Bahubali, Kattappa and some political lessons!!!

With over an estimated 30 mill. people having reportedly watched the film Bahubali 2: The Conclusion, I can safely conclude that most of those who are reading this blog by now would have! This post is not a review of the film or about how the film has broken all collection records in the country either. But about a character called Kattappa and the political lessons it holds for the principal opposition party in India namely the Congress. In the film, apart from the lead characters, Kattappa is the one who evokes much recall and sympathy – a situation very similar to what Congress (which has its own few Kattappas) finds itself today in India.  Kattappa in Bahubali and Kattappas in Congress??? Let me attempt to join the dots.

In the Bahubali series, Kattappa is an able warrior and sort of a leader of the forces of the Kingdom of Mahishmati. In terms of characterisation, Kattappa is shown as an extremely loyal, most faithful and a trustworthy soul who will do anything to protect his master – the ruler of Mahishmati in this case. He doesn’t mind others alluding him to a dog scornfully – a creature known for being utmost loyal to its master among all pets. At the same time, repeatedly he is depicted to be a prisoner of his own choice he has made in terms of being loyal at any cost. In the film there are 2 crucial mistakes he commits as a result of putting his loyalty ahead of being truthful. First, he lets the Queen announce Bhallaladeva as the King setting aside the earlier announcement of Amarendra Bahubali without making any attempt to clear the air in the Queen’s mind about the right and good intentions of Amarendra in wanting to marry Devasena. He makes no attempt to let the Queen know that Devasena likes and prefers only Amarendra to be her life partner. Second, he carries out the order of the Queen to kill Amarendra though he knew very well of the conspiracy of the Bhallaladeva camp to create misunderstanding and confusion in the Queen’s mind. These crucial mistakes deprived the people of Mahishmati the governance of a benevolent leader like Amarendra and instead were at the mercy of an unkind and autocratic ruler like Bhallaladeva.

Well, that’s what happened in the 2 part film that helped the Director weave an interesting story of palace intrigues in a huge canvas unseen so far in Indian films and create history!  But what has Congress to do with this?

Today in India, the Congress party is in crossroads and may be at its lowest ebb. The climb has been downhill since 2014 when it was reduced to an all-time low in the Lok Sabha. The string of defeats in most of the state elections since then have been catastrophic. The principal ruling party in India namely the BJP is systematically moving forward on its slogan of making Bharat – Congress Mukt. Apart from Congress there is no other party which can be called truly a Pan Indian political outfit. Under these circumstances for a democracy to be one, a truly credible opposition party with an alternate narrative is a must. Any ruling party must have at least one if not few other parties breathing down its neck any point in time for its own checks and balances. Not to mention of the country’s. And that’s why a revival of the Congress party from where it is today is a must.

Congress led UPA had their chances in changing and developing India for 10 years since 2004. I am for the moment ignoring the 50 years they had, prior to 1998.  Congress had and in fact has quite a few Kattappas in their ranks. Experienced, Able politicians and administrators who I believe had answers and solutions to the many ills the country faced when they came back to power rather providentially in 2004. However all of them ended up being true Kattappas who only put loyalty to the rulers (Gandhi family in this case) as their priority and did what served the family well rather than the country more often than not. The result – in spite of the benefit of global tailwinds helping the economy till 2010, UPA couldn’t change things much on the ground in their 2nd term and lost the elections to BJP in 2014.  The many new ideas their leaders had, got intertwined in turf battles between ministries and never were implemented with rigour. Coming back to the present, the Kattappas of the Congress continue their old ways the string of bad news at the hustings for the Congress notwithstanding. The able leaders still remain so loyal to the Gandhi family that even today they are reluctant to come out with their honest prescriptions to revive the Congress. They all make the “right” noises in public but being “right” is seldom being “honest”! The Congress today suffers from a uninspirational leadership in the Gandhi family. However the very able and even intelligent Kattappas of the Congress party continue to labour paeans on the Sonia-Rahul leadership without ever being critical of some of their moves since 2014.

My view is that unless the Congress party’s leaders come out of their loyalty web and challenge the strategy and some of the decisions of the party’s leadership thereby leading to some churn in the thinking of the party, the drive may continue to remain downhill for some time.

Coming to think of it, it took us 2 full years since Bahubali 1: The Beginning for us to comprehend the ill effect of Kattappa’s mindless loyalty to the rulers. It’s already 3 years now for the leaders of Congress to realise the ills of theirs. And if they are among the 30 million to have watched the film, it may be good to take some political lessons from the on screen Kattappa!!!

P.S: In the above piece, one can “find” Congress and “replace” with AAP and I guess most of it will hold good as well!!!

25 years since the “Roja” blossomed!!!

It was in the year 1992, exactly 25 years ago. I was in Cochin learning the ropes in my 1st job. Weekends were usually time for catching up on films of all hue. And that particular weekend was reserved for what eventually turned out to be a landmark film in Indian cinema in many ways than one. The film Roja was helmed by Maniratnam who had by then become a sort of a cult in Tamil cinema with back to back hits. The film had many firsts to its credit. For the 1st time, a Mani’s film was not about a Robin hoodish character (like in Pagal Nilavu, Nayagan, and Thalapathi) or not of relationships in uber cool urban setting (like in Mouna Ragam, Agni Natchatiram, Idayathai Thirudathey, and Anjali).  In this he explored a new template that of setting up a relationship story with a conflict as backdrop and one that he would often deploy in his career later with mixed success (Bombay, Iruvar, Dil Se, Kannathil Muthamittal,…).  And more importantly for the 1st time a Maniratnam film did not have Ilayaraja as the music director. One with whom he had partnered since his 1st film and delivered some eternal music. Instead he introduced a rookie, young talent to the world called A.R. Rahman who was till then doing jingles for ads. Leo coffee apart from providing the caffeine quotient to South Indians also has the distinction of providing 2 heartthrobs to Indian Cinema – Rahman and Arvind Swamy!!!

Leaving the theatre after the film Roja, I was disappointed with the film. I thought that the film was good but not great. And Mani whose films are deeply rooted in realism, in this had an overdose of melodrama particularly in the end. But then in the theatre at the climax when Arvind Swamy is let off by his captors and gets to unite with his wife, there was a standing ovation. So I guess it all worked for Mani and the film.

So is this post a review of the film Roja 25 years late as the title may suggest? I guess not. But of the genius called Rahman which the film bequeathed to us. Being an ardent and unapologetic fan of Ilayaraja, I guess the first reason for not liking the film Roja was probably that Raja was not doing the music. But in the film as the 1st song – Chinna China Aasai, played out, the music and the visuals were just breathtaking. It was clear that we were entering into a new era of sounds in Tamil music.  SPB, Chithra and other many new comers who were singing in the film were all sounding differently. The songs started growing on you and so did the film. By the time, the Hindi version of Roja got released and became a “super-dubber” hit, Mani was excused and I came out of denial to accept that he has indeed made another great film!

Post Roja, Rahman continued to belt hit songs one after another and he was soon becoming a rage. Whether it was feet tapping numbers like Chikku bukku rayile, Petta Rap,.. or melodies like Narumugaiye, Ennavale,.. or folk numbers like Poraale Ponnu thayee soon Rahman’s music was all over the place.  And in South India where the benchmark for a musician is always how “sound” his/her basics are in classical music (read as Carnatic), Rahman’s deployment of Carnatic ragas in some of his compositions was deft and subtle.  In the song Kanna Moochi yenada for the film Kandukonden, Kandukonden, Rahman’s blending of ragas Natta Kurinji and Sahana is exceptional. Also in the song Narumugaiye in Iruvar the classical Nattai raga gets a Rahman touch. And in the song – Vidukathaiyaa intha Vaazhkai from the film Muthu, a situation (watch here) which is melancholic Rahman aptly uses Ahir Bhairavi – a raga suited to convey such emotions (Remember Viswanathan-Ramamurthy’s Ullathil Nalla Ullam,… in Karnan??). Enough to get into the good books of even the purists of Mylapore, I say!!  While doing all this, he was also in the forefront of turning “Super-Singers” to Stars and breaking the hegemony of established stalwarts. Soon capping new comers would become a mandatory trait for all music composers!

But still for the ears – which were so used to the melody and rhythm of Ilayaraja for probably 20 years since childhood, the new sounds of Rahman were still offbeat.  It was only much later that we came to know that in the film Punnagai Mannan which was touted to be the 1st to use computerized music, while Ilayaraja wrote the score, it was a young kid in his late teens named A. R. Rahman who actually handled the music sequencer for the theme music (listen here).

The fact was, in the initial period Rahman’s songs were sounding similar to his own earlier compositions and ended up being predictable. So, for many of us Raja fans, it was either Raja or Rahman and cannot be both.

By 2000 I had moved back to Mumbai and with that got to follow more Hindi music. Soon after, in 2001, the epic Hindi film – Lagaan had released. And Lagaan had Rahman as the music composer.  Apart from the various facets of the film which makes Lagaan a milestone film – the music score of Rahman was out of the world. Just in the first few minutes into the film as the song Ghanan Ghanan Ghanan starts playing out, one could make out that this was a hitherto not seen/heard Rahman. From then on, I became an unapologetic fan of Rahman. It was no longer Raja or Rahman but Raja and Rahman.

With his success in films like Roja, Dil Se, Lagaan Rahman became the 1st music composer from the South to leave an imprint in Bollywood. Directors from Bollywood didn’t mind making the trips to Chennai and burn the midnight oil (almost all his recording happens in the night – we are told) to get their music score done by Rahman.  And Rahman who keeps saying that he wants to continuously keep stretching his own limits –often walked this talk. His later movies particularly in Hindi like Jodha Akbar, Dilli 16, Rockstar,… explored new aspects of Sufi music till then not touched by earlier composers and brought Sufi music to the centre stage of Bollywood. And again for a person from the South of the Vindhyas to compose some wonderful Punjabi folk numbers in films like Rang De Basanti, Jab Tak Hai Jaan, Rockstar,,.. is something extraordinary.  Just as we keep thinking that Rahman is past his prime he surprises us with some outstanding music. In the film Tamashaa for example. Or even in the otherwise forgettable film Kochadaiyaan (the shifting of Octave as the song progresses in Meduvaagathaan,… – is nuanced music at its best)

Talking of Rahman and not mentioning of his Oscar would seem to be unjust. But then personally for me, The Slumdog Millionaire (TSM) was not Rahman’s best effort. Yes, it got him the Oscar and we should be proud of that. But beyond that, I think his own work in some of the Indian films far outweigh TSM or his other Hollywood efforts.

Comparisons of the music of Raja and Rahman are odious and unfair but unavoidable. To me Raja is an outstanding music composer. And Rahman an outstanding music Engineer. A true Engineer lives and dies by “Efficiency” as defined as “Output/Input” in his/her work.  So Rahman uses voices, scores, instruments, sounds and technology (Inputs) to optimize the eventual music output. Ilayaraja is a composer first who depends on the tune/score largely and then the right arrangement and less of technology. His music horse sense is what he brings to the table than the machines. Hence he is unparalleled in terms of understanding the musical needs of a situation. That’s why Raja’s songs always lift the situations in the films and he is way ahead of the rest as for as background score is concerned.  This debate can go on and on.

For a Raja-Rahman fan like me, what about a film that too by Maniratnam with music by Ilayaraja and Rahman – where Raja composes the tunes for the songs, writes the background score while Rahman does the arrangement, records the music, mixes it and we get to hear the magic!!! Well wouldn’t that be a great way to celebrate 40 years of (Anna) Kili’s chirping and 25 years of the Roja blossoming???

Intha Raja Kaiya Vecha,…,…!

Today was just another Sunday morning. As I turned on the ignition of my car for a Sunday morning drive, Ilayaraja’s (Raja) hits started playing. On top of the playlist was Raja Kaiya Vecha,…,… from the hit film Apoorva Sagotharargal.  There are 2 versions of this song – one sung by Kamal Haasan himself which eventually featured in the film and the other sung by S.P. Balasubramanyam (SPB) which just got retained in the music album. Its’ very rare that a song sung by SPB and composed by Raja gets consigned to just the album. As I was enjoying the interlude in that song which has some awesome feet tapping music, the CD started playing truant and was jumping few tracks and eventually it stopped. My Sunday morning tryst with Raja-SPB duo got aborted midway. At that point in time, I had no premonition of what was to follow later.

Reaching home, soon I could see SPB’s Facebook post going viral where he claimed that he has been served legal notice by Raja’s attorney for singing Raja’s compositions without prior permission in his recent World tour stage shows. And that in the rest of the shows, he may not be singing Raja’s songs. Difficult to believe, the first reaction was of course “Why would Raja take such an extreme step against SPB who was a close friend, associate and a fellow traveller in his music journey?” In a spat involving these 2 namely Raja and SPB for people like me who have grown up with the music of the 70’s and 80’s it is difficult to take a stand. On the one hand you have Raja, a genius and whose music transcends all superlatives. And on the other hand you have a singer who even today can give an Arijit Singh a run for his money with his mellifluous voice and versatile singing. While a lean and fit Raja is known to have a bloated ego, the physically fuller SPB comes across as a man of humility and feather lite ego. Even in this FB post he didn’t have one word of disrespect for Raja and admitted his own ignorance of legalities. He won the hearts and the sympathies of the fandom.

To be fair, it was important to hear out Raja’s side before getting judgemental on his action. And soon in the course of the day we did get to see the same through Raja’s legal consultant who was probably behind shooting this legal notice. As expected he talked of violation of IP rights, royalty payments,…,… The issue of copyrights and Intellectual property rights (IP) on music compositions have of late become a bone of contention between music composers, Lyricists and film producers. The fact of the matter is till about the first decade of this millennium, lyricist and music composers were blissfully unaware of their Intellectual copy rights with a result they were never paid royalty by producers for their creations. Only recently, with the exposure to Hollywood,.. the composers and lyricists became aware of their IP rights. A.R. Rahman now owns the IP for all the music he creates.

Looking up on the issue of Indian Copyright Act, I understood that in 2012 the amendments made to the act set right the historical anomaly of being not beneficial to the creators. Famed Hindi lyricist Javed Akhtar was instrumental in getting the amendments passed. Historically, Indian film producers just paid a one-time fee to song writers, composers and singers. And denied them revenues from other sources like cover versions, ringtones, digital downloads,.. which have become increasingly lucrative.

The amended bill now makes song writers and composers as owners of the copyright which cannot be assigned to the producers as per earlier version. More importantly, as a recurring source of revenue, it is now mandatory for broadcasters – Radio, TV and Digital to pay a royalty to the copyright owners each time the song is played.

It seems that it is now part of the standard operating procedure for singers to take formal permission from the music composers before performing their songs on stage. And as part of this process, the acceptance to pay the applicable royalty. So it comes as a surprise that event producers of SPB’s recent concerts missed this point of not informing or taking Raja’s permission for singing his songs. So from a purely legal standpoint, it is clear that Raja has not hit a wrong note on this matter. But then SPB is not just another singer. He has been a constant companion to Raja all through, with the duo churning out some thousands of hits. It is today hypothetical to argue if the duo’s songs were hits because of Raja’s music or SPB’s singing.  For a fan the Raja-SPB combination was magical and together they have given some evergreen, everlasting music which will continue to live forever in his/her heart.

From Raja’s side could it have been handled differently? Certainly one would feel so. Instead of a legal notice, a friendly call to remind the SPB camp of the IP issue would probably have settled the issue under wraps. Unless otherwise we are not privy to some larger conflict of interests between the two themselves or their minders. In which case after Vairamuthu and Bharathiraja SPB could be the latest to land on the other side of Raja’s symphony.

‘Intha Raja Kaiya Vecha,…. Wronga ponathilla,.. ‘goes the song.  The genius lyricist Vaali wrote this line probably keeping Ilayaraja in mind on his music. But on this issue, it appears Raja has hit a wrong note! He probably should lay his hand on the phone to call SPB and undo this wrong bit, unless Raja chose to use syncopation!!!

Being an ardent of fan of both Raja and SPB, to me what has happened is sad and disappointing. In terms of taking sides on this spat, the head wants to go with Raja and the heart with SPB. But then the ears are always with the duo!!!  Let the Andhi Mazhai continue to pour!!!

Ki, Ka & Family!!!

Adman turned filmmaker Balki’s latest outing as his previous ones treads into unchartered territory in Bollywood. This post is not a review of the film but about its narrative. So, I’m not getting into rating of the film which anyway as per me was far better than his earlier work – Shamitabh. In this one, Balki through the male protagonist attempts to remove the differentiation of the “lings” in Hindi language namely स्त्रीलिंग (streeling) feminine and पुल्लिंग (pulling) masculine. I can pretty much understand as to where Balki is coming from. Like most of us from the South of Vindhyas probably Balki also found it difficult to figure out where to use Ka and Ki while conversing in Hindi😂. So getting rid of these “lings” would be a thing most of us will welcome!

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But the film is not about any reform in Hindi but about a new form of relationship between an urban couple.  For the benefit of those who gave this Ki and Ka a miss, here’s the premise of the storyline where the film attempts to break established gender stereotypes. (You may like to watch the trailer here which would sum up the premise better) The man sits at home as a house husband while the woman pursues her career ambitions and is the one “pulling” the strings of the purse that is. The man cooks, cleans, does the household chores and also satiates the sexual needs of the wife adequately while his wife is engaged in drawing up boardroom strategies to sell her company’s products as a marketing pro. All this voluntarily and not out of forced circumstances. Now this is a new hatke formulation for Indian society and a Bollywood film – one which instantly brings smiles on the faces of urban women. In one stroke, Balki has earned the fandom of millions of women by making “Ki” (lady) the actual “Ka”(Man)!

So far so good. However in reality, if ones looks at the timeline of relationships between couples atleast in urban India, there has been a gradual progression but one that has still not reached Balki’s make believe stage yet. The evolution in society has been like this. In our grandparents’ times, the role definitions were very clear. The man (husband) is supposed to be the bread winner and is the protector of the family. The lady (wife) did all the work at home as a house wife and was generally subdued. These were the unchallenged “Ka” times! As literacy and family income levels increased, women became slightly more empowered. The next was the generation where the role clarity became hazy. While the husband continued to earn and be the head of the family, the wife apart from taking care of the house, also did her bit in enhancing the family income. So this was the era of the “Super Woman” who was still subdued at home. Though the wife was equally involved in earning money, somehow at home she was still expected to handle everything right from the kitchen to children’ studies. Still the “Ka” era. The next generation – probably the current one is where I guess things are more balanced. Both the husband and wife are equally well educated, ambitious about their respective careers and at home they just simply outsource the work. Or the husband grudgingly or otherwise plays ball to share work. Actually the “Ki and Ka” times.  (I must hasten to add that some of the above situations referred to in historical context exist even today. I’ve just referred to the trend)

Now what Balki has shown in the film is his fantasy of a “Ki” Era. An era where the woman is completely emancipated. Now the question is – Is this the future? Will we be seeing more and more men preferring to be house husbands willingly and would women take it as their comeuppance?? One doesn’t know.

But if one analyses all the above formulations, it is abundantly clear that the dominant “Ka” era is on the wane. The dominant “Ki” era is still a fantasy and would be in all probability fraught with its own dangers.  It would seem that the one which can work is the “Ki and Ka” formulation. However I have another construct in mind. Which is the “Ki, Ka & family” formulation. Where the husband and wife take care of the earnings part, share the household work and at the same time teach the children to embrace household chores and do their bit willingly. The best process of coaching is always the demonstrative process. When a child sees his dad cleaning up a shelf on weekends, he tends to pick this as a habit when he grows up. Apart from being demonstrative, I believe it is equally important to let children do the work instead of being too protective. In my experience I’ve seen that behind most misogynistic men have been indulgent parents. This is wonderfully demonstrated in the Award winning #sharetheload commercial of Ariel. Watch it here. Where the old father rues the fact that he never helped his wife –in her household work and that his son in law who is seen ordering around would have also not witnessed his dad helping at home!! And commits himself to share the load henceforth in household work. Now there can be no better news than this for any woman for whom Newspaper, TV and now mobile phones are sworn enemies for life😃😃.

“Can you please stop typing away to glory and share the load here?  It’s the wife at home. “Yes, coming!!!” is my loud war cry. Followed by, “Beta, put off the TV and come to the kitchen. See what appa is doing”!!!😃😃

So for me it’s not “Ki” or “Ka” or even “Ki and Ka”. It has to be “Ki, Ka & family”👍👍👍

Peepli Live Returns!!!

Peepli Live Returns or it could be Peepli Live -2 or may be Lagey Raho Peepli Live!!! In Bollywood these are some ways of naming a sequel. And there are more and more sequels these days. Peepli Live is an offbeat Hindi film released few years ago in the genre of satirical comedy. It did make the cash registers ring if not shatter at the box office. That film basically dwells around the way TV News channels make buffoonery around some trivial events happening around us and make a fool of themselves and may be in the bargain we, the viewers as well. Anyone watching the news channels in the past 1 week or so would realise that channels are dishing out the sequel of that Peepli Live franchise. I am referring to the non-stop, wall to wall coverage of the Sheena Bora murder case.

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On 25th August, when news tickers started flashing of the Mumbai police arresting Indrani Mukherjea, the erstwhile CEO of INX Media, on her alleged role in murdering her “sister” Sheena Bora, it was just a blip on the 24*7 news radar. But the events in the next day and after turned that blip into a 24*7 national obsession or so it would seem. The coverage started hitting a shrill pitch when skeletons started tumbling down (literally) of the many relationships, the conspiracy (alleged as of now) and money trail. With accomplices in 3 cities (Mumbai, Kolkatta and Guwahati) more and more reporters and cameramen got busy “chasing” the various actors in the saga sometimes on the road at a signal, sometimes midair inside a plane and where have you.

I’m not surprised at all by the interest of the public or the media in this case. After all this is not an Aam Admi murder mystery. This is a case involving murder of a young girl who was all along touted as the “sister” of the female protagonist who was in reality her “daughter”. I’m not getting into the complex web of relationships which have become the butt of pokes and jokes. Indrani was an extremely successful woman having climbed the corporate elevator in her own way. Similarly her husband (current one i.e.,) Peter Mukherjea is credited to be the man behind one of the successful foreign channels (Star) in India. Together they were part of the successful elite that too in the media business and naturally part of the thriving Page 3 circuit. All till the fateful 25th August and that’s when they moved from Page 3 to Page 1. There is an increased interest when successful people fail. And more interest when successful Page 3 people fall. And even more heightened interest for the media when someone from their own fraternity fail and fall. So the frenzy in the media and the various “forward” jokes on social media (atleast 1 question from the next CAT/IAS exam/ KBC got leaked I would think 😄) in the next few days can be attributed to the overflowing sense of Schadenfreude all around.

But what was appalling was the nature of reporting, coverage and the now infamous media trial of this case. Instead of just letting the police to do the investigation and reporting on the progress made by the police, channels are till today conducting their own trial and delivering their verdicts. Thankfully and rightly so, the Mumbai police so far has been conducting themselves exceptionally well with restraint without falling for the arc lights of the media. Avoiding the trap of feeding news bytes by the hour, by the day or preside over press conferences every evening to sync with prime time “Newshours” of what has become a spectacle. It’s ironical that channels day in and day out debate with so called experts in “increasing boxes” trying to decipher the case and delivering instant judgements based on hearsay leaks from vested interests. Apart from debates you also have analysis as to whether Indrani was a psychopath or some other path😠😠

Is it wrong if the Mumbai police takes its own time to investigate the case thoroughly before filing the charge sheet? Don’t we remember what happened in the other high profile Arushi murder case?? There, within 1 week of the murder, police declared in a press conference that the Talwars were perpetrators of the crime. The media trial in that case swung between giving a clean chit to the Talwars and consigning them to be with blood in their hands depending upon leaks of the day. So it was good to see the Mumbai police commissioner committing that he won’t let Sheena Bora mystery turn into Arushi case. We will wait and see.

The other horrendous aspect was the height to which the channels were going, in the race to be exclusive and breaking first the ever changing twists and turns in the saga. Here I am not referring to twists like “Indrani Mukerjea ne sandwich khaya”😄. To see a reporter shoving his mike into Peter and persistently posing different questions as he walked out of his place and chasing him till the car sped away was comical at times and ironical most of the times. As also a clip showing a clutch of sleepish reporters and cameramen waiting in front of the police station only suddenly to be jolted and woken up when one among them spots one of the Ex-spouses of Indrani being paraded into the station for investigation. I would only say that seeing the coverage of the Sheena Murder case, irony would have committed a 1000 suicides😡😡

Come next week, there is hope. Hopefully, our ex-jawans and veterans would come to our rescue. Or may be already they have. The Govt. announcing the One Rank One Pension and the veterans’ not so favourable response to it may push the Sheena Bora case to the sidelines. Till the next grand press conference by police commissioner Rakesh Maria where hopefully he will establish the motive and bring this Peepli live – 2 to an end.

Postscript: Coming back to naming of sequels, the makers of Bahubali can afford to have just 2 parts and call them as Bahubali-The Beginning and “Bahubali-The Conclusion” respectively. But, in the case of Peepli Live one has to follow the Yashraj’s Dhoom model. Dhoom-2, Dhoom-3,.. where the protagonists are different but the investigating officer is same. No, that was a not a reference to one Mr. Goswami 😜😜😜

When “Kanjivaram” meets “Patiala”!!!

‘2 States’ is a recently released movie from Karan Johar’s stable which soon went on to be a part of the hallowed 100 crore club.  In this movie which is incidentally based on Chetan Bhagat’s novel with the same name, the hero – a Punjabi falls in love with a Tambrahm girl. The movie goes on to show the struggles involved in marriage of the two 1800 different cultures before the actual marriage of the 2 individuals. It is understandable that in such a marriage involving 2 different cultures, there is a voluntary and involuntary fusion of rites, practices and ‘rasams’ (not be confused with Sambhar/Rasam 😉 ) in the marriage ceremony.

Still reeling under the hangover of 2 Tambrahm weddings which I was part of recently, which actually DID NOT involve “2 states”, the change I saw was interesting. This post is not about the movie ‘2 States’ but the changes in the marriage scene seen oflate. Before I get down to explaining that, a bit of backgrounder is in order.

Typical Tambrahm weddings were quiet, staid affairs where

  • Serious mamas meet their more serious counterparts and use the opportunity to discuss world affairs and enhance their knowledge 😄
  • Enthusiastic mamis use the opportunity to exhibit their latest Kanjivarams (silk sarees for the uninitiated) and also expose their precious yellow metal jewelry to sunlight (which are otherwise confined to the dark interiors of Bank lockers) 😄 😄
  • Studious Ambis (Boys who are in schools/colleges and yet to be coronated as mamas) compare notes with their clan on the latest ranking of US Universities/B Schools and the like,.. 😄
  • Ponna poranthava (commonly known as PYTs) keep shuttling between here and there in the hall to garner attention
  • There is no official ‘Mehndi’ ceremony and all and the bride to be gets her work done in a parlour silently
  • The only sartorial indulgence from the men’s camp would be “bush shirt along with new Veshti”
  • Meal after meal in the 2 day marriage affair will be served in banana leaf with variations limited to the Payasam( Kheer) or the vegetable used in the Sambhar in the different meals (Brinjal Sambhar in the morning, Carrot/Potato one in the afternoon and again Brinjal for dinner) 😞
  • Noise levels are low except for the Nadaswaram considered a “Mangala Vadyam” which is played normally in functions, temples,.. in the South India. During key instances in the wedding like “Muhurtam”,.. the vadyars (priests) in the stage signal with their hands to increase the tempo and play loudly. Otherwise the music is pleasant and indeed soothing.
  • The Reception function is also quite a quiet affair where on the one side an artist (usually an emerging one) plays the flute or violin (Carnatic music mostly) and on the other side people queue up to wish the couple and pose for the customary photo-op
  • In general no major excitement in the events except for
    • ‘Malai mathu’ (Garlands Exchange) ritual where from both sides folks try to prevent the bride and groom from exchanging garlands easily. There are smiles and laughter all around from elders knowing very well that this will be last opportunity for one-upmanship for the groom in life 😉 😉
Malai Mathu ceremony

Malai Mathu ceremony

  • Or ‘Nalungu’ ritual after the wedding which is also a game of one-upmanship. Again, elders push the groom to have maximum fun as possible. Can you imagine what will happen if he tries to break a papad on his wife’s head the next day or few days later??? Hell hath no fury like a woman whose hair is disturbed 😠 😠 😠
Nalungu ceremony

Nalungu ceremony

In short, for the ever conservative, serious Tambrahm community marriages were occasions to meet and catch up with short moments of excitement here and there. That’s all.

But these have become passé.

Today even Tambrahm (could be others also) marriages are getting “obese” and are aspiring to be of “the Big Fat Punjabi Wedding” class. So even in a regular Tambrahm wedding don’t be surprised if Kanjivaram silk saree meets a Patiala suit. These days men turn up mostly in designer Kurtas, girls in Lehenga choli and ladies in backless! If not a very elaborate ‘Mehndi’ ceremony as yet, applying mehndi and preparing for the wedding is no more a dull affair for the bride to be. Choru(Rice) and Sambar are being replaced by Chole Batura,… and buffet fare atleast the previous day. At the reception, city’s popular DJs belt top of the pop numbers to which young and the old alike sway, croon and shake their hips and legs. Soon one can expect choreographed renditions of dance numbers I think. These changes have not happened overnight but have been doing the rounds gradually over the last few years. But today the trend is stark.

The credit for this transformation in the marriage scene must go to Bollywood and people like Karan Johar who in film after film thrust in a “Punjabi Wedding Song” and made this an aspirational affair for others. So don’t be surprised if soon the “Patiala peg” also mixes with the “Filter Kaapi”

Sundari Neeyum Sundaran Nyanum Chernirunthaal,….. Shava Shava!!!

P.S : While on this, please do read my earlier take on “Mamas” – http://wp.me/p1dZc2-jI

Images Courtesy :www.pinterest.com

“Firrr wahi Bokwas Stereotyping???”

For the uninitiated, Tarak Mehta Ka Oolta Chashma’ is a very popular Hindi comedy caper which appears 5 days a week on Prime time and many more times through the day on SAB TV.  The long running show extolls the virtues of harmonized community living in a housing society in Mumbai. Therefore the central characters range from a Gujarati family where the husband is predictably a trader, a Maharashtrian family, a Sardar (Sikh) and Parsi couple – the Sardar expectedly runs an auto garage, a South Indian Iyer and Bengali couple where the man is a scientist and so on. The show takes stereotyping and caricaturing to Himalayan heights. The Sardar is shown as a loud, short-tempered and emotional type who breaks into a fight at the slightest provocation while being good at heart.  The Gujarati trader is shown as one who is money minded while being respectful to elders and of course good at heart. The South Indian Iyer is a scientist and supposedly intelligent, appears with a Vibhudi (holy ash) smeared face even early in the morning, talks in highly accented Hindi, drinks coffee all the time and of course is dark-complexioned.  One can excuse this daily opera as the title itself claims – “it views things with an oolta chashma”. When you are day in and day out watching this and learnt to ignore and  enjoy, other small inanities like what features in SRK’s latest journey ‘Chennai Express’ don’t bother you. But when the trailer for the same hit first and later the film hit the marquee, I could see some uproar in the online space not that these matter now as the film has more than collected its quota of crores. (Read this)

Frankly I’m not surprised by this noise. This is not the 1st time a SRK film sort of pokes at  South Indian sensibilities. We saw it in ‘Om Shanti Om – where SRK is shown appearing in a South Indian film and spitting some ludicrous Tamil dialogues like “Enna Rascala”,…,… Enna Rascala ??? In which part of South India can you hear this?? Then of course in ‘Ra One’, SRK is a Subramaniam and yes is a geek and stuffs noodles mixed with curd using his hand. And many more frivolousness like that.

The blame award for setting this stereotype of South Indians in Bollywood films and Hindi serials and therefore in the minds of Indians by and large must go to that talented comedian Mehmood in the movie Padosan. If you want one good example for comedy of errors – this could qualify well for it. Mehmood’s character is one Master Pillai (usually a Malayali surname), a Tamil music teacher who keeps saying “Aiyyaiyo”, his makeup is with ‘Pattai vibhudhi’ (lines of holy ash) and speaks Hindi in typical Andhra style. When this movie a good comedy became a super hit, no one could stop the ‘aiyyaiyo’ juggernaut since then. So much so that later in Amitabh’s Agneepath, Mithunda plays the role of ‘Krishnan Iyer YAM YAY(MA)’ and mouths Hindi dialogues in the same way as Mehmood in ‘Padosan’ and even waltz away with the National award for best supporting actor that year.  In both these cases and in fact many more to follow, film makers have just taken the easy route of painting all South Indians in one ‘Madrasi’ brush. That Hindi is spoken completely differently in the 4 states of South India seems to be a best kept secret.

st1

The second best award in this category must go to that Quick Gun Murugan” a character made of mostly inaccurate Andhra/Tamil/Kannada/Kerala clichés.

The response to the uproar to ‘Chennai Express’ was very much in expected lines. Why should South Indians take offence so much to this stereotyping? Don’t Hindi films regularly take potshots at Sardars, parsis, Gujjus,…,… Don’t you guys show Hindi speaking North Indians in poor light ever? So what’s the big deal in this?

My own issue is not with stereotyping or caricaturing per se. Comedy genres in general allow for stereotyping. But my appeal to all writers/ film makers whether from North or South is “For heaven sake, please do your research properly”

  • A white cloth worn by men around the waist in South India is called “Veshti” in Tamil Nadu, “Mundu” in Kerala and it’s never called a “lungi”!!! Lungi is a coloured version of the same. And both are completely different from a sartorial standpoint.
  • All South Indians are not the 24*7*52 vibhudhi smearing types.
  • “Tum aatha, mai jaatha” may be prevalent in Seemandhra/Telengana (with due respect to the upcoming new states) but not in Kerala or Bengaluru. Hindi accent varies from state to state in South India as much as Hindi dialect contrasts from Punjab to MP to UP to Bihar.
  • “Aiyyo, Aiyyaiyo” are not pan South Indian exclamations for God’s sake. They are restricted to pockets in Tamil Nadu/Kerala

I can go on and on.

Just yesterday I watched the newly released ‘Madras Café’ and came out very impressed by the whole film. Here I must add that the kind of detailing and research which have gone into casting, characterization, dialogues,… deserve special mention. Tamil characters are shown speaking in Hindi but not of the Deccan “aatha/jaatha” variety.  Of course this movie is no comedy caper.  My point is – go ahead with stereotyping and typecasting. But do that with some accuracy and after some research.  Watch out for changes happening in the horizon and don’t get stuck with age-old stereotypes. ‘Padosan’ was released in 1968 and this is 2013.  And I am a South Indian and I’m not a geek, Mr SRK.

Postscript: This was a joke narrated by a Parsi gentleman in my earlier company many years back and the joke goes like this. His brother a very accomplished chef associated with the Taj group of hotels was posted in Madras when Taj Connemara opened shop in the city. After quite a lot of research on the Tamil’s eating habits, they came up with the menu for the buffet dinner spread. Once the hotel kicked off the master chef was keen to hear people’s feedback on the food. So in the 1st few days he personally talked to patrons and what he heard was not music to his ears. They kept improving the food, dabbled with the menu,… and still the response was not exciting. Finally he decided to ask some of their own employees to taste the food and tell what is/are wrong. There he got the answer which was:

“Sir the food tastes fantastic, the spread is great, priced right but where is the thayir sadam (curd rice) Chef ??? “ 🙂 🙂 🙂