Journey to redemption By Amar Nath Wadehra

One Master one Disciple
by Jyotii Subramanian.

Yogi Impressions, Mumbai.

Pages IX+174. Rs 250.

BORN feet-first, Jyotii appeared destined for an unusual life. A pampered child, she grew up listening and learning Carnatic music and wearing ahead-of-the-time dresses, thanks to her entrepreneur mother. Belonging to a family from Kerala’s Palakkad district, she had spent her childhood in Bengal and Bihar before finally moving to Chandigarh (the move was triggered off by a chance eavesdropping by her father on the sweet-nothings that his teenage daughter was exchanging with a lad over the phone).

Despite a hawk-eyed father and a possessive, albeit liberal mother, she managed to live an unconventional life. While still a college student, she married a Sikh farmer. The marriage—opposed by their respective families—turned out to be a stormy one. A marriage on the rocks and the consequent separation would convince the reader that the author was surely hotfooting it to the Doomsville.

But, then things began to take a different turn. During her separation years in Australia, she had a couple of para-normal experiences that hastened her reunion with her family in Chandigarh. Although the relationship with her husband hadn’t fully come out of the woods, there were enough reassuring positives.

‘Visions’ and ‘spiritual experiences’ became instrumental in taking her into the fold of Yogiraj Siddhanath—affectionately addressed as Gurunath by his followers. Thence started the journey to redemption that is still continuing.

The book’s title and the blurb on its back remind one of such books on spiritualism as Paramahansa Yogananda’s Autobiography of a Yogi and Dr Paul Brunton’s A Search in Secret India. There are references to karma, especially when Jyotii rationalises one of her particularly heart-breaking relationships, or when she describes a Red Indian Chief as her grandfather in a previous life.

There are other such details that make one reflect on the mysteries of life. For example, the interplay of contrary forces that mould one’s destiny becomes apparent, not immediately but when the proverbial dust has settled. So, she is able to understand the influence of the spiritual undercurrents only after she is extricated from the darkest phase of her life.

Skeptics might well question the need for having one more ‘New Age Guru’ when already there are a legion of them promising to improve our here and hereafter. Others might look askance at this guru’s corporate style approach—a dedicated publishing house with a website that sells books, audios and videos; each book comes with a postage-prepaid business reply card to enable readers to enroll in the mailing list.

You might also be wondering at the propensity of our gurus and godmen for partiality towards the well-heeled. Nirvana may not come cheap ’n’ easy, but read this book for what it really is—the saga of a tortured but resilient soul’s successful bid for solace, courtesy her preceptor.

THE TRIBUNE

The French Connection By Randeep Wadehra

I gawked. My chin dropped to the floor – almost. It doesn't happen often. But one is left absolutely flabbergasted at the spectacular sight of power and pelf locked in glitzy coitus. But then, one shouldn’t expect anything less in New Delhi, this ancient land's mod-medieval capital.

Fragrant French perfumes, sparkling French wines and delicious French cuisine triggered off orgasmic ooohs and aaahs. It was one of those parties where the famous and the infamous, the rich and the fortune-hunter, the power-seeker and the powerful meet to undo the popular mandate that, according to the naïve, makes our democracy work.

No matter which political party wins elections the same set of people have their fingers in the pie – the politician and the sycophant, the tycoon and the tout... It was here that I met my long lost acquaintance, nicknamed the VIB, or Very Important Busybee. Whatever the occasion, our man had the knack of being on the right side of the powerful. He could be wretchedly ingratiating or patronizingly disdainful while promoting himself. Chief Ministers came and went but our man could never be evicted from the corridors of power. The uncharitable found in him a limpet’s likeness.

Not that he cared.

Presently, he was exuding an exotic aroma.

"Hi! You are looking like a bouquet and smelling like one too" I complimented him.

"Aha, Mon Cher! It is so nice to see you after such a long time" he responded.

"Mon Cher?" I repeated, puzzled. Too much of the heady French stuff perhaps!

"A term of endearment I learnt in Paris" he explained.

I was still confused, "Paris?"

"Arre Baba, I am just back from an official tour. I went to Paris to study its architecture, culture and, ahem, other things."

"Who sent you?"

"CMji, of course!" he proudly caressed the tuque he was wearing as if it were some sort of fleur-de-lys.

"You mean the Chief Minister himself...?"

"Yes!" his chest ballooned to the bursting point reminding me of bloated toads.

"I didn't know you were an architect, or...actually what are you?"

Peeve replaced the smile on his face.

"My dear VOP, I have inherent talent for town planning" he said a trifle coldly. I surmised that 'VOP' stands for very ordinary person.

I bumbled on regardless: "And what have you learnt?"

"Everything. Soon Panchkula will become not just Paris of India, but of all Asia. Standards shall be set..."

He was referring to the new township that had come up in the famous Chandigarh's vicinity.

"For instance?" I had to interrupt.

"Water! Clear, sweet! Likewise, the air; it will be fragrant. When you want to give your sweetheart a little present you will walk up to the perfume counter and the salesgirl will softly suggest: 'Morning in Panchkula'...In fact I am given to understand that the town has already begun to resemble the French capital."

"Huh?! Since when?"

"Ever since CMji has become its MLA."

"Oh?"

I was still mulling over the significance of this piece of disinformation when he exploded a bombshell.

"Anyway, I am planning to visit Panchkula soon, and would be staying at your place..."

"Wha...?"

"For old times sake. Moreover I want to have the feel of the place at the grassroots level to give feedback to CMji."

This was another of his traits. Never failed to invite himself to your place if it suited him. Your opinion in this regard didn’t matter. It was taken for granted that you would indeed feel honored and grateful at having such a personage as him for your guest.

He then proceeded to consult his French pocket diary. After several 'umms' and 'ahs' he pronounced, "CMji will visit Mata Mansa Devi shrine next week; I'll take French leave then."

Only a politician or his acolyte can combine piety with political expediency. The most famous shrine of our township would play host to the most notorious of living species – the politician's aide.

Sure enough, the following week a Peugeot arrived at my door. French perfume invaded my room, trailed by desi Black Cats. After ensuring comfortable quarters for his entourage, the two of us settled down to discuss just about every topic under the sun.

French wine flowed freely and French tartines were munched with delicate gusto. If you don't believe that gusto can be delicate you need lessons in French etiquette on the sands of French Riveria. After a dinner of French chops followed by French pastries, my honored guest became a bit sentimental about the Parisian moon when he saw the Indian one peeping into our room.

He broke into a soulful rondeau, and the street dogs howled in agony.

It was well past eleven, and we turned in for the night.

Hardly had I settled down into my bed when a familiar rumble of incantations began. The Mata's devotees had begun the ritual of invoking Her blessings. Since I am used to all this, I merely buried my face into the pillow. Suddenly the rumble burst into a frenzied crescendo. The sky shook and the earth trembled.

"What's happening?" the bewildered VIB burst into my room all shaking and shivering.

"Aw, nothing," I waved my hand casually, "this happens all the time during nights..."

"Every night?!"

"Almost."

"How do you put up with this?"

"This is the Indian Paris at grassroots level my friend! And you are at the receiving end of Jagrata at Notre Dame de Panchkula! Wait for the real high notes." I couldn't restrain the jibe.

"Are there no noise control laws...?" he asked groggily.

"Ask your CMji."

"Humph! Am I going to suffer this all night?" Clearly he had never considered this possibility earlier.

"We enjoy this blessing round the year."

"Mon dieu! Have you got a sedative?"

I was quick to oblige. Soon the pill had its effect and he sank back to sleep.

Meanwhile, outside there seemed no let up in the devotees' enthusiasm. I tossed around in my bed for a couple of hours before sleep overtook me.

However, for the second time on that dratted night I was rudely shaken up by my guest who stood over my bed raving and ranting like one gone berserk.

"Hey, VOP, get up! Something terrible has happened!" he cried. Startled, I rose immediately. His disheveled appearance conveyed the impression that he had run headlong into a cyclone.

"Whaat...what's happened?" fear gripped me, shook me and sent me hurtling into a jitter-storm. Hair stood up on their ends, a million ants slithered up and down my skin and cold wave turned my spine into an icicle.

"Pakis have dropped a biological bomb!!!"

"Oh how… No it can’t be..."

"Believe me. Can't you make out the terrible stink? I'm suffocating!"

"Stink?" I raised my nose up in the air, threw my nostrils wide open and took a deep breath.

Then it hit me. The familiar earthy odour.

"Oh that! It's no bomb man, but a routine happening." I smiled at him reassuringly.

He didn't seem to place much confidence in me. He bellowed in a mix of fear and anger, "How can you smile at this hour of peril?"

I calmed him down and took him to the window that faced the site for the proposed park, better known to the area's residents as the Loo with a View.

And lo! There sat row upon row of humans performing a perfectly natural function in the time honored tradition, with peeled posteriors and covered faces.

My guest's face was a sight. Here was something Paris didn't have. The stark brown bottom line can be a very unnerving scene, especially when silhouetted against pre-dawn darkness.

"This is the Indian Paris-at-grassroots you always wanted to see." I had to needle him.

He left without as much as a bonjour! His feedback to CMji was certainly going to be pungent.

This story first appeared in The Indian Express, Chandigarh.

Mistresses of CROSSOVER CINEMA By Randeep Wadehra

These three Punjabi women have done cinema proud. They have taken Bollywood to the world and brought the West to Bollywood. Their films, exploring human mindscape and relationships in a variety of socio-cultural settings, are a hit with both western and Indian audiences.
Randeep Wadehra reels off the acclaimed contribution of film-makers Mira Nair, Gurinder Chadha and Deepa Mehta to cross-cultural cinema

THESE three women have managed to straddle the cultural twain: Amritsar-born Deepa Mehta, Bhubaneshwar-born Mira Nair and Nairobi-born Gurinder Chadha are highly talented film directors, producers, writers and actors. What sets these three apart from their peers is the fact that they are Punjabi women who have successfully spanned the East-West civilisational fault – as far as cinematic sensibility and creativity are concerned. Their works are watched, understood and critically acclaimed as much in India as in the West.

One can have some idea of their calibre if one takes a look at the awards they have won. Mira Nair’s works, apart from nominations to BAFTA and Oscars, have won Golden Camera (1998), Silver Ribbon (1992), New Generation and Lilian Gish Awards (1998), as well as Golden Lion (2001). Deepa Mehta bagged the 2006 Genie Award for outstanding achievement in cinematography, Golden Kinnaree Award at Bangkok International Film Festival (2006), The Silver Mirror (2006) etc, along with the recent nomination to the Academy Awards for Water. In addition to being nominated for Writers Guild of America’s best original screenplay award in 2003 (Bend it like Beckham), Gurinder Chadha’s contribution to cinema was recognised with the OBE decoration by the British government in June 2006.

The trio is equally comfortable while making movies, telefilms and documentaries for Indian as well as western audiences. Nair has made flicks like Salaam Bombay, Mississippi Masala, The Perez Family, My Own Country, Hysterical Blindness, Kama Sutra, Monsoon Wedding, Vanity Fair and The Namesake to name a few. Mehta’s better known movies include At 99: A Portrait of Louise Tandy Murch, Sam & Me, Camilla, The Republic of Love, Bollywood Hollywood, Earth, Fire and Water. Some of the better known productions from Gurinder Chadha’s oeuvre comprise The Mistress of Spices, Bride and Prejudice, Bend it like Beckham, What’s Cooking?, A Nice Arrangement, What Do You Call An Indian Woman Who’s Funny?, Bhaji on the Beach and Acting Our Age.

The three film-makers have explored human mindscapes and relationships in a variety of socio-cultural environments, which are generally alien or oppressive or both. You get a rather detailed look into the world of the marginalised or the outsider in movies like Salaam Bombay (street children), Earth (Lenny, the Parsi girl) and Water (the exploited widows). You get a glimpse of inter-racial relationships in movies like The Mistress of Spices, The Namesake and Mississippi Masala. Quite a few of the movies are about adaptation and adjustent to alien cultures or individuals from different backgrounds.

In Bend it like Beckham, Jasminder Bhamra feels more British than Indian and wants to play football like her peers such as Juliette. But her mother forbids her. In the ensuing struggle between the subcontinental orthodox mindset and western liberal values, the latter win as her parents give in to her wishes. Simiarly, in The Namesake you find Ashok and Ashima – married according to Bengali traditions – trying to adjust to their children’s lifestyle, especially son Gogol’s American way of living. In turn Gogol too has to come to terms with the relative frailty of love relationships in the western milieu — be it his affair with the American Maxine or marriage with the Indian Moushumi.

But, the movies are not just about families caught in the vortex of cultural differences. There are individuals outside families too who adapt to ‘the other’ in order to minimise the effect of cultural clash. For example Sam & Me focuses on the equation between a Muslim boy and an elderly Jew living in Canada.

Another striking feature of the trio’s works is predominance of female protagonists and their strong characterisations. Whether it is the neglected Sita and the abandoned Radha coming together in quest of love (Fire), the domineering Madhumati, the innocent imp Chuiya, the yearning-for-freedom Kalyani (Water) or Tilo, who is torn between her love for Doug and the call of the spices, all these characters leave more than a lingering impression on one’s mind. Moreover, humour, mischief and joy do make an appearance in most of their movies.

However, there are differences in the manner in which the three film-makers treat their subjects. Chadha uses lots of colour that exudes energy. If you remember the rather vigorous dance sequence in the bazaar in Bride and Prejudice you will recall the frisson it triggered off in your entire being. Even in The Mistress of Spices or Bend it like Beckham you hardly find any gloomy ambience although colours are relatively muted in the former.

You can say the same about Nair. She, too, prefers bright ambience for her movies. This is not to say that the two are unmindful of the narrative’s tenor or that they lend artificial hues to the general mood and texture. The end product of their efforts is eminently authentic. Mehta, in contrast, has not hesitated while employing sombre colour and complexion — you notice this especially in the ‘elements trilogy’ Earth, Fire and Water. Then there is the matter of cinematic metaphor — rains, for example.

Ever since its inception, the Indian cinema has been using rains to portray sensuality, joy, celebration and rejuvenation. However, in Monsoon Wedding Nair uses this device to depict something more than joy and celebration. Rain also becomes the symbol of the coming together of different classes, as the well-off mingle with their minions in a communal rain-drenched dance. More importantly, it is a happy aftermath to Shefali Shah’s angst-ridden outburst against her paedophile ‘Tej Uncle’.

In Water, on the other hand, rains bring in transitory, nay illusionary, joy in the lives of Kalyani and Chuiya. When the two dance in the room as it drizzles outside, you are filled with sympathy for them, for you instinctively know that their fate has already been sealed by society. Here, the rainfall is more a symbol of hope-amidst-hopelessness than an expression of sensuality.

Mehta also employs light and shade to effectively communicate with the viewers. For example, in the climactic scene in Water Shakuntala places Chuiya into Narayan’s hands as the train moves from the rather dark platform towards the sunlit world beyond. You realise that at least the widowed child has escaped further molestation at the hands of upper-caste landlords for whom widows are nothing more than sex objects.

Come to think of it, things haven’t changed much since 1938 if one takes a look at the plight of abandoned widows in Varanasi and Vrindavan — the legend at the end of the movie is a stark reminder of this enduring blot on our society. Contrast this with the movie’s beginning — Chuiya travelling with her husband and in-laws amidst verdant greenery. The grey colours suddenly obliterate all brightness when she becomes a widow. Dark shadows play on her expressionless face as her locks are shorn off.

While watching their movies, you tend to forget the language in which these are made – Hindi, English or Hinglish, and ignore the nationality, ethnicity or cultural identity of the characters. The imagery is so powerful and lucid that you tend to get involved with the flow of the narrative. Truly, Mehta, Nair and Chadha are the MNC of transcultural cinema.

THE TRIBUNE

In search of a bigger role By Randeep Wadehra

Buxom beauties, brave heroes, crass villains, loud dialogues, wild fights and boisterous music have been the staple of Punjabi cinema for long. Now, slowly, the industry is showing signs of change with top producers and NRIs pumping in money for serious productions like Waris Shah and Rustam-e-Hind. Randeep Wadehra looks at the record of Punjabi cinema, which has seen more downs than ups

There’s an old joke about Punjabis. Family A invites Family B and treats it to a sumptuous meal of rajma-chawal. The guests praise the hosts’ culinary skills. Then Family B invites Family A and serves rajma-chawal to similar compliments. All this simply implies lack of imagination and taste in Punjabi cuisine. Similar is the perception about Punjabi cinema – a hotchpotch of rustic violence, vendetta and vulgarity. Of course all this can be shrugged off as insinuations of the uninitiated as both Punjabi food as well as cinema have rich history and range – sweet, sour and spicy but seldom bland. Movies like Satluj De Kande, Madhi Da Diva and Waris Shah prove the point.

It is true that for a rather longish phase inertia in creativity had set in. As a result, one saw rank bad productions spew violence and double entendre. But all this has changed in recent times with movies like Dil Apna Punjabi (Director Manmohan Singh; starring Harbhajan Mann, Neeru Bajwa, Mehak Chahal and Kanwaljeet), Mannat (Director Gurbir Grewal; starring Jimmy Shergiill and Kulraj Randhawa), Rustam-e-Hind (Directors JS Cheema & Sarabjit Beniwal; starring Parminder Doomshedi, Jagdish Bhola, Shivendra Mahal, Dr. Ranjit, Donny Kapoor) and Waris Shah (Director Manoj Punj; starring Gurdas Mann and Juhi Chawla) earning popular acclaim as well as critical appreciation. If the two Manns and Jimmy Shergill are the current poster boys then Donny, Kulraj, Mehak and Neeru are heart-throbs of GenNow both in India and abroad.

Overall the industry is showing signs of rejuvenation. In fact we are witnessing a trend wherein established producers like T-Series, Shemaroo and Tips have entered the Punjabi film industry in a big way. And with Bollywood directors like Manmohan Singh contributing their mite, things can only look up. Movies like Jee Aayan Nu, Asa Nu Maan Watna Da and Yaaran Naal Baharan have established Manmohan Singh as the industry’s Renaissance man. However, to put things in perspective, the current upsurge in the cinema’s fortunes is but a continuation of its impressive track record that has taken the dismal interregnum in its stride.

Vijay Tandon, noted actor-writer-producer, points out: "Punjabi cinema has had its moments of glory. Much before the Partition, Lahore was the main centre of the Indian film industry. Music, drama and comedy used to be the salient points of Punjabi cinema. Over a period of time movies belonging to different genres like comedy, romance, devotional, socials and serious or art cinema were produced. And don’t forget that Punjabis have played a pivotal role in making Bollywood a respected international brand name."

Tandon makes a valid point. Before the Partition, comedies with excellent music used to be very popular in the region. For example, Posti was a superhit and its hero Majnu a household name. Post-Partition, the trend continued. One of the hit comedies was Mulkh Raj Bhakhri’s Bhangra (1958), starring Sundar and Nishi. It was remade by Mohan Bhakhri as Jatti in 1980 with Mehar Mittal and Aparna Chowdhry, and once again it was a great commercial success. In fact Bhangra’s music (Hansraj Behl, who introduced Asha Bhonsle) and lyrics (Verma Malik) became immensely popular. Songs sung by Shamshad and Rafi like Batti balkay banere utte rakhdi han, rah bhul na jave chann mera and Chitte dand hasnon nayion rehnde were on everybody’s lips. Similarly, Johnny Walker-starrer Wilayati Babu was a hit and was remade with the same name featuring Mehar Mittal in stellar role and Amitabh Bachchan in guest appearance.

The comedy phase continued well into the 1980s with such popular productions as Yamla Jatt with IS Johar and Helen, Mamaji with Gopal Sehgal, and Jija Saali as well as Do Madari with Mehar Mittal.

But already movies belonging to other genres were becoming successful at the box office. In 1969, the devotional movie Nanak Naam Jahaaz Hai with Prithviraj Kapoor, Nishi and IS Johar started a trend that saw such flicks as Nanak Dukhiya Sab Sansaar (Prithviraj Kapoor, Dara Singh, Balraj Sahni, Achla Sachdev and Pran), Dukh Bhanjan Tera Naam (Radha Saluja, Shaminder, with Rajinder Kumar, Dharmendra and Om Prakash as guest artistes), Man Jeetey Jag Jeet (Sunil Dutt, Radha Saluja, Gursharan Singh and Ranjit), Sawa Lakh Se Ek Ladaoon (Dara Singh, Navin Nishchol, Varinder and Mehar Mittal with Rajesh Khanna and Neetu Singh as guests), Bhagat Dhanna Jatt (Dara, Yogita Bali, Komilla Virk and Randhir Kapoor), Mittar Pyare Nun (BS Shaad, Meena Rai and Vijay Tandon) as well as Uchcha Dar Baba Nanak Da (Gurdas Mann, Preeti Sapru, Tanuja and Kulbhushan Kharbanda).

If the above two genres were popular with the family audiences then dacoit and action movies regaled the rural youth. Of these, Jatt Jeeona Maur enjoys the same status among Punjabi audiences as Sholay and its hero Guggu Gill became a superstar – the only genuine one so far. The only other cult-status flick is Putt Jattan De (Baldev Khosa, Daljit Kaur, Dharmendra, Shatrughan Sinha, Parkash Gill and Mehar Mittal). Another successful one was actor-producer-director Preeti Sapru’s Qurbani Jatt Di with Dharmendra, Raj Babbar, Gurdas Mann, Guggu Gill and Yograj Singh. Recently, Rustam-e-Hind had been doing roaring business. However, barring such exceptions, most of the productions belonging to this genre portrayed senseless violence essayed by the likes of Varinder-Yograj duo.

Romantic movies held sway over young hearts in small towns, although big-town audiences in Amritsar, Ludhiana, etc, too flocked to the theatres. In 1974 came the superhit Teri Meri Ikk Jindari with Meena Rai, in which Varinder, Mehar Mittal and Vijay Tandon made their debuts. This flick was Dharmendra’s second guest appearance after the black and white Kankaan De Olhey, which had Johnny Walker, Jeevan, Mehmood Jr and Rajinder Kumar in the cast.

Rano is credited with setting a box-office record in Punjabi moviedom. It had stars like Satish Kaul, Bhavna Bhatt, Varinder and Shobhni Singh. Other superhit movies were Sarpanch (Asha Parekh, Dara Singh, Yash Sharma in title role and Varinder), Laung Da Lashkara (Raj Babbar, Gurdas Mann, Nirmal Rishi and Om Puri), Saidan Jogan (Daljit Kaur) and Jatt Punjabi (Satish Kaul, Bhavna Bhatt, Raza Murad, Mehar Mittal and Manoj Kumar).

Waris Shah, released last year, has all the features of a classic, viz., authentic ambience, great acting, beautiful photography and impeccable direction. It, sadly, has turned out to be director Manoj Punj’s unintended swan song as he died an untimely death last year. This Oscar entry, starring Gurdas Mann, Juhi Chawla, Divya Dutta, Gurkirtan and Vijay Tandon, may well trigger off an era of romantic period films.

Recently, a new trend of family sagas and urban-cross-cultural movies has become rather strong. Jee Ayan Nun, Asan Nun Maan Watana Da, Des Hoya Pardes, Dil Apna Punjabi, etc, have ushered in an era of sophisticated and clean movies that are popular both in India and abroad. Then there are socials like Mehndi Wale Hath that highlight burning social issues. Another popular flick of this genre was Main Ma Punjab Di, starring Shivendra Mahal and Manjit Kular. Such introspective movies indicate sensitivity and new awareness among our filmmakers.

But why does Punjabi cinema have such a poor image?

Vijay Tandon and actor-director-anchor Shivendra Mahal maintain that this is probably because of a lack of awareness the cinema’s achievements (see box – National Awards) and pedigree. If one looks at the National Award-winning movies, one realises the range of genres in which Punjabi movies have made an impact.

Can one safely presume that Punjabi film industry’s dark days are over? It would be premature to say so. Although one notices the growing number of film directors (see box – Big bosses) making excellent movies, some of the leading lights interviewed for this piece say that the industry is facing so many problems that one cannot be too optimistic about its future (see box – Cinemascope). However there’s a silver lining. The NRI factor may prove to be a life-saver for the industry, and stepping in of big production houses like Tips as well as the upcoming film city in the region may well catapult it to the forefront of regional cinema.

More hype, less profit According to Shamsher Sandhu, a lyricist who has penned many successful lyrics for music videos and films, an A class Punjabi movie such as Waris Shah, which had Gurdas Mann and Juhi Chawla, cost around Rs 8 crore. While Harbhajan Mann’s Jee Aayan Nu and Asan Nu Maan Watana Da was in the range of Rs 5 crore. The budget of Pind Di Kudi, Rustam-e-Hind, produced by Dalvinder Lidhar and directed by Iqbal Dhillon with Sarabjeet Cheema in the cast, was about Rs 80 lakh. Punjabi films do not make much money because the territory is small and the cost cannot be recovered. Now that Punjabi films are being screened in Canada, America and the UK, some money might flow in. Gurdas Mann’s movies are backed financially because his shows are big grossers abroad. Even if the movie does not do well, the financier can get money through his shows. There is not much moolah in Punjabi cinema because only eight to 10 prints are released in big towns such as Ludhiana, Jalandhar, Amritsar and Chandigarh, while on an average about 250 to 500 prints of a Hindi film are released. Almost all Punjab’s cultural festivals and sports tournaments are NRI-sponsored so it is natural for them to actively plug for Punjabi cinema as a taking-pride-in-Punjab exercise. But no ‘successful’ team has made another movie with the same set of producer-financiers. If it was so lucrative, why have the makers not done a repeat? Earlier movies such as Putt Jattan De, Sarpanch, Lambardarin and Jatti made money because the cost of making a film would be about Rs 10 lakh and it would fetch around Rs 25 lakh. There is escalation in costs due to more elaborate sets and overheads. As a result there is more hype, talk and discussion but no profit at all. The viewers do not lack entertainment what with many Punjabi channels filling that slot.

National Award winners Nanak Naam Jahaaz Hai and Satluj De Kande bagged the national award given as certificate of merit. Best feature film awards were won by Chann Pardesi, Madhi Da Diva, Kachehari, Main Ma Punjab Di, Shaheed-E-Mohabbat, Shaheed Udham Singh and Des Hoya Pardes. Big bosses Manmohan Singh — Jee Aayan Nun, Yaraan Naal Baharaan, Mitti Awajaan Mardi (under production) Iqbal Dhillon — Mehndi Wale Hath, Tabahi. Krishan Sahni — Rustam-e-Hind, Door Nahin Nankana Ravinder Ravi — Lalkara Jatti Da, Truck Driver Darshan Bagga — Rabb Ne Banayian Jodian, Jatti Pandraan Murabbeyan Wali Ravinder Peepat — Kachehari, Chann Pardesi. Manoj Punj — Des Hoya Pardes, Shaheed-e-Mohabbat Buta Singh Jaspal Bhatti — Mahaul Theek Hai Mukesh Gautam — Surkhaab (under production)

Cinemascope Iqbal Dhillon, film-maker: Wrong claims of success by some filmmakers lure innocents and destroy their lives. The previous regime did nothing for the industry. Local producers and film personalities agitated in vain. There are no studios for indoor shooting. The new government must help the Punjabi film industry by providing facilities and establish a film city that would be run by genuine Punjabi producers only and not pseudo Punjabis from Mumbai. Not many Punjabis from Bollywood have helped the local industry barring Raj Babbar and a non-Punjabi like Shatrughan Sinha. They both have worked free for local productions. Dharmendra too has helped but only to a little extent. Jaspal Bhatti, actor-satirist-director: Before the 1960s, the budget used to be a few lakhs, today one requires a minimum of Rs 1 crore to make a decent movie. Plagiarism and poor marketing channels may kill Punjabi cinema. Vijay Tandon, actor-writer-producer: Unless the scenario changes drastically, Punjabi cinema doesn’t have a bright future. Plagiarism has dealt fatal blows to all meaningful attempts to rejuvenate it. Home videos have far better chances as the gestation period between shooting and releasing a video movie is very short. Investment required is comparatively affordable and distribution is not a problem. Mukesh Gautam, director: Investments by Bollywood producers in the film city will help local talent upgrade skills by exposure to top-class professionals. Outdoor shooting is not a problem but studios are sorely needed. Right now we look up to Mumbai for everything. Dalvinder Lidhar, NRI producer: I would like to warn the new entrants who get taken in by this hype and balle balle about the profitability of financing Punjabi movies. Instead, they should make low-budget movies and control the cost of production. As the producer of Jee Aayan Nu and Asan Nu Maan..., I have lost Rs 4 crore. I want to warn wannabe producers, Soch samajh ke paisa lao.

THE TRIBUNE

What makes them tick?

PUNJABI ANTENNA

By 

Randeep Wadehra

One often wonders at the reasons behind longevity of certain shows. Is it because they have unique content? Perhaps their presentation makes them addictive for certain sections of viewers? Maybe the anchors of such shows have hit it off with couch potatoes to such an extent that they have become household names? Take a look at Zee Punjabi’s Khabarsaar the popular talk-show telecast on Wednesday nights. It takes up current burning issues that are discussed by reasonably well informed and experienced persons from relevant fields. Even contentious issues are debated without resorting to high decibel acrimony. Perhaps the show’s appeal lies in the smooth conduct of its proceedings by Ritesh Lakhi. Moreover, the contents are middlebrow – something that makes it acceptable to a large swathe of audiences. Its topicality is an added attraction.

However, Pyar Naal is going strong despite the change in its anchors. The reason for this is not difficult to divine. Viewers’ participation through letters, and telecasting of popular songs on demand, guarantees a loyal and enthusiastic viewership. Similar formula has ensured Dial-E-Punjab’s success. It does not have a specific anchor, its different episodes are compered by different artistes. Yet it has gone from strength to strength. Live interaction between its anchors and viewers from across the world is the reason for its popularity. Although DD’s Geet Masala, which has a similar format and discusses weighty issues with its viewers, is popular too, it loses out on the glamour quotient. Imagine pitting good but unglamorous presenters against Punjabi entertainment industry’s stars like Gurpreet Ghuggi, Bhagwant Mann, Satinder Satti, Jasmine Bhatti et al! Excuse Me Please is another show that has survived the change of guard. Rana Ranbir’s friendly joviality more than makes up for the loss of the show’s former host Satti’s gregariousness-in-verse. So, the message is – keep the proceedings light and glitzy. And this belief gets reinforced while watching Meriyaan Gallan Mere Geet. An invited star – generally a singer or composer – presents the show. He retails trivia pertaining to his life while showcasing his work and achievements. And, TV junkies lap it up.

But Phulkari does not depend upon glamour or music for its success. It targets female audiences from different walks of life and provides relevant info on such issues as fashion, health, hygiene and house-keeping. It provides useful beauty-tips too. Often problems facing women in different situations are addressed. No wonder this show has scored well with televiewers. Anchor Mallika adds charm to the proceedings. Her dress sense and conversation style go well with the tone, tenor and content of this family magazine.

On the other hand, Pardesan wich Punjabi owes its durability and popularity to entirely different factors. It targets the NRIs and their desi relations. So, on the one hand there are clippings of happenings related to Punjabis living in the West and, on the other, there is exchange of greetings with their kin living in India on different occasions – personal, religious, regional and national. Of course, crossover music remains an inevitable ingredient of this show.

Thus different factors determine the popularity of different shows.

THE TRIBUNE

Of politician, poetry and Buddha By Randeep Wadehra

Minoo Masani by S.V. Raju

National Book Trust. Pages: xxi+99. Price: Rs. 40/-

Believe it or not there used to be a significant number of politicians in India who wouldn’t mould their conscience to fit into extant fashions. Minoo Masani was one such stalwart. A purist, he was upright and honest to a fault. No wonder he could hardly have a comfortable place in any political group. Yet he made a lasting impact on Indian political ethics. Starting off as an ardent socialist he became disenchanted with communists and turned into their implacable foe. He was instrumental in establishing of the genteel and high-minded Swatantra Party that could not survive the rough and tumble of unscrupulous Indian politics. His punctuality, principles, perfectionism and intellect earned him many admirers, and formidable foes too. He belonged to that rare breed of Indian politicians who never hankered after power or pelf and readily sacrificed the comforts of office for their beliefs. Minoo Masani will be remembered for his writings that had positive effect upon Indians belonging to all age groups. His book Our India is considered a classic while The Growing Human Family and We Indians have been impactful too. Guess what – all the three actually were meant for children! Raju has done a signal service in writing this concise biography of an icon of India.

Stories from the life of the Buddha by Saddhaloka

Wisdom Tree. Pages: viii+163. Price: Rs. 145/-

Born in the royal family of Kapilvastu’s Sakyas, Siddharth became motherless soon after his birth. His father Shuddhodhana protected him from miseries of the world by keeping him involved in the palace’s sensual pleasures in order to thwart a prediction’s consequences. But the inevitable happened. Witnessing an old, a sick and a dead man on three separate occasions he renounced the world in order to seek The Truth. He subjected his body to severe ascetic rigours, interacted with several wise men and meditated for long spells of time. Finally, in about 528 BC, he became Buddha (The Enlightened One) while sitting under a Bodhi tree in Bihar’s Gaya when he realized the path to salvation from suffering (Nirvana). Thence started his journey traversing the Gangetic plains, preaching his doctrines and establishing monastic communities. Saddhaloka, formerly known by his American name David Luce, has narrated stories relating to the life and times of Buddha that are part history and part mythology – an alluring mix for readers.

Descending dark stairs by KS Pal

Writers Workshop. Pages: 54. Price: Rs. 120/-

Poetry, a potent mix of imagination and reality, has the power to articulate any mood, any situation and reactions thereto. Pal too seems to endorse this view as he gives expression to variegated feelings and frames of mind. For example, he rather blithely justifies carnal escapades in the very first poem In Defence but becomes bitterly introspective in It Hurts. The Sudden Longing should have been titled A Rush of Infatuation as it articulates the poet’s passion for a girl he sees for the first time. These are good, readable poems that trigger off a wave of images and thoughts. My favourite stanza is from his poem The Portrait of a Successful Man, “…how he has worked/for a peacock tomorrow/and left/his present/to hungry vultures”. Reflective and evocative stuff.

THE TRIBUNE

All bubble, no soap by Randeep Wadehra

Punjabi channels hold much promise and potential. Far from being regional, they are beamed to several countries. Yet, the fare is lacking in verve and variety. Pop music is the prop on which the channels thrive. There is little else by way of serials, chat shows and current affairs.
PUNJABI TV? Eyes roll, noses turn up. Enamoured with the hep stuff churned out by Hindi channels, yuppies consider Punjabi television definitely passe – as baassi as last week’s kadi-chawal pulled out from the fridge.
In the good old days, Daarji, Bebeji, Bhappaji, Jhayeeji along with Kaku and Sweety would curl up in front of television, with barrels of cha-sha and heaps of pakoras, to watch DD Jalandhar, the only Punjabi ‘channel’ available to the region. The much-reviled Kendra did come up with some quality programmes that attracted audience across the socio-economic spectrum as well as the international border. Whether it was the rib-splitting Atro-Chatro or a terrorism-related tearjerker, not to mention evocative tele-plays and films, all commanded rapt audience. Several artistes became household names. Pankaj Berry, Vivek Shauq, Jaspal Bhatti, Rama Vij, Preeti Sapru et al were regulars on the desi small screen. Old timers still chortle while recalling Jatinder Kaur’s punchline, "Mera liss liss karda kaddu!" in that tu-tu-main-main teleserial.
The promise held out by the arrival of satellite television got lost in shor-sharaba. Initially, Alpha Punjabi came up with such striking serials as Sarhad, Man Jeete Jag Jeet and popular ones like Jaspal Bhatti’s Prof. Money Plant and Bhagwant Mann’s Jugnu Kehnda Hai. Lori and Patake Tha too are remembered by diehard TV viewers. If Lashkara’s Rano and Do Akal Garh became hit with the public, Chandigarh Campus and Apne Begane too left their mark. Now only repeats and some nondescript in-house comedies are struggling to attract eyeballs. Punjab Mail and Xcuse Me Please often fall flat due to lack of imagination. Frankly, the game shows are borrowed ideas. ETC’s Kaka and Nikki Time targets teenagers, but it remains to be seen whether the kids are captivated.
PTV and Hindi channels are making inroads into rural areas. In the urban areas, the balance is further tilted in their favour. English sitcoms too have a dedicated following. However, youngsters do watch Punjabi pop off and on. Prime time has become dhol time. While Kaku and Sweety gyrate to the beats of Punjabi pop and bhangra rap, Bhappaji and Jhayeeji prefer to have a quiet repast in the bedroom even as Daarji sulks and scowls and Bebeji mutters, "Kee rohla paya hai" Alas, now the family has stopped sitting together for the feast.
While hopping from one channel to another, one is struck by the uniformity in music quality. Thematically irrelevant video clips have become constant companions for songs of love, separation and celebration. Skimpily clad Caucasian damsels falling all over desi mundas in dense jungles, chic cafes or posh avenues, is something that has been overdone. It’s like having pizza topped with sarson da saag. Or, alternatively, you’ve muscular hunks and chubby lasses going through contortions that are neither bhangra nor callisthenics. If the songs’ treatment is pedestrian, their culmination is mediocre. We have a rich heritage of folk songs and literary compositions that can certainly be produced aesthetically, sending blood coursing through Punjabi veins. Going for the so-called fusion music just because it’s in vogue in the West is too simian to be aped. We Punjabis are known for creativity. Then how come we have failed to evolve a literary-cultural ethos that would make us feel proud of our heritage?
"Pride in our heritage remains intact," retorts Rajinder Mohni, a prominent singer, "Look how the Wadali brothers have carved out a following across all age, class and gender groups." He himself is experimenting with qawwali and other Sufi renditions to attract the youth. "In order to enthuse youngsters, one must simplify classical compositions."
In his forthcoming album, Tu Nahin Tay Teri Yaad Sahee, he depicts qawwali in an unconventional manner. While he sings in a fort with Pathans in the background, the accompanying video clip tells the tale-with-tragic-denouement of a lovelorn youth who’s unaware that his beloved is stricken with amnesia. Mohni feels that jazzed-up literary works have a market. He’s planning to produce a video based on Shiv Batalvi’s poetry. If the experiment succeeds, he’ll make video albums featuring other Punjabi poets.
But why does the serial scene evoke yawns? "Lack of professionalism," pronounces producer-director-actor-writer and noted television personality Vijay Tandon, of the national award-winning movie Kachchehri fame. "You can’t enliven the small screen with actors having full-time jobs elsewhere, or students seeking pocket money from this profession." "Unlike Mumbai, we do not have the right environment for nurturing talent," he condemns the system, adding that often payments to artistes and technicians are delayed or withheld. This discourages professionalism. But finance isn’t the only problem, says Tandon. Today, NRIs are financing Punjabi movies in a big way. Most Punjabi channels cannot be described as "regional" since they’re beamed to more than 60 countries. Money can flow into the making of serials too if the channels and the government fashion a conducive environment. "In fact, the government has ignored the Punjabi television industry for too long."
"Things are real bad," laments Bobby Ghai, an industry insider. He sees no hope for revival of serials. "Actors and directors prefer to work for Mumbai banners. Their talent doesn’t get appreciated here." "What talent?" counters Mukesh Gautam, Alpha Punjabi’s head programmer, "The region lacks good directors and actors." Amit Julka, a 24-year-old actor, chimes in, "I’ve acted in serials like Apne Begane and Chandigarh Campus. My role of a student addicted to drugs in the latter got me some recognition, but poor remuneration and uncertain future forced me to take up job with a finance company."
Ghai says that market research is not done to find out viewer preferences, often leading to bad programming. Gautam, however, emphatically denies this, "We do conduct market research. ETC and Alpha – both part of the Zee Group – are number one and two, respectively, in the region. Although the rural Punjab provides us maximum viewership, we have news and current affairs-based programmes, which are watched avidly by people living in places as far away as the UK."
When queried about the financial position of these channels, one encountered abashed silence. But it’s obvious from the quantity and quality of advertisements on various channels that Punjabi television is not exactly in the pink. Only pop shows seem to attract advertisers. "Unlike other channels, we draw top brands for advertisement," Gautam boasts, when asked about corporate patronage for television programmes.
Refuting that only music is being telecast, he says that some comedy serials like Ghuggi Express and Mast Mast continue to be favourites. Yet, he concedes that serious serials haven’t done well and are currently off air, but soon quality programmes based on the works of prominent Punjabi writers will be entertaining the audience. These will attract national viewership, he assures. When queried about the work culture not being conducive to artistic development, he agrees that Punjab, at present, can’t match Mumbai.
It’s a vicious circle. There’s no finance coming because of lack of good scripts. There’re no good scripts because Mumbai holds greater attraction for talented writers. Local talent flounders for want of financial and institutional support. Yet, Punjabi chutzpah may magically resolve the dreadful dilemma.
Let’s say shava to that.

Sad serial scene

Unfortunately, there is not one Punjabi serial on air at present; only repeats like Apne Begane. This has forced local artistes to either abandon the profession or migrate to Bollywood. Programmes like Khariyan Khariyan, Punjab Mail and Dama Dam Mast command some following, while the comedy show Ghuggi Express is the only entertainer that lights up the desolate scenario a bit.

Familiar faces

Baldev Khosa: Starred in Putt Jattan De, Mahi-Munda, etc. Migrated to Bollywood. At present, a Congress MLA from Andheri (Mumbai).
Vijay Tandon: Actor, writer and director of the Kachehari fame. Good in both serious and comedy roles.
Dr Ranjit: Versatile actor, writer and lyricist. Made debut as Bollywood hero. Punjabi serials and movies are his passion
Shagufta Ali: Acted in Kachehari, Jatt Soorme. She is acting in a number of Hindi serials.
Avtaar Gill: Has acted in Lambardar, Kachehari. Mitter Pyare Nu. Now a prominent baddie in Hindi movies and serials.
Rama Vij: Talented, sensitive and sensuous, she is Punjab’s answer to Smita Patil. Starred in Chann Pardesi,
Ankheeli Mutiyaar, Veera, Kachehari, etc. But where’s she now?
Rana Jang Bahadur: Performed in Jeeja-Saali, Chann Pardesi, Kachehari, Nalayak, Mahaul
Theek Hai.
Upasana Singh: Did Punjabi serials like Patake Tha. This talented comedienne has immense potential.
Gurdas Mann: The original poster boy of Punjabi pop scene. Star of Mamla Garbar Hai, Kurbani
Jatt Di, Kachehari, Long Da Lishkara, Saheed-e-Mohabbat, etc.
Yograj Singh: Impressive screen presence. Prominent movies: Batwara, Badla Jatti Da, Yaar Gariban Da etc.
Mehar Mittal: Indispensable between 1975 and 1995, this comedy king’s contribution to the industry has been immense.
Bhagwant Mann: Perhaps the most successful stand-up comedian till date. Known for his roles in Tabahi, Kachehari, Main Maa Punjab Di, and serials like Jugnu Kehnda Hai and Jugnu Mast Mast.
Gick Garewal: Glamorous and versatile, she’s acted in Rano, Lakarian, Chandigarh Campus, Vajood, Shaheed-e-Mohabbat Buta Singh etc.
Jaspal Bhatti: The current Punjabi comedy king.

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