kind of a lie tells us how big the releases are now.
So when I say “Hindi film filled in the gaps”, what that meant was that some Hindi print that had started out in Bombay and months later slowly made it’s way to Madras would be used to fill in an empty screen in a theater that was mostly playing first run Tamil stuff.  Hindi film didn’t release all at once everywhere it the country and unite the entire audience with one story.  No, it was more that some poor tired print would make it’s way very very slowly over the course of several years from Bombay to Madras to Calcutta to Hyderbad to Delhi, with a little jaunt over to New Jersey, and then maybe Egypt or Jamaica, and finally take its poor sad self over around a tour of the hinterlands of India, with whole reels missing and the sound cutting out and half the audience having already seen it somewhere else but still ready to watch it again.  This was an “all India hit”.  A movie that could play and replay for decades anywhere in the country.  Not a film that released simultaneously in every theater everywhere.  If you are talking about a film like that, arguably the non-Hindi films were more likely to do total coverage of an area.  Just because they weren’t spread so thin.  You could take those same 30 prints and manage to fill every major theater in the region, and every person in the region could watch the same thing opening day.  Or at least opening month.  Unlike Hindi, where those 30 prints would be split between Bombay and Delhi and Calcutta and Chandigarh and a handful of other cities.  And only one or two theaters in those cities.
Now, coming back to the late 90s/early 2000s.  Hindi film all of a sudden had soooooooooooo much money (blah blah, liberalization and industrialization and some other stuff you can read about in my nepotism post).  And it started shifting from the idea of an “all India hit” being a film that could play and replay all over the country as it slowly traveled, to the idea of a hit that released all over India simultaneously and did equally well everywhere.  And then, shortly after, a film that released all over the world and did equally well everywhere.
(Hum Aapke Hain Koun, first film to really crack the NRI market.  By giving them a generalized happy family version of India)
And it worked, for a while.  Because Hindi film had a lot of experience in appealing to everybody.  Like vanilla ice cream.  It’s not necessarily anyone’s favorite, but no one really hates it, you know?
But now Hindi film is beginning to hit another one of those draggy periods of artistic funk.  And it’s lost track of it’s audience again.  India as a whole is getting terribly divided.  It’s the multiplex revolution, theaters that used to be a place where everyone watched together, maybe some in upper and some in lower stalls, but at least all in the same place, are now getting completely segregated.  And Hindi film seems only able to appeal to the multiplex audience.  It’s easier that way.  Once you have gone to an English medium school, and then an international college, and now work for a multi-national corporation, all the rough edges are sort of scraped off and everyone is the same whether you grew up in Bombay or Hyderabad or New York.  And you can all enjoy some movie with an NRI hero living in London, and a heroine who is a fashion designer, and dialogue that is half English and half very high class Hindi.
But no one else can enjoy those movies.  It’s not just that the lower classes in India can’t relate to the characters, the second generation in America can’t either.  Or the negative generation in America.  “Negative” meaning the uncles and aunties and mothers and fathers who are brought over on Visas.  It’s just the middle generation that gets some enjoyment out of the films.  They’ve gone too far, gotten too neutral until they are less vanilla ice cream and more, I don’t know, skim milk.  You still don’t hate it, but you don’t exactly enjoy it.
And thus, the rise of the non-Hindi films!  Because they still have some flavor to them.  And suddenly instead of Hindi films filling in the gaps in other regions, the other regions are filling in the gaps in the traditionally Hindi territories.  Which, now, means London and New York and Sydney along with Bombay and Delhi.
One thing to remember, Bahubali excepted, is that the non-Hindi films still aren’t really breaking out of their regions.  It’s just that the borders of their regions have expanded.  Punjabi immigrants ended up in Canada and Australia, their films play really well there.  Southern immigrants landed in America, Telugu and Tamil films do well here.  Malayalam films do well in Dubai.  But Punjabi doesn’t play in America, Telugu doesn’t play in Canada, and so on.  The Global hit is as much an illusion as the All India hit.
(You see how this is a Punjabi territory for film?)
My interpretation of the current trends, again Bahubali excepted, is that things are bubbling back down to a healthy level.  The future of Hindi films isn’t in Sultan and Bajrangi Bhaijaan, but in Badrinath Ki Dulhania and Dum Laga Ke Haisha.  Hindi films can use their slightly higher degree of gloss and budget and so on to make movies that most people can enjoy.  But they can keep their aim smaller, lower budgets and fewer screens, not trying to please everybody and ending up pleasing nobody.  Go back to being the films that play very very well in some places, and can be more or less enjoyed everywhere, in between people watching their “real” movies.  Whether they are watching their “real” movies in Toronto or Chicago or London or Kochi.
Hindi Film 101 One-Off: Bahubali 2 and the Future and the Past of All India Hits I've been tossing around the idea of doing a post that tries to put Bahubali 2…
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indiefilm-blog-blog · 7 years
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Film Review: Anaarkali of Aarah
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Written and directed by first time director Avinash Das, Anaarkali of Aarah tells the story of a performance artist who writes and performs erotic songs with her troupe of poets, musicians, singers and dancers. These performances are mostly watched by men in Aarah, a small town in the Bhojpuri speaking region of India. This film is an entertaining thriller. Don’t be fooled by the upbeat tone of the film or the poster. Even though they are not misleading, this film maintains an undertone of how chilling the seemingly normal may be. Its with this premise that the film opens and grips you then on until the very end.
What would you think of a woman whose profession is singing about the sexual fantasies of men and women? How would you look at someone like that? The lyrics of her songs playfully suggest sexual acts and desire, a topic majorly taboo and thus missing from mass media and public space in India. Anaarkali’s performances are no doubt attended by men because in India, men have a right to sexual desire and fantasy and are allowed to engage in it publicly as long as it involves a woman who does not exist in the sacrosanct space of being a wife/mother/sister of a man. If she does not fall into this category then she is easily classified a whore or of “loose character” and somehow deserving of being mistreated or abused. This is a nationwide phenomena in India and such beliefs hold true for educated upper middle class and upper class men and women, although not as much as they do for the lower classes. Set in the regional background of Bihar, the film questions this mass attitude towards genders. It zooms in on specific participants in such a society of gender politics. The film questions what is widely understood as values, culture and attitude.
From the get go, the filmmaker hopes that Anaarkali isn’t looked at through the lens of gender taboos but of a human being, a person worth knowing, no matter her choice of career. You know her as Anaar- the girl who wears mismatched clothes and no make up in her home, performing household chores and as Anaarkali Aarahwali (from Aarah), the performer, presenting a made up, glittery, sexy version of herself. The contrast makes you admire her talent for transformation. For being a very real, vulnerable person and the mask she, so consciously puts on for her work. Her resilient personality, her passion for her work, her pride in her body, her genuine talent for poetry, music and dance, make her a very likable character. You will easily find yourself rooting for and falling in love with her. Swara Bhaskar essays the role with perfection making her a kind-hearted, lovable Anaarkali.
Sanjay Mishra’s VC saab (Vice Chancellor) comes straight at you from one of those well-traversed sarkaari (government office) corridors reeking of power and corruption. He is seemingly harmless, comical even; without a hint of evil or villainy and does not come across as an exploitative person. Anaarkali’s victim is brave, intelligent and determined. Her true pride and self-love are shown as she refuses to give in to most others trying to dispossess her of her body and emotions. The narrative slowly turns her from a proud and happy performance artist to a tormented being desperately trying to take back control of her life and work while also trying to claim her right to bodily integrity. We surf the details and the depths of gender bias driven by patriarchy and misogyny, fueled by power and corruption. Her struggle soon turns into a fight for her right to do the work of her choice without being judged/punished for it. She never once blames or looks down upon her profession. This is the true victory of this film. Beautiful details will make you want to revisit this film. The costumes are well done, the dialogue crisp and entertaining. This film is definitely one you don’t want to miss.
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sanasharmame · 4 years
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WhatsApp Status Video Downloader App for Android - Video Status Downloader 2020
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crazyjar-blog · 6 years
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Top 100 Bollywood Indian Punjabi and Hindi Rapper Songs List
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Indian Bollywood Punjabi and Hindi Rapper Songs
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Hey folks punjabi Bollywood rap songs are always heart touching, best part  of the punjabi rap songs is they are encourage our feelings to positive side or you can say for your true love. ups and down are always in our life just depending how we pretend to particular situations. So, today we are giving latest Hindi punjabi rap songs list which are awesome and top most Bollywood Punjabi songs. Rapping  is “spoken rhyming lyrics”. The ingredients of rapping include “content”, “flow” (rhythm and rhyme), and “delivery”. Rapping can be delivered over a beat or without any soundtrack. Generally, rap lies between speech, poetry, prose and singing. As a human by default, we are not always in the same mood. Sometimes  we are very happy with small things and sometimes we get upset with very small issues. These things are very common to us. Even it’s a routine life like ups and downs. When we are out of the mood we would love to hear sad songs because the feeling will touch your heart. Here I am giving Hindi sad songs list.
List Of Bollywood Indian Punjabi and Hindi Rapper Songs
Divine farak. Ikka- shuruwat Divine jungli sher Divine feat. Naezy Mere gully mein Naezy aafat Naezy haq hai Ikka sapne Baadshah Batcheet Bappa mourya gaurang Naayak raga Emiway tadak padak Such too much hai muhfaad Sunno raga Jamnapaar raga Jamnapaar harjas and yawar Trippy lekhak Read More :   India Marriage songs List in Hindi                        Top Best Bhojpuri Songs List Latest Collection September                        Ganpati Songs – Ganesh Chaturthi Songs in Hindi and Marathi                        Top 50 Best Bhajan and Bhakti Mp3 Songs Free Download sites
List Of 100 Bollywood Indian Punjabi and Hindi Rapper Songs
TOP 100. Main Hoon Saath Tere- Arijit Singh (Shadi Mein Jaroor Aana) TOP 99. Halka Halka- Shahrukh Khan (Raees) TOP 98. Gori Tu Lath Maar- Akshay Kumar (Toilet-Ek Prem Katha) TOP 97. Itefaq Se (Raat Baki)- Sonakhsi Sinha (Itefaq) TOP 96. Aaj Se Teri- Arijit Singh, Akshay Kumar (Padman) TOP 95. Baat Ban Jaye- Sidharth Malhotra (A Gentleman) TOP 94. Safar- Arijit Singh (Jab Harry Met Sejal) TOP 93. Hum Nahi Sudhrenge- Ajay Devgan (Golmaal Again) TOP 92. Twist Kamariya- (Bareily Ki Barfi) TOP 91. Beech Beech Mein- Shahrukh Khan, Anushka Sharma (JHMS) TOP 90. Lag Ja Gale- (Bhoomi) TOP 89. Mera Inteqam Dekhegi- (Shadi Mein Jaroor Aana) TOP 88. Tere Ishq Mein Jogi- (Shadi Mein Jaroor Aana) TOP 87. Main Kaun Hoon- (Secret Superstar) TOP 86. Darasal- Sushant Singh Rajpoot (Raabta) TOP 85. Bawara Mann- Akshay Kumar (Jolly LLB-2) TOP 84. Pal Kaisa Pal- Arijit Singh (Monsoon Shoutout) TOP 83. Pyar Ho- Tiger Shroff (Munna Michael) TOP 82. Hare Krishna Hare Raam- Commando-2 TOP 81. Butterfly- Shahrukh Khan, Anushka Sharma (JHMS) TOP 80. Jaana Ve- Aksar-2 TOP 79. Paas Aao- Sushant Singh Rajpoot, Kriti Sanon, Armaan Malik TOP 78. Main Agar- Salmaan Khan (Tubelight) TOP 77. Phurr- Shahrukh Khan, Anushka Sharma (JHMS) TOP 76. Go Pagal- Akshay Kumar (Jolly LLB-2) TOP 75. Bandook Meri Laila- Sidharth Malhotra (A Gentleman) TOP 74. Kudiya Shehar Diyan- Dharmendra, Bobby Deol (Poster Boys) TOP 73. Nazm Nazm- (Bareily Ki Barfi) TOP 72. Hawa Hawai 2.0- Vidya Balan (Tumhari Sulu) TOP 71. Beparwah- Tiger Shroff (Munna Michael) TOP 70. Hans Mat Pagli- Akshay Kumar (Toilet-Ek Prem Katha) TOP 69. Tinka Tinka Dil Mera- Salmaan Khan (Tubelight) TOP 68. Kanha Soja Zara- (Baahubali-2) TOP 67. Swag- Tiger Shroff (Munna Michael) TOP 66. Ok Jaanu Title Song- (Ok Jaanu) TOP 65. O Meri Mehbooba- (Fukrey Returns) TOP 64. Golmaal Title Track- Ajay Devgan (Golmaal Again) TOP 63. Ek Dil Ek Jaan- Deepika Padukone, Shahid Kapoor (Padmaavati) TOP 62. Main Hoon- Tiger Shroff (Munna Michael) TOP 61. Main Sexy Baliye- Amir Khan (Secret Superstar) TOP 60. The Goggle Song- Anil Kapoor (Mubarkan) TOP 59. Mere Dil Mein- (Half Girlfriend) TOP 58. Ik Yaad Purani- Khushali Kumar, Tulsi Kumar TOP 57. Aaj Zid- (Aksar-2) TOP 56. Aa Toh Sahi- Varun Dhawan (Judwaa-2) TOP 55. Lambiyaan Si Judaeiyaan- Sushant Singh Rajpoot (Raabta) TOP 54. Dil Disco Disco Bole- Sidharth Malhotra (A Gentleman) TOP 53. Jiyo Re Baahubali- (Baahubali-2) TOP 52. Tera Zikr- Darshan Rawal TOP 51. Swwety Tera Drama- (Bareily Ki Barfi) TOP 50. Kisi Se Pyar Ho Jaye- Hritik Raushan (Kaabil) TOP 49. Maana Ki Hum Yaar Nahin- Parineeti Chopra (Meri Pyari Bindu) TOP 48. Naach Meri Jaan- Salman Khan (Tubelight) TOP 47. Roke Na Roke Naina- Varun Dhawan, Alia Bhatt (Badrinath Ki Dulhaniya) TOP 46. Radio- Slaman Khan (Tubelight) TOP 45. Trippy Trippy- Sunny Leone (Bhoomi) TOP 44. Pallo Latke- (Shadi Mein Jaroor Aana) TOP 43. Ban Ja Tu Meri Rani- Guru Randhawa, Vidya Balan (Tumhari Sulu) TOP 42. Suno Ganpati Bappa Morya- Varun Dhawan (judwaa-2) TOP 41. Dil Ullu Ka Pattha Hai- Ranvir Kapoor, Katrina Kaif (Jagga Jasoos) TOP 40. Socha hai- Ajay Devgan, Emraan Hashmi (Baadshaho) TOP 39. Shake Karaan- Tiger Shroff (Munna Michael) TOP 38. Thodi Der- (Half Girlfriend) TOP 37. Hawayein- Shahrukh Khan, Anushka Sharma (JHMS) TOP 36. Raabta Title Track- Sushant Singh Rajpoot (Raabta) TOP 35. Aashiq Surrender Hua- Varun Dhawan, Alia Bhatt (Badrinath Ki Dulhaniya) TOP 34. Kaabil Hoon- Hritik Raushan (Kaabil) TOP 33. Musafir- (Sweety Weds NRI) TOP 32. Piya More- Sunny Leone (Baadshaho) TOP 31. Main Bani Teri Radha- Shahrukh Khan, Anushka Sharma (JHMS) TOP 30. Aankhon Mein Aansoo- (Ek Haseena Thi Ek Deewana Tha) TOP 29. Enna Sona- (Ok Jaanu) TOP 28. Huye Bechain Pehli Baar- (Ek Haseena Thi Ek Deewana Tha) TOP 27. Move Your Lakk- Badshah, Sonakshi Sinha (Noor) TOP 26. Suit Suit Karda- (Hindi Medium) TOP 25. Oonchi Hai Building- Varun Dhawan (Judwaa-2) TOP 24. Chalti Hai Kya 9 Se 12- Varun Dhawan (Judwaa-2) TOP 23. Ik Vaari Aa- Sushant Singh Rajpoot (Raabta) TOP 22. Hasseno Ka Deewana- Hritik Raushan (Kaabil) TOP 21. Ghoomar- Deepika Padukone, Shahid Kapoor (Padmaavat) TOP 20. Pehli Dafa- Atif Aslam TOP 19. Hawa Hawa Mujhko Uda Le- (Mubarkan) TOP 18. Udi Udi Jaye- Shahrukh Khan (Raees) TOP 17. Phir Bhi Tumko Chahunga- (Half Girlfriend) TOP 16. Maine Tujhko Dekha- Ajay Devgan (Golmaal Again) TOP 15. Humsafar- Varun Dhawan, Alia Bhatt (Badrinath Ki Dulhaniya) TOP 14. Mercy Woman- Badshah TOP 13. Dil Diyan Gallan- Salman Khan, Katrina Kaif (Tiger Zinda Hai) TOP 12. Mere Rashke Qamar- Ajay Devgan (Baadshaho) TOP 11. Baarish- (Half Girlfriend) TOP 10. Main Tera Boyfriend- Sushant Singh Rajpoot (Raabta) TOP 09. Zaalima- Shahrukh Khan (Raees) TOP 08. Galti Se Mistake- Ranvir Kapoor, Katrina Kaif (Jagga Jasoos) TOP 07. Tu Cheez Badi Hai- (Machine) TOP 06. Ding Dang- Kriti Sanon, Tiger Shroff (Munna Michael) TOP 05. Tamma Tamma Again- Varun Dhawan, Alia Bhatt (Badrinath Ki Dulhaniya) TOP 04. The Humma Song- (Ok Jaanu) TOP 03. Laila Main Laila- Sunny Leone, Shahrukh Khan (Raees) TOP 02. Swag Se Swagat- Salman Khan, Katrina Kaif (Tiger Zinda Hai) TOP 01. Badri Ki Dulhaniya- Varun Dhawan, Alia Bhatt (Badrinath Ki Dulhaniya) Read More :   India Marriage songs List in Hindi                        Top Best Bhojpuri Songs List Latest Collection September                        Ganpati Songs – Ganesh Chaturthi Songs in Hindi and Marathi                        Top 50 Best Bhajan and Bhakti Mp3 Songs Free Download sites Read the full article
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girishpandey42-blog · 7 years
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sanasharmame · 4 years
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