By Nazarul Islam | USA

How can we define the emergence of the Bollywood film industry that began in Bombay in 1930? It took India by a storm. In a journey of a hundred years, the industry has shaped into a global cinematic powerhouse known for its distinctive blend of music, dance, emotion-charged melodrama, and larger-than-life characters. It is a major economic and cultural force, both within and outside India. Today, this country is the world’s largest film producer by output.

Today’s mainstream Bollywood movies are “masala” films, named after the Indian spice mixture. This genre blends diverse elements like action, comedy, romance, and drama into a single, often lengthy, film with an intermission.

A defining feature of Bollywood is its elaborate and spectacular song-and-dance sequences. The music is pre-recorded by professional playback singers, and the actors lip-sync on screen. These musical segments are not merely supplementary but are vital to the narrative, often taking place in fantasy or exotic settings.

Traditional Bollywood movies often use familiar and emotionally charged plot devices, such as star-crossed lovers, family feuds, long-lost relatives, and reversals of fortune. These narratives focus on themes of love, family values, and good triumphing over evil.

The industry has long been dominated by influential film dynasties and superstars who command massive fan followings. These “A-list” stars are central to a film’s marketing and box-office success.

Bollywood films are produced in Hindi and are increasingly incorporating “Hinglish,” a mix of Hindi and English. The overall style is colorful, visually extravagant, and theatrical, drawing from traditions like ancient Sanskrit drama and folk theater.

Bollywood is a significant contributor to India’s economy, driving revenue through box-office sales, satellite and digital rights, music, and brand endorsements.

The industry has a massive international fanbase, particularly in the Middle East, Southeast Asia, Africa, and among the Indian diaspora in Western countries. Global streaming services have further increased its reach.

As global and regional competition (from other Indian film industries like Telugu and Tamil cinema) increases, Bollywood has invested more in special effects and technology. The rise of digital platforms has also created new revenue streams and opportunities for experimentation with genres.

Historically, Bollywood has acted as a mirror and shaper of Indian society, exploring themes like national identity, social issues, and political change. It sets trends in fashion, language, and social behavior.

The worldwide popularity of Bollywood films has been a powerful tool for India’s “soft power,” introducing its culture, music, and values to a global audience.

The dynastic nature of Bollywood has led to criticism over nepotism, an issue amplified by the rise of social media. The industry has also had to confront issues like the #MeToo movement, prompting conversations about power structures.

Indian cinema began in the year of 1910 with silent films and grew to produce hundreds of films a year after the first “talkie,” Alam Ara, debuted in 1931.

This era was succeeded by Golden Age (1950s–1960s) and is marked by a period saw the rise of iconic stars and films addressing social and political issues.

Masala films rise to prominence in 1970. The term “Bollywood” was coined in the 1970s, coinciding with the popularization of the multi-genre “masala” film.

The decade of 1990smarked the Liberalization era. Economic liberalization led to increased production budgets, more elaborate sets, international shooting locations, and a renewed focus on family-centric romantic musicals.

Today, Bollywood’s global reach expanded significantly, attracting international investments and embracing digital platforms, leading to greater experimentation in storytelling and production.

It was the magical year 1931 that changed India for good.  The country’s first sound motion film, Alam Ara, produced by Arsedhir Irani emerged out of the magic box. The film had featured seven songs. This was the moment when music in cinema had started to emerge as a theme. Over time, films like Shihreen Farhad by JF Madaan, featuring 42 songs, and Indra Sabha having 71 songs, set the stage for Bollywood music to come to the fore.

Nine decades forward, Bollywood music has seen several transformative stages, from the classic to contemporary, owing to changes in cinematography, music techniques, and influence from the West, changing society, and experimentation.

Motion pictures in India emerged in the nineteenth century. But it was not until 1931 that the first Hindi film song was released. In the beginning, Bollywood films would feature an exhaustive list of songs. But, with time, the number of songs was reduced and made to enhance the storyline and be context-appropriate.

As the years passed by, exceptional lyricists, music directors, and singers created a new genre of Bollywood music by amalgamating Indian musical culture & tradition and Western elements. It ushered in a new age of Bollywood music. Gradually, the Bollywood music industry has become a booming business. With ever-changing societal conditions and assimilating influences from lands apart, music has evolved and adapted over time.

India’s golden era of film and music

The Golden Era of Bollywood music is often regarded as a golden period in Indian cinema and music history. The melodies and lyrics from this era have left an indelible mark on the cultural landscape of India, and their influence can still be felt in contemporary Bollywood music.

This era is celebrated for its rich musical heritage, which continues to be cherished and celebrated by music enthusiasts worldwide.

The music of a new era blended Indian classical music, regional folk tunes, and traditional melodies with modern orchestration and arrangements. Composers like Naushad, Anil Biswas, and C. Ramachandra were masters at infusing a sense of nostalgia and cultural richness into their compositions.

Composers in the golden era efficiently incorporated classical ragas into film songs. Their mastery of classical music allowed them to create compositions that were not only entertaining but resonated with connoisseurs of classical music.

The Golden Era witnessed the rise of legendary music composers like Naushad, S.D. Burman, Shankar-Jaikishan, and O.P. Nayyar. These composers created timeless melodies that are cherished by generations. Playback singers like Lata Mangeshkar, Mohammad Rafi, Kishore Kumar, and Geeta Dutt emerged during this era and become iconic voices of Bollywood music.

The music of the Golden Era often revolved around patriotic and social themes, reflecting the spirit of the independence struggle and societal issues of the time. Songs like “Ae Mere Watan Ke Logon” by Lata Mangeshkar and “Door Hato Ae Duniya Walo” by Mohammad Rafi became anthems of patriotism.

The hallmark era of romance and melody in Bollywood music that began in 1960 is celebrated for its timeless compositions, emotional depth, and the musical brilliance of the composers and playback singers. The songs from this period continue to evoke nostalgia and hold a special place in the hearts of Bollywood music enthusiasts, making it one of the most beloved and cherished eras in the history of the Indian Film Industry.

Many films of this era boasted remarkable soundtracks that contributed significantly to the success of the movies. Classics like “Mera Saaya”, “Aradhana,” “Bobby,” “Kati Patang,” and “Amar Prem” are examples of films with unforgettable music.

The era saw the rise of memorable duets, where male and female playback singers collaborated on melodious and romantic songs. These duets showcased the chemistry between the on-screen couples and became immensely popular.

Many of the songs of this era continue to be remade, reimagined, and referenced in modern Bollywood films, demonstrating their enduring appeal.

Composers of this era showed their versatility by experimenting with various musical styles. While they excelled in composing romantic ballads, they also delivered foot-tapping numbers and peppy songs, making them true musical maestros.

Composers like RD Burman, Laxmikant-Pyarelal, and Kalyanji-Anandji experimented with diverse musical styles, incorporating elements of rock, disco, and funk into their compositions.

The era of disco and dance influence beginning in 1980 in Bollywood music proved to be a vibrant and dynamic period that brought a fresh and modern essence to the industry.

It showed the adaptability of Bollywood music to evolving trends and demonstrated its ability to connect with a diverse and ever-changing audience. Introduction of disco music: The disco craze of the late 1970s and early 1980s had a significant influence on Bollywood music during this era. Composers like Bappi Lahiri and Biddu introduced disco beats and rhythms into film songs, giving them a more groovy and upbeat feel.

Songs of a new era began with energetic compositions that were characterized by their peppy and high-energy compositions. The use of synthesizers, drum machines, and electronic instruments added a modern touch to the music, making it more dance-friendly.

Several Bollywood films during this era were centered on dance and featured elaborate dance sequences. Music played a pivotal role in making these dance-driven films successful.

Many songs from this era continue to be popular and relevant in contemporary Bollywood. They are often remixed or recreated, reflecting their enduring appeal among audiences.

The Modern era in Bollywood music is characterized by versatility, experimentation, and adaptability to contemporary trends. It emerged at the dawn of 21st century. The fusion of various music styles, innovative compositions, and technological advancements have made Bollywood music a global phenomenon.

It has an appeal for audiences with diverse backgrounds. As Bollywood continues to evolve, its music remains a powerful expression of Indian culture and creativity on the world stage.

The modern era witnessed significant advancements in digital technology, which revolutionized the production and distribution of music. Digital recording, editing, and distribution platforms became more accessible to musicians and composers.

The era introduced a new generation of playback singers, such as Sony Nigan Arijit Singh, Shreya Ghoshal, Sunidhi Chauhan, and Neha Kakkar. Their versatile voices and emotive tones gained immense popularity.

The modern era saw a rise in the popularity of item songs and remixes. These high-energy and often sensuous songs became a staple in Bollywood films and were often used for promotional purposes.

The modern era saw a trend of remakes and revivals of classic Bollywood songs. Some iconic songs from the past were reimagined and introduced to a new generation of listeners.

Bollywood music during this period embraced a wide range of themes, from romantic ballads and dance numbers to socially relevant and motivational songs. The diversity of themes reflected the changing tastes and preferences of the audience.

The era of remakes saw a resurgence of remake Bollywood songs in the year 2010. Bollywood music continued to evolve, adapting to changing technology and global influences.

Remakes became commercially successful and enjoyed widespread popularity. But, they also faced criticism for allegedly diluting the original charm of classic songs.

Song writers and music composers of this  this era experimented with diverse sounds, infusing Bollywood music with elements of electronic dance music, hip-hop, and other Bollywood music genres.

Bollywood music increasingly engaged in cross-cultural collaborations, with artists from different countries and genres contributing to the industry. These collaborations expanded the global reach and appeal of Bollywood music.

The popularity of music streaming platforms like Saavn, Gaana, and Spotify reshaped the way people consume music. These platforms offered vast libraries of songs, including Bollywood classics, accessible to users worldwide.

The rise of digital streaming platforms led to the creation of web series and short films. They require original soundtracks. Bollywood musicians and independent artists contributed to the music for these digital productions.

The evolution of Bollywood music can be traced through these stages. From “Mere Dil Ke Chain” by Kishore Kumar to “Jashn-E-Bahaaraa” by A.R. Rahman, Bollywood music has amassed a huge fan following.

Through constant experimentation and style adaptation, India’s films and music will continue to evolve further, offering our world, what we enjoy as soulful music!

Read: China’s Weaponization of Market Power

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The Bengal-born writer Nazarul Islam is a senior educationist based in USA. He writes for Sindh Courier and the newspapers of Bangladesh, India and America. He is author of a recently published book ‘Chasing Hope’ – a compilation of his articles.

The post A Hundred Years of Indian Cinema first appeared on Sindh Courier.

Antara Bhardwaj

This is not a film review of “Fighter.” This is me doing my civic duty of informing the Bollywood enthusiasts who decide to go watch the latest blockbuster. Inspired by the success of “Top Gun,” the film features A-listers Hrithik Roshan and Deepika Padukone together for the first time, seen flying fighter jets, and gyrating across all our screens over the past few weeks, whetting our appetites for this mega-release of epic proportions.

In short – DON’T WATCH THIS FILM. Read why.

The film shamelessly aims to exacerbate the hatred that has kept two peoples apart for decades — Indians and Pakistanis.

Before I get into why this is so bad, I have to share some of my worst takeaways. Spoilers? Yes — but you’re not going to watch this film anyway.

The film opens with some sort of attack made on Kashmir. Or, more accurately — an attack on IOK (India-Occupied-Kashmir) — as opposed to POK (Pakistan-Occupied-Kashmir). We see various high-level Indian politicians/generals complain — “They always do this to us,” and “We sit here doing nothing” and “We need to give it back to them, in their face!” The dialogue was worded as elegantly as the common man shouting at the evening news in his living room. The first half continues with more harmful rhetoric of how each side hates the other — a battle of mera desh, versus humara mulk (“My country” in Hindi and Urdu, respectively).

In an attempt to show that we’re not completely anti-Pakistan, the filmmakers throw in a dialogue about how our problem is not with the government of Pakistan, but with the terrorist groups within Pakistan. But that is completely negated when we are shown scene after scene of Pakistani government officials working in cahoots with the terrorist organization. And I don’t mean, turning-a-blind-eye kind of indirect support — I mean boardroom meetings in the Pakistani capital building where they give full access to military resources, and let the terrorist leader call the shots on “What should we do next?”

Also read: Border villages in India, Pakistan divided by map, united by love

Another scene to show the greatness of India is the funeral of a Muslim Indian soldier that is attended by his Muslim kin, alongside the Indian army. The beautiful visual imagery of the brightly hued tiranga (Indian flag) juxtaposed next to the mourners in white kurtas (tunics) and traditional Muslim topi (skull cap) “reminds” us how Hindus and Muslims co-exist peacefully within India. This scene is so formulaic, despite its beauty that the filmmakers seem to want us to believe that…This problem has nothing to do with religion (tsk, tsk) — we are so great that we gladly accept your faith in our country.

As is the case with the majority of big-budget mainstream Bollywood blockbusters, the film does not attempt to show any semblance of realism, which all of us Bollywood fans are fine with. Its “formula” structure is replete with the following musical numbers:

1. Daytime Beach Party Song — where our hero and heroine dance away into the night alongside 40+ other partygoers (this is, of course, taking place in their imagination, because at that moment in the film, they’re actually having dinner the night before the intense training begins for the highly dangerous mission).
2. Poppin’ Club Song — preferably in a two-storied club—where our leads dance choreographed numbers with at least 120 other professionally trained dancers. A highly rehearsed dance solo by the male lead is a must, and without a doubt, Hrithik delivers.
3. Emotional Montage Song — this is the least memorable of the lot, but is an exemplary tool to show how hard our protagonists are working, their strong emotions, and their workouts in the gym.
4. End Credits Popular Track — this is used as a medium to include one more song in the film and is often the most marketed. In light-hearted films, this can also be Option 1 or 2 (see above), but in this case, they went with another popular formula – Exotic Locations Romantic Duet. Requisites: virgin beaches, designer swimwear, and a minimum of an 8-pack.

Amidst all of the above, there is hardly any room for facts, conflicts, policy, or diplomacy. Pakistan’s “diplomacy” is shown when they send back a POW in a body bag, hacked to pieces. As if that wasn’t bad enough, we are subjected to a gruesome assault scene, where the head terrorist viciously beats an Indian soldier into the ground. With each punch and kick, he takes pleasure in telling the fallen soldier the order in which each appendage was chopped off his comrade’s body. It’s not cold and menacing — it’s crude, loud, and coupled with a building crescendo of a background score meant to rile you up, and “remind” you why you hated Pakistan in the first place.

As is the case with the majority of big-budget mainstream Bollywood blockbusters, the film does not attempt to show any semblance of realism.

I didn’t think the blatant “India is great, Pakistan is terrible” propaganda could get any worse, until the climax scene, where, I suppose, they did bring it to a climax. Our hero, Hrithik, beats the head terrorist (who was just sharing the mutilation story) and barks at him mid-fight (and I paraphrase): You call it POK, but only because you’ve occupied it! We are the owners of Kashmir! (Punch, punch, kick, kick). And you should feel lucky … (body slam) because if we wanted (punch, kick, punch, punch, punch), we could make your country IOP (India-Occupied-Pakistan).

I was at a loss for words at this point. How can we even allow words like that to be said? And that too, on such a big platform?

This is not a small 1980s film being watched by sporadic communities in rural India, washed away and forgotten shortly after its release (even if that’s not excusable, but I can’t apply the morality of the 21st century to the previous century). Bollywood is the world’s largest film industry, and this is the fifth highest-budget Hindi language film ever made. It has opened in dozens of countries around the globe, and already made tens of millions of dollars. And this is what we made with the best of the best working together. I’m embarrassed for us.

But what bothers me even more, is the response of our audiences.

What do NRIs (non-resident Indians) do in response to a film like this?

We minimize.

“They’re all like that. ‘Gadar 2’ was even worse.”

That’s akin to me saying “He beats his wife,” and you responding, “Yeah, well, the other guy killed his wife.”

Neither of them is ok.

We ignore.

“The effects were so good, just like Top Gun.”

Yes, we have learned to make technically good films. Might I also add that it is also just a little sad that we take such pride in being a wannabe? Then again, the name “Bollywood” says it all (the Hollywood of Bombay).

We justify.

“But they showed women’s empowerment.”

Yes, it was good to show that women belong in the Air Force, but that’s as far as it went. Hrithik still mansplained away a years-long family conflict between Deepika and her parents with just one conversation — an estrangement that Deepika herself was never able to work out on her own.

So how do we respond?

We shrug it off and move on to the next. We normalize.

To quote Benjamin Parker (or Maybelle Parker-Jameson, depending on which multiverse you’re in) “With great power comes great responsibility.”

Bollywood — as the world’s foremost creator of cinema — own up to your responsibility, and start taking yourself more seriously.

Also read: India should release Pakistani fishermen

And Indian American audiences — as the wealthiest ethnic group of the nation, a community whose members are CEOs of some of the largest and most influential corporations of the world (think: Google, Microsoft, Adobe, etc.) — take a moment to think about the impact your casual dismissal of caustic prejudiced language has. Your next generation is watching. What message are they learning when you not only eagerly show up to watch these films but walk out with an offhand shrug of indifference?

If there is one lesson I can take from the abomination that was “Fighter,” it is to fight for Bollywood commercial cinema to stop making films about India-Pakistan. {People are already riled up—they don’t need over-the-top violence to fan the flames}

Please — any other topic will do.

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Antara Bhardwaj is a Kathak artist and filmmaker based in Mountain View, California, where she lives with her husband and son. She runs a dance company and school by the name of Antara Asthaayi Dance. You can follow her on Facebook and Instagram.

Courtesy: American Kahani (Posted on Feb 10, 2024) – Reproduced with permission

The post Stop the Fight: Don’t Exacerbate the Hatred That Has Kept Indians and Pakistanis Apart for Decades first appeared on Sindh Courier.

Sindh Courier

Mumbai

Bollywood actor Dalip Tahil, who has played the role of Zulfiqar Ali Bhutto, a prominent Sindhi politician and former Prime Minister of Pakistan, in the Bollywood film ‘IB 71’, had to spend months researching on his life, mannerisms, and speech patterns to nail his character.

Tahil’s casting has also brought to the fore the cultural and historical ties that bind the Sindhi communities on either side of the India-Pakistan border. Tahhil had with himself the opportunity to play such an important character and showcase the cultural similarities between the two countries.

He said, “Playing the role of Zulfiqar Bhutto was a challenge that I couldn’t resist. I needed to bring a sense of authenticity and nuance to the character.”

“I spent months researching Bhutto’s life, his mannerisms, and his speech patterns. I hope that my portrayal of the character does justice to his legacy and brings to the fore the cultural similarities that exist between our two countries.”

Film ‘IB 71’, released on May 12, 2023, is based on a story related to 1971 situation according to which Indian Intelligence finds itself taken by surprise when it is revealed that both Pakistan and China pose a significant threat to India, signaling potential attacks. In order to avert this imminent danger, IB agent Dev Jammwal devises a strategic plan aimed at safeguarding the nation by effectively closing off Indian airspace.

The film stars Vidyut Jammwal, Anupam Kher and Vishal Jethwa in pivotal roles and is produced by Bhushan Kumar and directed by national award winner Sankalp Reddy. The story has been written by Aditya Shastri.

According to Indian media reports, as of 26 May, the film collected US$2.9 million till now and is still running in theatres.

Dalip Tahil is one of the most renowned evergreen actors in the Bollywood film industry. He is well known for his serious and villainous roles in films like ‘Qayamat Se Qayamat Tak’ in the year 1988 as ‘Dhanraj Singh’ and in ‘Darr’ in the year 1993 as ‘Captain Mehra’, and in ‘Baazigar’ as ‘Madan Chopra’ which was also released in 1993.

#FathersDay
My father, Ghansham Jethanand Tahilramani – pilot, singer, romantic

Received his first flying certificate at age 18, British India 1938

Love you Pa pic.twitter.com/cNPMabYzYL

— Dalip Tahil (@daliptahil) June 21, 2020

He was born on October 30th in the year 1952 in the city of Agra in Uttar Pradesh. His father Mr. Ghansham Jethanand Tahilramani was in the Indian Air Force.

He completed his higher secondary education from one of the most famous schools in the country, The Sherwood College in Nainital. He then joined Aligarh Muslim University (AMU) in Aligarh and later did his graduation from Mumbai’s St. Xavier’s College.

Dalip started acting at a very young age when he was just ten years old and was a part of many plays during his school days. For his acting in his school days, he won the ‘Kendall Cup’ for two years consecutively.

He was a part of many plays like Macbeth and My Three Angels. During his early life, he was a part of many prestigious theater groups and appeared in countless plays. He made his acting debut in the year 1974 when famous film maker Shyam Benegal had discovered Dalip’s talent and offered him a role in his film ‘Ankur.’ He later appeared in Ramesh Sippy’s ‘Shaan’ in the year 1980 and had gained recognition by playing the villainous ‘Kumar’.

He played the role of Laxmi’s dad in India’s first 3D cinema, ‘My Dear Kuttichathan’ which was shot in Malayalam in the year 1984. He also appeared in various television serials like Ramesh Sippy’s ‘Buniyaad’ in the year 1987 as the eldest son of Haveli Ram, named ‘Bhushan’. He appeared in the Sanjay Khan made ‘The Sword of Tipu Sultan’ in the year 1990 which was aired in DD National.

He also made appearances in many foreign language television serials like ‘EastEnders’ the famous British soap opera in the year 2003 in which he played ‘Dan Ferreira’. Recently he made appearances in ‘Bhaag Milkha Bhaag’ in 2013 as ‘Jawaharlal Nehru’ and in the 2015 release films ‘Phir Se…’ by Kunal Kohli and ‘Welcome to Karachi’ by Ashish R Mohan starring Arshad Warsi.

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Source: Outlook India, Net TV4U, Mans World India

The post Bollywood’s Sindhi actor Dalip Tahil plays Bhutto’s role first appeared on Sindh Courier.

By Neelam Malkani

Can a movie radically change viewers’ attitude from body shaming to body positivity? Maybe not. But it can spark a discussion around it. I was at least drawn to write something about it after watching the movie XXL. Having worn XXL clothes myself almost all my life, I certainly could relate with the characters but what appealed to me more was the fact that Indian cinema has finally mustered the courage to make movies about the characters that are ‘diametrically’ opposed to the notions of good looks it has itself perpetuated.

The dramatically altered scene of Indian cinema which accepts flawed and imperfect protagonists and narrates stories from women’s points of view is a huge sigh of relief. Although perfectly chiseled and toned bodies are still depicted, “imperfect bodies” too seem to have carved a niche for themselves. The portrayal of characters with realistic built, features, and mannerisms and with physical defects and neuro-diversity in mainstream cinema is increasingly accepted.

The idea of inclusion is not new. Earlier on television, Mona Singh put on braces and oddly-framed glasses in “Jassi Jaisi Koi Nahi” and played the role of a woman who was geeky and clumsy but honest and determined. She was adored by viewers and soon became very popular. But eventually, the plain-looking Jassi had to transform into a visually-pleasing woman. However, the ‘different’ characters of more recent times are more comfortable in their skin and don’t seem to need a ‘makeover’. Sandhya in “Dam Laga Ke Haisha” remains unapologetic about her size and brings bliss into her marital life without conforming to society’s standards of beauty. The two female characters in XXL go further and wear their obesity like a badge of honor. They own their bodies and have no qualms about their ‘imperfections’. Their positive portrayal as girls indulging in food is starkly different from the cake-stuffing scene of Neelam Mehra in “Dil Dhadakne Do” wherein a middle-aged wife, stuck in a toxic relationship with an insincere husband, is seen gorging at a chocolate cake in a moment of self-loathing and embarrassment.

Whether the portrayal of these confident characters has catalyzed the change in societal attitudes or whether it is merely mirroring a shift that has already taken place is open to discussion but a change is certainly palpable.  Be it a plus-sized influencer dancing boldly to the ‘Besharam’ song or the dark-skinned models endorsing beauty products, women are fearlessly accepting themselves without being bogged down by others’ perceptions.

This is not to endorse unhealthy lifestyles or mindless eating or severe obesity. In fact nobody can question the importance of fitness and healthy eating in life.  But this journey of self-acceptance is no mean feat for women. From buying fairness creams to demanding to be treated fairly, women have seen everything – bullying, misogyny, discrimination, and trolling, et al. Therefore, this spirit of liberation from expectations should be celebrated. This may not put an end to the fetish for fair skin or desire for a curvaceous figure, but it will certainly put those women at ease who think they are more than their bodies – whose strength and confidence come from their minds and hearts and not just from their appearance.

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Neelam Malkani is a Bhopal-based educator and freelance writer

The post Women are more than their bodies first appeared on Sindh Courier.

Monitoring Desk

Karan Johar, one of the most well-known and talked-about film producers and filmmakers in India, in an interview to The New Indian, said his Dad Was Punjabi and Mom a Sindhi.  

“Ever since I was young, I remember my father waking me up in the morning and saying his prayers. It was mainly a prayer of gratitude where he used to thank the good lord for giving us the meal on the table, a job to go to, and having a happy healthy peaceful family,” Karan said.

“I woke up to his prayer every morning and for me, that was the India that I grew up in. My family moved to Delhi. You know we used to have a house in Nizamuddin, West Delhi (G-65 Nizamuddin West). I used to go to my mataji (dadi) house. Our family used to celebrate each festival together.”

Karan said, “I am talking about 1975-1976 till the time my dadi was alive. She passed away in 1984 and after that, we celebrated Holi or Diwali in our way – keeping the family bonding alive.”

“I still remember going with my father to gurudwara.”

“My mother is a Sindhi; my father a Punjabi — but both have gurudwara and Guru Nanak in common. Going to langars is an experience I still cherish and it instills me with a proud feeling of being an Indian. My nani grew up in a building that had a gurudwara. The building’s called Shyamniwas in Mumbai.”

Karan Johar said his father spoke fluent Punjabi. “I understand Punjabi and Sindhi. Unfortunately, being born and brought up in Mumbai, I have never spoken the language, nor can I understand it fluently but my father spoke wonderful Punjabi.”

Karan Johar said, “I have lots of friends who speak fluent Punjabi. I always tell Vicky Kaushal (the Bollywood actor) that he speaks Punjabi so beautifully and it’s a beautiful language and so is Punjabi music.”

“My father was not a good singer but he still sang songs that he grew up hearing. My father was born and brought up in Shimla, then moved to Delhi and saw Partition from close quarters. Our family had to move from Shimla to Delhi.”

“My mother is actually born and brought up in Karachi and then moved to India in 1947. She and my nana-nani moved from there to Kanpur. So, my mother was among those Sindhis who grew up in North India as well.”

“They say the only child is a lonely child but I was really blessed to have such a great relationship with my parents. I somehow did not feel the absence of siblings.”

Karan Johar said the film industry has always been the most secular place in this world. “I grew up and was raised up in such a way that I never even had such a feeling of bias among cultures. What was difficult is that my father was going through a very tough time professionally before I made my first film. Many of his films had failed.”

“His first film Dostana released in 1980. His second film was Duniya with Dilip Kumar and his third film Mukkadar Ka Faisla directed by Prakash Mehra with Raj Kumar, which failed.”

“Then the extremely expensive and cult film, Agnipath, with Amitabh Bachchan directed by Mukul Anand, failed at the box office. Gumrah with Sri Devi and (Mahesh) Bhatt Sahib, which didn’t work, and then ‘Duplicate’ with Shahrukh and Bhatt Sahib, which didn’t work. So we had heavy loans because in those days there weren’t studios. I remember my mom actually had to sell my nani’s flat in the same building I talked about (Shyamnivas Gurudawara). I remember she had to sell it off because when we released Mukkadar Ka Faisla in 1987, the film was a colossal disaster.”

“My father had taken loans from financers and he had to pay them off. So when I entered the industry and I spoke about my desire to make movies and be a filmmaker, my father knew what I was up to. I remember telling him: “Papa, if you feel I shouldn’t do this and maybe this is not economically the right time to make a film, please tell me.” He said: “I have made films for everyone, so why shouldn’t I help you in making one? If you pour your heart into a film, it will be a hit.”

Karan said, “The industry was very inclusive and everyone was welcoming but I had huge pressure on delivering a successful film as the very same year Duplicate had flopped.”

“In May 1999, Duplicate had released and not done well. Many distributors had walked out of the film but it was (Yash) Chopra (my guru in so many ways) who took charge of the film distribution in India and overseas. He remains my mentor and guide and best friend. He was like an institution of learning. I remember when Kuch Kuch Hota Hai was released and my father was told by a distributor over the phone that the picture is a superhit, tears started rolling down his cheeks because he had not heard those words in over two decades. We had always had a desire that we should move into a big house.”

Karan Johar continued, “We used to stay in a two-bedroom rented flat in the town. We moved to our first house in Bandra after Kuch Kuch Hota Hai. When my father made the first film for me it was also a lot of stress and I had also seen my father’s failure. My first film was more of a challenge for me than anything else.”

Karan Johar said, “There was so much love showered on me by my seniors. I remember on the premier of the film in Liberty cinema, I was so overwhelmed when (Amitabh) Bachchan sahib, Shammi (Kapoor) uncle and a lot of actors and directors attended the event. There was so much goodwill for my father, he was so much loved. They all wished good for us and were happy for us as they all knew we had been through such a tough time. Today, I strongly feel that whatever I got in this industry is a result of the goodwill that my father had earned and that has grown over the years. I feel I am still reaping the benefits of that goodwill.”

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Courtesy: The New Indian (Published on September 10, 2022)

The post My Dad Was Punjabi, Mom Sindhi – Karan Johar first appeared on Sindh Courier.

Karthik Venkatesh

In Vol. 8 (Part I) of the Linguistic Survey of India, published in 1919, George Abraham Grierson, the survey’s guiding light, presented in detail the particulars of a language he called Lahnda. He delineated its geographical spread and identified it as being spoken in the area that now falls in Pakistani Punjab or, more accurately, West Punjab. He was also at pains to distinguish it from its eastern cousin, Punjabi. The south and west of Lahnda territory he identified as the Seraiki region (though he didn’t use the word Seraiki, his description of the tongue matches it), and the northern half as the Hindko region. This was the area, he stated, where the “language of the Hindus” (that is what he interpreted Hindko to mean) was spoken. Hindko, Grierson stated, was the main language of the Hazara division and was also spoken in Peshawar.

That he identified Peshawar as falling in Hindko-speaking territory is interesting. Seventy-two years after Partition, Peshawar in Pakistan continues to exert an irresistible pull on the Indian imagination. Peshawar’s food, its swashbuckling people, popularly known throughout India as the Pathans, and its Qissa Khwani Bazaar, the original home of many Bollywood stars, are often romantically and nostalgically evoked. The kabuliwalla of Tagore’s eponymous story was a Pathan and there have been other Pathans in popular culture, Sher Khan of Zanjeer (1973) being among the most popular. Bollywood stars have been quick to cash in on this fascination with Pathans. Dilip Kumar, Shah Rukh Khan and the Kapoors, besides others, have all been classified as Pathans owing to their purportedly Peshawari origins. But the truth is a little more prosaic.

The truth, therefore, is that the Peshawaris of Bollywood are of Punjabi stock, albeit Punjabi with a Pashto tinge, as Hindko is often said to be.

Today, Peshawar is the capital of the Pakistani province of Khyber Pakhtunkhwa and is dominated by Pashto speakers. Prior to Partition, however, Peshawar city was dominated by Hindko speakers. Typically, Pashto speakers were predominant in the rural areas of Peshawar district while Hindko speakers dominated the urban areas. In Peshawar city, Hindko speakers were called Peshawari or “Kharay” by Pashtuns, meaning city-dwellers. The term Pathan, strictly used, refers only to Pashto speakers, and the speakers of Hindko, which is a language in the Punjabi universe, do not qualify as Pathans. The truth, therefore, is that the Peshawaris of Bollywood are of Punjabi stock, albeit Punjabi with a Pashto tinge, as Hindko is often said to be.

In India, Hindko is little known, and while there are Hindko speakers in parts of Jammu and Kashmir as well as among other communities who migrated to India post Partition, by and large it has been absorbed under the broad umbrella of Punjabi. In Pakistan, the situation is different. Interestingly so. There, much of Punjab, or at least its educated class, prefers Urdu to its own mother tongue and Punjabi remains confined to rural areas and to the lesser-educated classes. In such a situation, for a language like Hindko to emerge and gain even a modicum of recognition has been a tall order.

To draw attention to themselves and stake a claim for Hindko as an independent language, its advocates have resorted to making unusual declarations and a lot of noise. Among Hindko’s more fantastic claims is that it was the progenitor of Urdu. This interesting claim owes its origin to the fact that virtually all the Muslim dynasties that went on to rule Delhi passed through Hindko-speaking territory, and, inevitably, the local language was influenced by the Persian that was spoken by many of the invaders. That this Persian later mixed with the languages of the Indo-Gangetic plain to become Urdu is the general consensus that Hindko protagonists wished to upturn in their bid to gain recognition for their tongue in the Urdu-dominant Pakistani state. An admissible tactic perhaps, if only as a last resort.

Urdu scholars have, of course, dismissed this claim out of hand. Urdu’s Indo-Gangetic plain origins have been studied and documented extensively and it is difficult to entertain Hindko’s claims in this respect. Another tall claim that has also been brushed aside was that Hindko was the language of the Indus Valley civilization. This claim too is not backed by evidence and was made solely on the basis of the fact that some Indus Valley sites lie in the vicinity of Hindko-speaking territory.

What is clear is that Hindko is an Indo-Aryan tongue closely related to Punjabi. It is also closely connected to Seraiki and distantly connected to the other tongues in the Punjabi universe: Dogri, Kangri and, possibly, even Haryanvi. Punjabi emerged around the beginning of the last millennium, around 1000 CE, and evolved from the Prakrits that were spoken in that part of the world.

Hindko, which many insist is a Punjabi dialect and not an independent language, is likely to have emerged at the same time. On the other hand, Pashto, from which Hindko has borrowed many words, is an Indo-Iranian tongue—distinct from the Indo-Aryan tongues spoken in its neighborhood.

Hindko today is spoken by close to four million people in Pakistan in the former Hazara division, which consisted of Abbottabad (now infamous as the city where the late Al Qaeda leader Osama bin Laden was holed up), Haripur, Mansehra and Attock in Punjab. There are a substantial number of Hindko speakers in cities like Peshawar, Nowshera, Swabi and Kohat in Khyber Pakhtunkhwa as well.

There is also a strong sense of a Hindko identity, as the Pakistani state realized when the North-West Frontier Province (NWFP) was renamed Khyber Pakhtunkhwa in 2010. The loudest opposition to the renaming came from Hindkowans who feared being submerged in the Pashtun identity of the newly named state. It also prompted calls for a separate state for Hindko speakers. This claim is akin to the one for an independent Seraiki-speaking state in southern Punjab, separate from the larger Punjab. With a more dominant language to deal with in their geographical vicinity, speakers of both tongues have felt the need to assert their separateness from the speakers of the dominant tongue (Punjabi and Pashto), apart from clamoring for attention from the Pakistani state and its Urdu fixation.

Besides Pakistan, Hindko is also spoken in Afghanistan, where it is referred to as Hindki and largely understood to be the language of its non-Muslim population, i.e. Afghan Hindus and Sikhs. This is not entirely correct, for there are Hindko-speaking Muslims in Afghanistan as well as Pashto-speaking non-Muslims.

A final point. Grierson’s insistence on identifying Lahnda as being separate from Punjabi did not last. Lahnda today is understood as the name of the West Punjab form of the language rather than as an independent language. Also, scholars post-Grierson understood Hindko to mean the “language of the people of Hind, i.e. India” and not the Hindus, which was a term used for a religious community.

And so it has come to be: a language named after India that is now largely spoken in Pakistan.

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Karthik Venkatesh is an editor with a Bengaluru-based publishing firm.

Courtesy: Live Mint (Published on 06 Jul 2019)

The post The strange and little-known case of Hindko first appeared on Sindh Courier.

Sindh Courier

One of the most talented music directors of Bollywood, Arjun Chandnani, popularly known as C. Arjun, was born on September 1, 1933 in Karachi. After partition his family settled in Baroda. He inherited his musical talent from his father Parmanand Chandnani who was a singer. He started his career with composing for a Sindhi film Abana (اباڻا). He also composed music for a number of other Sindhi Indian films including انصاف ڪٿي آهي، جهولي لال، سنڌوءَ جي ڪناري، لاڏلي، شل ڌيئر نه ڄمن، هو جمالو ۽ هل ته ڀڄي هلون.

His first Hindi film was Road No. 303 (1960). He is most remembered for his songs in Hindi films like Punar Milan, Jai Santoshi Maa and Kanoon Aur Mujrim. Some of his notable films include “Road No. 303” (1960), “Main Aur Mera Bhai” (1961), “Ek Saal Pehle” (1965), “Sushila” (1966), “Guru Aur Chela” (1973), “Love in Kashmir” (1976), “Karva Chauth” (1980), ‘Kanoon Aur Mujrim’ (1981) and “Sati Naag Kanya” (1983).

C. Arjun started his career by assisting to another Sindhi music director Bulo C. Rani. He was recognized for his songs in the film ‘Jai Santoshi Maa’ (1975). ‘Jai Santoshi Maa’ was released in the year of the mighty ‘Sholay’ and ‘Deewar’, established itself as one of the highest grossing films ever on the strength of his music. One of his most memorable songs was “Paas Baitho Tabiyat Bahal Jayegi, Maut Bhi Agayee To Tal Jayegi’ from the movie ‘Punar Milan’ (1964). The song featured the actor, Jagdeep, who was the lead in this film and was made a timeless classic by the legendary music composer C. Arjun.

C. Arjun inherited his musical talent from his father Parmanand Chandnani who was a singer. He started his career with composing for a Sindhi film Abana.

Any mention of C Arjun has to start with this song. It is among Rafi’s all-time greats. Decades back, once, in an interview in radio program ‘Binaca Geetmala’ hosted by Ameen Sayani, late C Arjun told the story behind as to how this song was written by Indivar and how it was tuned.

C. Arjun said ….”One day we (both me and Indivar) were travelling in a bus while returning home in the evening, from the recording studio. Both of us were sitting on the same seat and the bus was packed full with passengers. After 2 or 3 stations Indivar saw that a young and very beautiful girl boarded the bus and she came near our seat standing in the middle amongst other standing passengers. Indivar was looking at her time and again. After 4 or 5 minutes, Indivar asked me to leave my seat and offer it to the pretty girl standing beside us.

After a bit hesitation I agreed and gave my seat to her. To my surprise, Indivar didn’t talk to her even once while she was sitting beside him for about 20 -25 minutes before she disembarked the bus at one of the stops in our way. When I asked Indivar why he didn’t talk to her? He replied only when we reached home. On reaching home Indivar said, “My dear Arjun thank you so much for offering your seat to her and letting her sit beside me and I have imagined and thought of some lines while she was standing and then sitting beside me”.

Indivar there and then spoke those lines to me and they were “PAAS BAITHO TABIYAT BAHAL JAYEGI….MAUT BHI AA GAYI HO TO TAL JAYEGI”. And then Indivar wrote this whole song there and then in about one hour and asked me to compose its tune the same night. We sat together after our dinner and composed its tune before we went to our beds late night. Indivar stayed with me that night and left for his home next day morning….”

That was the example of the spirit, the circumstances, the inspiration and the passion behind most of the songs created and tuned during that golden era of Hindi film music.

Incredibly this song is pictured on Jagdeep who was in the lead role opposite Ameeta, who had a brief period of glory with some super hit films in the late 50s and early 60s such as Tum Sa Nahi Dekha and Goonj Uthi Shehnai.

“Paas baitho tabiyat bahal jayegi was not a flash in the pan. His other famous composition was ‘Chaah karni thi chaah kar baithe’ by Asha Bhosle and Mubarak Begum from Punarmilan, lyrics Raja Mehdi Ali Khan. Punarmilan had several outstanding songs. C Arjun showed his prowess for composing ghazal in this beautiful poetry of Raja Mehdi Ali Khan. Asha Bhosle and Mubarak Begum had rendered it equally beautifully, so Shashikala and Ameeta acted it on the screen.

Third famous composition was ‘In pyar ki rahon mein tera hi sahara hai’ sung by Rafi and Asha Bhosle from Punarmilan, lyrics Gulshan Bawra. Punarmilan had three lyricists. This one is a duet by Rafi and Asha penned by Gulshan Bawra. This duet would compare with the best Rafi – Asha Bhosle duets by OP Nayyar. Jagdeep and Ameeta do the dancing around trees like any mainstream stars.

“Bhai re bhai, main to bawri bhai” by Manna Dey and Lata Mangeshkar from Punarmilan, lyrics Gulhan Bawra, was a totally different flavor. A beautiful Krishna – Radha dance song was performed on stage by Jagdeep – Ameeta.

“Gham ki andheri raat mein’ by Rafi and Talat Mahmood from Susheela (1966), lyrics Jaan Nisar Akhtar, must be one of the best male duets of two legends Rafi and Talat Mahmood. The beautiful poetry is again by Jaan Nisar Akhtar who seemed to have a very creative pairing with Jaan Nisar Akhtar. This song bears an uncanny similarity to Sahir Ludhiyanvi – Khayyam composition ‘Wo subah kabhi to ayegi’ from Phir Subah Hogi.

“Bemurravat bewafa begana-e-dil aap hain” by Mubarak Begum from Susheela is also an unforgettable song. “Main abhi gair hun mujhko abhi apna na kaho” by Mukesh and Asha Bhosle from Main Aur Mera Bhai (1961), lyrics Jaan Nisar Akhtar, is one of some heavenly duets.

“Peenwale meri ankhon se piya karte hain” sung by Asha Bhosle from Mangu Dada (1970), lyrics Jaan Nisar Akhtar, displayed amazing variety in whatever limited assignment C. Arjun got.

“Jitni haseen ho tum utni hi bewafa ho” by Rafi from Mangu Dada, lyrics by Jaan Nisaar Akhtar is an amazing Rafi solo.

The pinnacle of C Arjun’s work was Jai Santoshi Ma, a low budget film which came in the year of Sholay and Deewar and soon became a surprise super-duper hit ranking among all-time highest grossers, obviously riding on the wave of his amazingly lilting compositions. Those were the days of radios at paan-shop and loudspeakers at every neighborhood corner, blaring songs incessantly. You could not spend half an hour without listening to one or the other song of Jai Santoshi Ma. Though the music he had created for films are melodious and memorable, he never had the fortune to work under big banners.

The legendary music composer C. Arjun passed away on April 30, 1992 at the age of 59 years.

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Courtesy: Mr. Prakash Khilnani from USA and website ‘Songs of Yore’

The post Forgotten Composer, Unforgettable Melodies first appeared on Sindh Courier.

What is wrong if Sindhis don’t lose the sight of the commercial aspect of any enterprise? Aren’t all business schools teaching the same thing after taking hefty amount of fees?

Neelam Malkani

BHOPAL

The recent Astral Pipe advertisement with Ranveer Singh speaking Sindhi left me ambivalent. I was thrilled to see an Indian superstar speaking my native language on national television.

However, I was miffed because the commercial implied that Sindhis are concerned only with fancy, lavish lifestyle–fancy exterior and not with the robust fundamentals while constructing houses. I maybe a bit sentimental about this issue, but I have all the reasons to believe that Indian film and entertainment industry has done a great disservice to Sindhis by unfairly portraying entire community in a few distasteful stereotypes.

From Dilip Tahil playing a manipulative father in “Hum Hain Rahi Pyar Ke” to the boastful uncle flaunting his wealth in the latest commercial, Sindhis have been reduced to caricatures of ostentation, deceit and stinginess.

The filmmakers have somehow assumed that a benign Sindhi character is inconceivable. Normal Sindhi characters are conspicuously absent not only in the mainstream cinema but also in the parallel cinema. Even the OTT revolution has not tried to change the status-quo.

In contrast, Indian movies have depicted compassionate and kind-hearted characters of almost all communities and ethnicities– Lalita Pawar as Mrs. D’costa, A.K Hangal as Raheem Chacha, Paresh Rawal as Mota Bhai, Ashok Kumar as Mistry bhai and countless happy-go-lucky Sardar uncles.

Script writers too seem to be “blissfully” unaware of the lives of inspirational Sindhi figures such as Dahir Sen, Hemu Kalani, J.B Kriplani, Sucheta Kriplani, Sadhu Vaswani, Ram Jethmalani and many more. Another notion about Sindhis has been that they are focused only on minting moolah and not on art, culture and literature.

While the fact is that Ramesh Sippy, who directed the most iconic movie of all times Sholay, and Rajkumar Hirani, one of the most successful filmmakers of contemporary times who directed one of the biggest commercial successes ‘Three Idiots’, happen to have Sindhi roots. Both the movies were not only huge blockbusters but also finest pieces of cinematic art.

Next time you see a Sindhi relish eating Papad, ask yourself, do people of other communities consume it too? If yes, then scratch “Papad-eating Sindhis” slur from your dictionary. And that would be “DADHO SUTHO.”

Numerous other artists, producers, distributors, dress designers, music directors too have contributed immensely to Indian cinema and entertainment industries despite coming from a community which is perceived to be ignorant of artistry. Moreover, Sindhi folklore and language is a rich mixture of mysticism and Vedantic ideas that have been inspiration of many popular Sufi compositions. But who cares about facts when fiction dictates and shapes the perceptions?

And what is wrong if Sindhis don’t lose the sight of the commercial aspect of any enterprise? Aren’t all business schools teaching the same thing after taking hefty amount of fees? Aren’t all financial pundits offering the advice of economic prudence! Is not some kind of reward, financial or otherwise, the motive behind almost every human endeavor?

Then why is this normal human trait used to tarnish the image of entire Sindhi Population? Why can’t they be known as people who value their hard-earned resources because they were uprooted from their native places and had to start everything from scratch. Why can’t they be cited as the living examples of industriousness and resoluteness contributing enormously to GDP? Why are they not known for their philanthropy despite running numerous charitable educational institutions, training centers and hospitals?

Actually, it takes extraordinary courage to challenge erroneous beliefs and suppositions; hence, we all generalize. Thankfully, Gurudev Ravindra Nath Tagore realized that the population that lived at Mohenjo-Daro and Harappa, the sites of the oldest civilizations should be represented in the national anthem, and the commission for linguistic minority recommended that Sindhi language should be included in the eight schedule of Indian constitution.

If it were not for such foresight, Sindhi community would still be fighting for these causes and considered refugees. It is high time we applied some critical thinking before making sweeping generalization about any community. Next time you see a Sindhi relish eating Papad, ask yourself, do people of other communities consume it too? If yes, then scratch “Papad-eating Sindhis” slur from your dictionary. And that would be “DADHO SUTHO.”

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Neelam Malkani is an educator and writer. She is based in Bhopal

Courtesy: News Bits (Published on June 29, 2022) 

The post Sindhi community’s Portrayal in Bollywood first appeared on Sindh Courier.

[Naresh Udhani is a Film Writer, Lyricist, Producer and Director based in Ahmedabad city of Gujarat state in India. Naresh, whose ancestors belonged to Naseerabad, district Larkana Sindh, has directed five Sindhi movies and the 6^th one is going to be released by end of this year. He is also producer of two earlier movies and one to be released soon. In a conversation with Sindh Courier through voice messages, Naresh talked about a host of issues faced by Sindhi film industry in India – Nasir Aijaz, Editor]

Big Sindhi Investors Do Not Put Their Money Into Sindhi Film Industry

Q- Abana was the first Sindhi movie produced in India in 1958. How many Sindhi movies have been produced since then and what is the overall situation of Sindhi film industry in India?

A- Yes Abana was the first Sindhi movie produced in India after partition in 1958. But hardly 12 to 15 Sindhi movies could be made till 1984-85. Again four to five movies were produced till 2007-08. My first Sindhi movie Maasoom (Innocent) was released in 2009 and was like the revival of Sindhi film industry as some 35 movies have so far been released during this brief period of 13 years.

Q- It is good to know about the revival of Sindhi film industry. But isn’t it strange that Sindhi financers have made heavy investments in Bollywood but neglected the Sindhi film industry?

A- We Sindhis in India are scattered in different cities except certain pockets in a few cities. It’s one of the major reasons that Sindhi movies failed to make any return. All of my five movies made so far went into loss, but even then I have produced my sixth movie.

Actually, people like me, who have spirit of Sindhyat, have continued making investments in Sindhi movies. ‘Aseen jeki Sindhyat ja deewana ahyun, Uhe ee Sindhi film thahiyun tha’.

Those making huge investments of hundreds of millions in Hindi movies of Bollywood are in fact commercial and professional investors who also earn huge profits. They have neither focused on Sindhi movies nor will do in future. Why would they invest on Sindhi movies knowing that it will cause them nothing but loss?

We are making a movie by investing hardly 2.5 million to 3 or 3.5 million rupees and even then a film earns not more than one million or one and half a million. We have to sustain such a big loss on each movie.

Q- I can realize the issues faced by you, as Sindhis are scattered in different cities of India and their population is not enough to throng to a cinema. In such a situation, do the cinemas accept Sindhi movies for screening?

A- Yes Saeen we also face hardships in this regard. We have to implore the theater owners for screening of our movies. They make us bound to pay for all the tickets if the movie fails to attract the spectators and the tickets are not sold.

Q- What kind of topics are selected for Sindhi movies? I have been watching these movies on YouTube and found that mostly comedy or romantic or mixed movies are produced.

A- Your observation is correct. The movies produced here are often a mixture of comedy, romance, and social issues with the addition of songs and emotional dialogues.  Mr. Mohan, a Nagpur-based producer, makes only comedy movies.

Q- Have you or any other Sindhi film producer held exhibition of movies outside India to widen the market. There are lots of Sindhis in Dubai and other countries around the world?

A- Yes, beside India, my movies have been exhibited in Canada, Hong Kong and Nigeria. Two Sindhi movies were also screened in Dubai as producer Satish Changani himself is based in Dubai.

Q- For the same purpose, I mean for capturing the market, have Sindhi film producers ever tried to exhibit their movies with subtitles in English and other languages or dubbing in different languages?

A- So far no Sindhi movie has been dubbed in any of other languages in India. But I think it is easy to release Sindhi movies with English subtitles.

Q- I learnt through one of your interviews on YouTube that Sindhi movies are screened in hardly a dozen cities. For example you had released your movie Nazuk Rishto in about 12 cities. What had been the response by Sindhis. Was there a great rush of people to watch the new movie, as had been for Bollywood movies or even in Sindh a large number of people watched Sindhi movies in the past?

A- The situation in India is different from Sindh, as I told that Sindhis are scattered community. Moreover, the times have changed a lot. In the past, when the movies were made in print, no movie could be released in several cinemas simultaneously. But now the advanced technology has made it possible to release a move in more than ten thousand theaters at a time. Gone are the days when the movie lovers used to get their seats booked standing in queues.

I must share that my movie Vardaan was released in thirteen cities while Nazuk Rishto was released in eleven cities at a time.

As regards the response from Sindhis, I would not hesitate to share that on an average, it is not encouraging. Yes but as far as my movies are concerned, people used to buy tickets to watch the movie.

You would be surprised to know that Sindh producers or directors have to arrange any sponsor for screening of their movies – some well off persons or organizations.

Most of the producers/directors often release their movies in one city and then move to others, but it was my two movies that were screened in around a dozen cities at the same time.

Q- Have you ever thought of or taken any practical step to produce a Sindh movie of international level casting the renowned actors, with the help of big investors?

A- A Sindhi movie ‘Piyar Kare Dis’ released in 2009, was co-production of a Mumbai-based producer Kumal Nathani and another from Dubai or Singapore. A huge investment was made by engaging renowned actors, singers and getting composed songs etc. but the result was zero. Hardly 20 shows could be held of this movie. Spend tens of millions or two to three millions – huge loss is sure. And for that reason, every producer tries to make a film with a minimum budget and ensure maximum screening.

My 6th movie Vardan-2 has been co-financed by Mr. Mohan K Soni from Latin American country Chile while the associate producer is Mr. Ajeet Khairpuri from Hong Kong. This became possible only because my movies became popular through social media.

In my view, based on my experience, a blockbuster movie doesn’t require a big cast and popular actors. It needs a good story, screenplay, dialogues as well as the direction. The actors may be new and unknown but if their performance is powerful, they would make a film blockbuster. So we here focus on these things instead of big cast and investment.

Q- Share something about your six movies you have produced so far, and any new venture?

A- My first movie Maasoom, produced and directed by me, released in 2009, was based on a story of a Thalassemia patient. Second movie Qarz, also produced and directed by me, was themed on spoiled youth who get involved in seeking loans. It was released in 2011. My 3rd movie as director – Piyar Ja Rang was released in 2013. It was themed against the social evil of unmarried couples’living together, as in our Sindhi society does not accept it being disastrous for the families. Vardaan, the most successful movie was released in 2016. It touched on the important topic of educating the daughters. For this movie, I was declared as Best Director by an organization based in Hyderabad Sindh. The 5th movie – Nazuk Rishto, was released in 2019. It highlighted how delicate are the matrimonial relations.

Pyar Jaa Rang was produced by Kodu Rawlani, Vardaan by Rajesh C. Lalchandani and Naazuk Rishto by Chander Sawnani.

The 6th movie is Vardaan-2, which will be released by the end of this year.

Q- You earlier talked about revival of Sindhi film industry, which in fact is not up to the expectations. What do you think how the Sindhi film industry could progress, as it would not only promote Sindhi language and culture but also create opportunities for a large number of Sindhis to show their talent?

A- If we want to ensure the success of Sindhi movies, we must focus on the selection of powerful stories, dialogues, lyrics, music as well as the direction and picturization. But at the same time we need the patronage of Sindhis, as promotion of Sindhi language, culture and revival of Sindhi film industry depends on the success of movies. Moreover, organizations like Sahitia Academy and Sindhi Language Council should also come forward to patronize Sindhi movies, the same way they extend financial help for publishing the books. The governments in other states financially help the movies of their respective languages but since the Sindhis have no state of their own, we direly need financial support by these organizations.

Watch Video: Naresh Udhani speaks at All India Sindhi Academic Conference 

Q- My last question is about your ancestors and your personal life.  

A- My ancestors migrated from Naseerabad, Larkana Sindh in 1947 and settled in Ahmedabad. I was born in Ahmedabad in 1969 I am the youngest of four brothers and five sisters- that is 9th and last child of my parents. We are wholesale cloth merchants like our ancestors, and have shops in Sindhi market of Ahmedabad.

I graduated in commerce but I was interested in writing stories and poems from a young age. So far I have written lyrics for about 19 films. I write stories, lyrics and dialogue for my movies.

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The post Sindhi Film Industry needs Community and State Patronage first appeared on Sindh Courier.

Monitoring Desk

How far will you go for love? In Ranveer vs Wild with Bear Grylls, the latest show which dropped on Netflix on Friday afternoon, the Bollywood actor crosses steep ravines, freezing rivers, and predators like foxes, bears and snakes—all to get one flower for his wife, Deepika Padukone.

Ranveer vs Wild explores Serbia

It’s not just any other flower. Ramonda Serbica is a rare species found in the high altitudes of Serbia. The flower is said to survive through some of the harshest conditions and has the ability to revive if watered even after it has withered. Ranveer believed the flower is a true representation of his love for Deepika. So, the actor who says he’s never been to a forest, “not even Aarey Forest”, sets out on a mission to reach this flower, with a little help from British adventurer, Bear Grylls. The show is interactive, so you have control over his next move, and whether he rappels down a cliff or tyrolean traverses (a method of crossing one high point to another with a rope)—one way or another, he reaches the endpoint, and here are some of the crazy things he does along the way.

Eats testicles, ants and maggots for dinner

Ranveer Singh’s mother sweetly packed the Sindhi flatbread koki and banana chips for the actor’s journey. But Bear Grylls wasn’t very pleased. The key to crossing a forest is to travel fast and light, he told Ranveer. So they traded the koki for ants as their source of Vitamin C in the forest. At one point the ravenous two distracted a pack of wolves from their catch for the day so they could eat it themselves. Well, the pig was half devoured, but what was left was its testicles and the maggots feeding on them. You can choose what they eat. Neither of them is a pretty sight!

This one’s your choice again. You can watch the actor rappel down a steep cliff or Tyrolean traverse through a ravine with mind-boggling views. One requires him to use his muscle power more than the other and is also more time-consuming. But hey, no spoiler’s here; we shall let your find out for yourself.

Crosses a pitch-dark cave

After Ranveer rappels or tyrolean traverses, he’s given access to a GPS system that points him to the location of the flower. Unfortunately, there’s no other way to move ahead than crossing a pitch-dark cave. They managed to light a fire, with the help of a knife and Ranveer’s underwear (yes, you read that right), Beyond the lizards and spiders, a pit of venomous snakes welcome them.

Due to its antibacterial properties, Sphagnum moss is said to have healed thousands of wounds during WW I. During Ranveer’s journey, the moss that absorbs generous amounts of liquid was used to quench his thirst.

After a strenuous journey, when the two were looking to retire for the day, Bear Grylls found a bed of beech leaves that were soft and would keep them insulated for the night. Ranveer was ecstatic to find a safe place to sleep. He called the bed of leaves the “Four Seasons of the jungle”.

And finally scales a steep ridge to reach Ramona Serbica

With a grappling hook, jumar and rope in hand, Ranveer set out to climb an unbelievably high ridge to reach a green plateau that is home to the flower. The activity that requires a lot of muscle strength saw the actor struggling for the most part of it. Does Ranveer finally get his hands on Ramonda Serbica? You’ll have to watch it to find out.

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Courtesy: CN Traveller

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