Bachchan — 796 & 797 & 798 & 799 & 800 & 801 & 802 & 803 & 804 & 805 & 806 & 807 & 808 & 809 & 810 & 811 & 812 & 813 & 814 & 814(i) & 815 & 816 & 817 & 818 & 819 & 820 & 821 & 822 & 823 & 824 & 825 & 826



LINK
“Do I scare you in my contemplation ? Fear not ! It is not what you may think it is. Yet, it could perhaps be very close to them that read with blinkered eyes.”
LINK2
“I have been inundated with responses from the FmXt and from other social sources on the absolutely mad piece of so called poetry that was put up last night. It was unintended, but words and thoughts simply flowed out in a stream of thought, and so there it is .”
LINK3
“Yash Johar was just the ideal producer for an artist. His care and concern for them. His efficient and systematic management systems during and after their association with the film on the floors. His personalized attention that he gave to his entire unit, are now legendary.”
LINK4
“It is Sunday as you know today and the time in the evening for the crowds. How they come to know I am back is a mystery to me. I have been away for many Sundays. Drive back from the office into Jalsa and get Abhishek and Aishwarya out too.”
LINK5
“At the AGM this morning for AB Corp, that is what I encountered with my share holders. Through thick and thin, mostly thin, they have remained with me and with support and compassion for my conditions for years. So when I declare a dividend for them there is a certain joy in giving. I am happy to have announced a 20% dividend. We are a small company, with small profits, but profits all the same and to share that with them is such satisfaction.”
LINK6
“Time passes by so rapidly. As I drove up the winding road up from Coimbatore on the plains where the flight lands, to the Hills, I could vividly remember all those wonderful moments spent with the family, when I would bring them all up for our summer shootings. It used to be Kashmir earlier, but as it succumbed to disturbances, productions started looking for alternatives and Ooty became a preferred destination. The Southern Film Industry was always here in large numbers – Ooty being almost central to the Tamil, Telugu, Kannada and Malayalam film sectors. And then it got invaded by the Mumbai Film Industry.”
LINK7
Major achievements were accomplished by the end of the day – I convinced Mohanlal, also lovingly known by Lalettan, ‘ettan’ meaning brother in Malayalam, to join Twitter and he agreed much to the delight of all his fans from Kerala and all over. I was able to guide Aamir on the complexities of the same Twitter through an sms that he desperatelyly wrote to me a short while ago seeking advice. And .. I spoke my first lines of Malayalam for film .. and did not do a retake !! Man .. that is like ‘way cool’ .. to coin a commonly used genext expression !

So Aamir starts tomorrow at an ID of @aamir_khan. Mohanlal I am yet to find out and now the twitter brigade wants me to influence Rajnikant to come on Twitter !! And some smarties think that I canvas for the brand ambassador ship of this crazy social network. Ha ha !! Fun becoming !!
LINK8
“Thank you ‘Kandahar’, Mohan Lal, major Ravi, Chinna Ravi and the entire unit. I have enjoyed working with you.”
LINK9
“Some of the comments that come my way urge me to write in simpler form so they do not have to keep referring to a dictionary. But, firstly, I do not write words that are anywhere near wanting to open a Thesaurus. And secondly, even if I were would it not be prudent to allow me to do so. Better to not lose one’s style, if there is any at all, than to deliberately diminish it.”
LINK10
“Setting out from Udhagamandalam, Ooty in the early hours after completion of the shooting of ‘Kandahar’, the Malayalam film with great Mohan Lal, there is a request from the Producer to stop en route at Wellington to meet the Officers at the Armed Services Staff Collage.”
LINK11
“Its the passion of sport. Its what I believe is the most important representation that any country makes in its desire to be heard or seen or talked about. “
LINK12
“Just as rubbing a 100 tons of soap over coal is not going to change its color to white, spending your brain in trying to teach something intelligent to a fool is a waste.”
LINK13
“Many a times we just blindly continue to do what we have been programmed to do without giving due consideration to the effects, after effects and results. Nothing wrong with it, but it could be helpful if there was thought in delving deeper into our own exercise. How it happened, why and where to from here.”
LINK14
“It must be said this press conference was one the best that I attended and I wish to compliment the entire media for their presence and the warmth that they expressed. Thank you ladies and gentleman, it was a joy to be in your company, just such positivity that you all exuded made my day night and year !”
LINK15
“A law exists that condemns this belief and a possible transgression towards us, would make a wonderful story. For the sake of news value the character and life of an innocent shall be defamed forever. I got my copy guys, and I would care a damn as to what would happen to the remaining. “
LINK16
“Before I set out to say anything I must mention how deeply touched I am by the gift of a personalized book brought out by Kishore from our FmXt, on the occasion of my birthday.”
LINK17
“Yesterday, Ramu came over .. RGV .. and we had such a laugh over various attitudes and behaviors of people caught in various ominous circumstances. Most of the time, the laughter being directed at ourselves. He is a great mimic and in the evening hours, is an absolute delight to converse with – his sense of humor and his reenactment of situations is perfect. He is missing his vocation in life I feel. His sense of observation and the sharpness with which he notices the little effects is quite remarkable. He should make more comedies.”
LINK18
“He loved the film as did Kiran within seconds of its completion, which I must say knowing his temperament, is some sort of an achievement. But they were very moved, loved all the performances and had special words of praise for Abhishek and Vidya. In all it was a wonderful evening. I have wished to him that we must have more of these.”
LINK19
“But what was most endearing was the ‘junior artists’ at the shoot. Some of the ladies in the crowd have been with me since the 70’s, older but still junior artists. Remarkable longevity of these very noble artists, but sad in a way that they never matured on to something bigger. They sat there wondering if I would recognize them, talk to them – but I did and it was a joy as ever.”
LINK20
[discussion on the Akshay/Masand twitters]
LINK21
“I am surprised that the Ambassador speaks fluent Hindi in as pure a form as could be and informs me that he is a student of Indology from a University in Krakow. I was to visit Krakow if you remember earlier but the sudden death of their President and the volcanic ash had prevented me from going there. Hopefully there shall be another opportunity to visit Poland soon. But the Ganesh in salt was unique. “
LINK22
“Twitter may be instant and rapid and immediate and greatly universal and internal. But this space has the serene gentleness of a rain drenched flower, the peace and harmony of civilized neutrality, the reaching out capability of the morning sun – the calmness of its setting.”
LINK23
“As I drift through the responses each evening I am amazed at the regularity of the FmXt and the consistency with which they compete with me day after day. It is now a family that I know by name and almost by face, even though there are many that I have not seen.”
LINK24
“I am a bit fuddled today.
There is no particular reason for it and neither is there cause. Just a fuddled state of mind. No complaints or remorse or confusion. Just fuddled.”
LINK25
“I fail to recollect a day when I could have spoken as much as I did today !”
LINK26
“Every Sunday for the past 28 years .. same time, same place, same scenes … it is now getting beyond emotional !!”
LINK27
“Vikramaditya Motwane, a school mate of Abhishek has directed this film. His only prior credential has been that he was an assistant to Sanjay Leela Bhansali. A young man who had come some years ago to me with a marvelous script, has directed this venture of his with the maturity that one does not expect to see from one on his debut venture. In all the noise and thunder of the popular cinema now prevalent, this film comes as a fresh breeze of air. Its simplicity is brimming over with the intensity of its content. “
LINK28
“The most judicious balance then, between the two modes would perhaps be the most welcome. Finding it and executing it to finality would be the ideal proposition. Many are able to accomplish it, most do not. And thus hangs the balance – neither here nor there ! “
LINK29
“Speed has been the buzz word in the passing of the day today. I have been signed on to endorse ESPN for the Champions League Cricket T20 tournament to be held in South Africa in September.”
LINK30
“In life sometimes you wish that the voice of your conscience, be not spoken by you but by those that may perhaps be aware of it. Be spoken so that the sense of balance can be admitted and obtained. I would be lying if I were not to accept and acknowledge, that those that speak for you in glory and praise, give you ample reason to believe that that is what you had deserved. The most difficult part in life for me is to accept that. Many think that it is a false sense of deliberate pride that I exhibit. But that is far from the truth.”
LINK31
“Many of the comments that I read in either platform, carry first, the expression of joy, exuberance and astonishment at having an opportunity to connect with their favorite star. And I go back to my home town Allahabad in the 50’s and still remember so vividly how the entire city had descended upon the railway station, there one morning, to get a glimpse of Kamini Kaushal, as her train passed by. Kamini Kaushal the darling of the ages of the 50’s and some of her most popular films with Dilip Kumar, a friend of my Mother’s, because her elder sister and my Mother were together in College in Lahore, now in Pakistan.”
LINK32
“My Father tells me the interesting story of how Azad, in hiding from the British forces, had one night taken refuge in our house in Mutthiganj in Allahabad, wrapped inside a hold-all.”

58 Responses to “Bachchan — 796 & 797 & 798 & 799 & 800 & 801 & 802 & 803 & 804 & 805 & 806 & 807 & 808 & 809 & 810 & 811 & 812 & 813 & 814 & 814(i) & 815 & 816 & 817 & 818 & 819 & 820 & 821 & 822 & 823 & 824 & 825 & 826”

  1. [a poem by Agha Shahid Ali…

    The Dacca Gauzes

    . . . for a whole year he sought to accumulate the most exquisite Dacca gauzes.
    -Oscar Wilde, The Picture of Dorian Gray

    Those transparent Dacca gauzes
    known as woven air, running
    water, evening dew:

    a dead art now, dead over
    a hundred years. “No one
    now knows,” my grandmother says,

    “what it was to wear
    or touch that cloth.” She wore
    it once, an heirloom sari from

    her mother’s dowry, proved
    genuine when it was pulled, all
    six yards, through a ring.

    Years later when it tore,
    many handkerchiefs embroidered
    with gold-thread paisleys

    were distributed among
    the nieces and. daughters-in-law.
    Those too now lost.

    In history we learned: the hands
    of weavers were amputated,
    the looms of Bengal silenced,

    and the cotton shipped raw
    by the British to England.
    History of little use to her,

    my grandmother just says
    how the muslins of today
    seem so coarse and that only

    in autumn, should one wake up
    at dawn to pray, can one
    feel that same texture again.

    One morning, she says, the air
    was dew-starched: she pulled
    it absently through her ring.]

  2. [Thanks for the images.. any shot with you and Mohanlal together is worth its weight in gold!]

  3. [That response by your father is a very interesting one. But ‘ars longa, vita brevis’… what of this? Isn’t art necessarily greater than life because its time is potentially infinite whereas human life is always limited by time? Then again I too would not wish to have even one fleeting instant of life be automatically judged ‘lesser’ to art’s ‘infinitude’. Perhaps there is a ‘mismeasure’ here. A mismatch. The two cannot really be compared. Because in each instance we are looking at the very same thing through a different prism..

    But your father of course is also talking about life’s ethical dimension and tying it with a similar artistic mission. This is confirmed when he introduces the question of hospitality.. The guest is indeed a god. Not least because only with the ’stranger-guest’ does the real dimension of ethics open up. Only with this potential engagement can one truly give oneself over to the ‘new’.. The guest is ‘godly’ but can one have this experience of the divine or welcome that stranger in one’s midst?

    All of this is linked to art and life.. the former being that which makes one a stranger to life only to render it [life] in turn even more familiar..

    In the stranger the truest self is found…]

  4. Re: any shot with you and Mohanlal together is worth its weight in gold!]

    Given Mohanlal’s weight, it is quite an expensive proposition.

  5. The Big B-low

    Amitabh Bachchan’s Kaun Banega Crorepati 4 has pushed Salman Khan’s Dus Ka Dum 3 to the back burner

    Vickey Lalwani

    Posted On Friday, July 02, 2010 at 02:45:11 AM

    Days after this newspaper reported that Amitabh Bachchan would be the host of Kaun Banega Crorepati 4, the channel has decided to concentrate completely on launching this show.

    Amitabh Bachchan
    What’s surprising though, is that this is happening at a time when the third season of Salman Khan’s TV show Dus Ka Dum was set to launch; that too on a much bigger scale. And the verdict is in: Big B’s show has overtaken Salman’s. DKD 3 has been pushed to the back burner.

    Evidently, Dus Ka Dum 3 will not be broadcast this year. The channel in question is putting all its labour into Kaun Banega Crorepati 4 as it marks Amitabh’s return to television.

    A source from the TV industry says, “The officials in Mumbai were told by their head office that they should concentrate on Dus Ka Dum 3 only after they had put KBC 4 in place, and preferably on floors. Kaun Banega Crorepati is the channel’s baby.

    Since this time they have the opportunity to broadcast it themselves, they have decided to pool in all their resources to make it grand.

    Kaun Banega Crorepati 4 is expected to be on air from November/ December this year. Dus Ka Dum 3 will now air in 2011.”

    Couldn’t the channel have concentrated on both the shows simultaneously? “Not really,” says the TV source, “They want Dus Ka Dum 3 on a much bigger canvas than its earlier two seasons.”

    Salman Khan
    When questioned, Danish Khan, head of marketing for the channel, said, “Who told you? Aisa nahin hai.” Why was Dus Ka Dum 3 delayed? “I am not supposed to tell you that.

    I will talk when I have to. As of now, I am not supposed to make any statements,” he added

    Meanwhile, Salman is busy shooting for Anees Bazmee’s Ready.

  6. Satyam says:
    July 1, 2010 at 11:03 pm

    These shots are as welcome as the earlier ones.. thanks very much..

    *
    ab says:
    July 2, 2010 at 6:57 pm

    satyam .. thank you for all your perceptive reviews and comments ..

  7. Looks Amar Singh is threatening bachchans to reveal family secrets.

    Amar threatened to spill out “family” secrets. He hinted that Jaya Bachchan was “pressured” by Amitabh to turn down the Samajwadi Party offer of a Rajya Sabha seat and wondered why he had done it at the peril of “disrupting his family’s peace” for his (Amar’s) sake.

    http://www.telegraphindia.com/1100704/jsp/nation/story_12644060.jsp

  8. 805
    [A most interesting and informative post.. one to be read and re-read… so many fascinating details..

    thank you..]

  9. I have been putting up all the discussions from the Amitabh to Abhishek thread on Bachchan’s blog for the past few days. Today I also added something that is not available here..

    [In addition to everything else I do think your production house should be revived in a bigger way (not necessarily bigger films but more films) and with a clear sense of direction to revitalize the richest aspects of the heritage for contemporary times. I think Abhishek has proven himself to be a remarkable producer with Paa. But now something more must come out of this. It is perhaps frustrating for you, even overwhelming (!) to constantly see this ‘task’ or ‘mission’ defined for you and for Abhishek. You might not want any such role. But as always I would say such a role is unavoidable for you. The question is whether you face the opposition on your own turf or theirs. We have seen the obscenity that media has spewed post-Raavan. really the most venomous pieces in every sense. It is important to analyze why all of this happens but one also cannot simply ignore it, put one’s head down and move forward. There has to be more at the tactical and the strategic level. It is not just about failure. Even your successes but especially Abhishek’s are diluted in the same media narrative. One can hardly overlook all of this. Your signature is already ‘historical’ in the deepest sense of the word, Abhishek is already at these crossroads. The question becomes (to cite Lenin who is not a bad model here!): what is to be done?! I would venture it is beyond just choosing good projects and doing the mix and so on. I cheer all these decisions. BUT some control over the narrative has to be established and this can come about principally by defining one’s own narrative clearly and here my suggestion is that part of the solution might involve not just producing films with a clearer program. whether it’s regional cinema or national cinema, let’s have a narrative. And within the range of option let’s also have a path to reignite the ‘truth’ of your signature. Why only rely on good directors presenting these opportunities as Rathnam often does or some others do. Why not take charge? Remember, you could do all of this in a sort of unconscious way in the 70s. Because that was a healthy system with the right directors and important writers who really exploited your strengths to the hilt. We do not live in such times anymore. Think about the Kamal Haasan model. His industry provided him the right opportunities for a while, eventually when times changed he established the same mission for himself. Ultimately it is upto you and Abhishek but it would be a pity if ‘history’ were not enough of a temptation..

    I will just say this finally — certain stars can afford to be ‘administrative’ types, i.e. choose the right scripts, maximize their box office and so on. Certain others though can only operate with that historical dimension attached to them. For all the reasons I’ve stated on countless occasions Abhishek belongs to the latter group. Everything he’s struggled with on different occasions illustrates the truth of this including all the vicious (but yet superficial) criticism on the other side. There is also no option for him to ignore all of this and just do his own thing. Even success achieved this way will flatter to deceive. I am not worried about his survival of course but I think he can be a defining force. If he wishes. The signs have already been in abundance on the latter despite the disappointments at different turns. all of this isn’t about endless conversations and so on. It is about radical change or at least understanding the radical change one might be committed to without understanding its full import. As for instance with Raavan. there is nothing wrong with this film, at least not in the sense that a fix or two would alter the box office or critical narrative. It is just a film which doesn’t yet have a majority audience. Abhishek does more than a few films which operate on the same model. The question then is: how is that majority audience to be brought about? I am convinced it is there. It just needs a trigger..]

  10. again after reproducing some discussions from here I added this response to the blog…

    [To add to all of this I must say that sometimes I do end up feeling very sorry for Abhishek. There is such resistance he faces from certain quarters. What offends one is the fact that the criticism so often takes the form of ad hominem attacks, it is so ‘personal’ so often. It has never been enough for these people to attack him on the usual grounds of the box office and so on. He must be targeted in other ways. At some level one has to take this ’symptom’ seriously even as one can safely ignore the superficial nature of the criticism (venomous though it can be). And of course we see a similar symptom in the media as well where it is not just enough to make fun of you or abhishek for box office reasons but utterly scurrilous and deeply disgusting stories about your personal lives must also be put up. and this is not akin to the old journalism where writers wallowed in the salacious (this affair and that affair, someone slapping someone else at a party and so on). This is quite different. I have never seen another star or star family receive this kind of media attention. If I were asked to offer my advice I’d very sincerely say that today the media DOES deserve to be banned by you and your family. This sounds like such a radical solution, at least over the top. But think about it this way.. what else could really match the violence of the media? I know it is less practical to do so for a variety of reasons. You cannot prevent getting photographed or filmed today because we live in such an intensive media age. But perhaps all outlets that engage in such behavior need to be taken out of the equation. What could they say about you then that they already aren’t now?

    In some ways the other side always wins because there is on your side a certain civility, a certain professionalism, and let’s be honest.. a certain class (I mean your decorum and comportment, not your social class) exhibited. This is commendable, admirable even. But when we play a game we should be sure that both sides are playing by the same rules. If one is engaged in a game of cards where one knows the other side is cheating the answer is not to carry on preserving one’s integrity and honesty but to exit the game itself. Radical problems need radical solutions. Yes, these solutions sometimes come with ‘pain’. We have to do that which runs contrary to our natures, we have to put up with certain pragmatic consequences as well but there are moments in life where continuing as before involves more pain than changing everything.

    And this brings me back to an old surmise, a point where I am always quite sympathetic to the star’s perspective. How does a public figure who is always at the center of so many cross-currents, always absorbing and responding to so much information, how does a star who has spent a reasonable period of time going through all of this (let alone someone who has spent a career) really sift through all this interminable ‘chatter’ and ’stimuli’ and select something to not not only ‘admire’ as ‘thought’ but act upon as well? What are the criteria? Does an immersion in public life damage these criteria greatly? Or at least the ability to respond actively even when something might have an influence on one? I leave this question open as before. I see it as one of the great ‘problems’ facing any kind of public figure. It is I think easier to absorb to set up a marketplace of ideas in one’s mind (this alone requires a special sort of star) where one ‘appreciates’ a lot but is not able to really separate out the radical idea or at least act on it even when one does spot it. Again I remain sympathetic to the star on this which is why the question remains open..]

  11. [Glad you shared these pictures. Doesn’t Paul the Octopus reveal a truth?

    In an age of hyper-calculation in every sense of the word, an age where we’ve banished what cannot instantly be accounted for in an objective sense, a seer-octopus thrills us! The octopus in all its ‘ugliness’ reveals the horror of the ‘real’ (that which is always repressed) and here the latter is the fact that everything actually cannot be calculated in advance. The element of chance is still structurally the most important one. It is what is life’s condition before all else. It is ‘chance’ that we account for by way of religion and theory and so forth. ‘Magic’ and ritualistic paradigms connected to this are also not exempt (all manner of shamans, all kinds of cult practices — religions are successful cults — on and on) from this. Because here the conceit is that ‘chance’ can be accounted for not by looking at the phenomenal world but by lifting the veil and looking behind it. But it will always remain, in Mallarme’s legendary phrase, a throw of the dice. Only an octopus could be a true seer! This sounds absurd but we have made it so. We, who have banished human seers and prophets from our technological realms…]

  12. [Moving note on the older films and the junior artists associated with them. I have always felt that there should be award shows or the like honoring their contributions. But then we live in an age where major yesteryear stars are forgotten (or deliberately wished away), one can hardly hold any hope for junior artists being recognized in any sense. When you do highlight some of these matters on your blog this is an extremely valuable exercise.]

  13. [Read your twitter exchange on the subject of Rajeev Masand calling Akshay a ‘jackass’. You very rightly objected. This is terrible stuff. I can’t offer more opinion on the media than I have before. It isn’t possible for anyone to have a lower opinion of the Bombay film media than I do. Most recently their ruthlessness, bad faith and sheer ‘illiteracy’ were on display in ample measure with the Raavan reviews. the problem is that in a 24/7 news cycle these media figures have become ‘gods’ in their own right. Once Arun Shourie went after Indira Gandhi at a very sensitive point in the nation’s history. These current film journalists who have neither the integrity nor courage to do the same go after film-stars and pat themselves on the back for being on a great crusade. And again point me out the journalist who has ever in these matters gone after a Shahrukh or a Johar? I don’t always mean to bring these up but why is it that these two are never ever treated to any kind of bad copy, negative write-ups, let alone calumny and character-assassination. I am not even using you or Abhishek as the standard (you’re at the other end!) but other stars have been treated derisively at times. Unfairly reported on in many ways. Why does this never happen with those two? Even when their films fail the reporters give them the kindest treatment imaginable. If the film is question is half decent it is as if Satyajit Ray was suddenly reborn! The media loves those who court it and I am being euphemistic even here. Beyond this there is that ideological tangle I often refer to. Calling Akshay a jackass is beyond the pale. Masand should be ashamed of himself. Of course I have always felt that as a unique mangler of the language (no one quite grinds on it the way he does! words just have to be pronounced.. they need not be chewed and spit out..!) he has this to be apologetic about as well.]

  14. [The key though is not to be so wounded when the media writes against you or attacks you. It’s obviously not easy to overlook some of the stuff they do. Specially when it’s as repulsive as the kind you’ve been subjected to. You once went over the media with your cinema. Made them completely irrelevant. Today you have this blog and twitter, basically ways to go over them differently. They’re the ones producing copy every day from even your twitter feeds! They know they cannot ignore you and that’s the greatest compliment even if it comes in such miserable disguise. But this whole thing is an ideological struggle and no struggle is easy. If they haven’t stopped all these decades they’re not going to stop today. But who remembers the names of all those film journalists through these decades?! No one! Amitabh Bachchan though still remains ‘Vijay’…]

  15. [finally I must thank you for standing up for Akshay here and highlighting this comment. The online universe does open up some possibilities and not the least among these is challenging the tyranny of the establishment media. Masand has hardly responded to the actual criticism on his comment. People like him in the media dare to bring up incidents where they feel stars did not stand up for this cause or the other. How often has the media done the same when politicians acted like goons and thugs? Yes there was criticism in these instances but of the most muted kind. Where does all their ‘courage’ disappear in these instances? Where goes all the ‘moral shock’? These media types pretend to be great crusaders when it’s a question of tearing apart a film every Friday (that most of the time they have no qualification to judge in the first place.. this brutal truth must be voiced!) or they’re good for arranging fake discussions on TV with panels where they pretend some great truth is being arrived at on a controversial issue (usually with the blessing of the audience that also wants the fake staging of ‘debate’). When it’s something truly important, something that truly needs to be highlighted by members of the media without any prevarication then they are suddenly MIA or AWOL. In any case I was very pleased, even moved by your response. I am with you and with Akshay on this one and I’m sure I speak for very many in saying this.]

  16. [wonderful note on the Ganesh presented by the Polish ambassador.

    On the stuff about animals sensing natural events I think humans too once had a much greater capacity in this sense but ‘civilization’ and ‘urbanization’ have impaired these permanently. Still there are those humans who even today operate in extraordinary ‘natural’ conditions from deserts to jungles who are much more attuned to the same ‘rhythms’ than we could ever hope to be.

    One of my favorite contemporary poets is the Canadian Anne Carson who’s also a classicist of note. Her latest collection is more or less of the nature of an ‘epitaph’ on the death of her brother. I present an extract (the author mixes all kinds of genres in his ‘poetry’) from this and other works by the author..

    this is part of a translation of a famous Catullus poem:

    Many the peoples many the oceans I
    crossed—
    I arrive at these poor, brother, burials
    so I could give you the last gift owed to
    death
    and talk (why?) with mute ash.

    here’s an exquisite extract from ‘The Glass Essay’:

    I can hear little clicks inside my dream.
    Night drips its silver tap
    down the back.
    At 4 A.M. I wake. Thinking..

    and finally this:

    “When an ecstatic is asked the question, What is it that love dares the self to do? she will answer: Love dares the self to leave itself behind, to enter into poverty.”]

  17. [Interesting and reflective post. We live in the age of ‘hyper’ communication. What is really being communicated all the time is less certain to me. There should be a place in life for silence and these technologies have almost made such a space non-existent which also means incidentally that ‘imagination’ suffers. And yes these technologies can be carried around everywhere, a kind of ‘home’ no matter where one is. But then again the strangeness of the ‘foreign’ is further reduced.

    The social networking phenomenon is deeply problematic. One understands all the charm and yet isn’t this (as you’ve alluded to) the enemy of every kind of conversation that aims to be thoughtful, comprehensive, and so on. In other words ‘conversation’ is that which is not possible on twitter and the like. What you do get is a set of decontextualized remarks that can exchanged among people. But also the thrill of eavesdropping. So if you’re talking to Shammi Kapoor I can ‘listen in’.

    The technology manufactures a certain sort of ‘communication’, whether one is better of for it is questionable. Certainly the time that could be spent elsewhere presumably on something more important or more interesting is compromised this way. Why read a book if we can twitter away throughout the day? The same goes for other arts. Technology creates a madly distracted population with limited attention spans who constantly need audio-visual stimuli to keep going every day. These social networking sites just add to the mix.

    I think there are serious consequences to all of this. Not least being the degree to which one’s reflective abilities and certainly the time to set forth on such reflection is deeply compromised. A problem for imaginative life but also for democratic life both of which demand attention and reflection.]

  18. [If there has been such a ‘community’ that has been fostered on this blog it is only a tribute to yourself in every sense imaginable for creating and fostering this space, for displaying the greatest integrity in maintaining discussion of all kinds, for providing very rich interventions again and again on all kinds of subjects, for being quite simply unequaled and without peer even in this avenue of life.]

  19. [Wish you the very best for KBC. I cannot say I am the most enthused about this. Not because I have any doubts you’ll be very good at it or that it will do well. Just that having seen the unprecedented and never to be equaled phenomenon you created with this show once I am unsure what there is to ‘add’ to this story. Unlike Big Boss I don’t really have an objection to this show on its own. The thing is my bar for you is always very high and I cannot get excited about everything. Again I am not being a ‘naysayer’ on this, I am sure I too will get sucked into the proceedings once the show begins, I also feel this is possibly a better option when the industry often doesn’t have the right scripts to justify your stature and gifts. And yet from my perspective, what is there to be excited about?! I don’t have any doubts that you’ll do it well, that you’ll succeed. What is there that is unpredictable here? What excites me is something like the Poori Jagannath project! Whatever happened to this by the way? Similarly I’d be excited whenever another venture with Balki shapes up. and so forth. One shouldn’t get excited about everything otherwise life tends towards banality. This is true for stars as well. One can be in the thick of things always busy with something or the other and sometimes a point is reached where one’s perspective in a sense gets flattened out. So whether it’s an ad campaign or a film release, a TV show or a public reading, whatever.. it all becomes just something to be taken care of during the course of a day. Sure, one might be more invested in one thing more than the other but ultimately it is the larger sense of ’stability’ one is wedded to with such a paradigm. This is unlike a model where one looks at every film and every release and its fate as something that truly counts. One’s life is taken up by this ‘economy’ if you will. But that more stable paradigm operates with a very different kind of economy. Here one does things across the board, it matters little what one does as long as there is always enough of a mix. It is understandable that one wouldn’t want to deal with the very same pressures in a later season of life that one might have as a younger person. I am quite sympathetic to this. But that stability paradigm which might be comforting at one level is also that which just becomes the opportunity to be visible on many platforms without any one thing meaning very much. It is a sort of interest a legendary star can collect on capital invested in his prime. The brandname is big enough to feed such an economy of consumption. What is being sold and consumed is just the ‘name’ and nothing else. which is why it doesn’t really matter what one does (ads, shows, films etc..). All of this might sound unduly harsh. It isn’t meant to be. Even a legendary star should be allowed this luxury in life, specially when he has nothing whatsoever left to prove. This doesn’t contradict my ’sense’ of things though. I am just not interesting in anything this legendary star has to ’sell’. I know this sounds awfully rude but really isn’t (though I offer apologies in advance as always.. somehow I always like to foreclose even the slightest possibility of such offense where you are concerned..). Everything that operates within a consumption economy of the kind we are all living through at present is of the order of a sales pitch. But I do not see those great moments from the past as being such. Those were moments that demanded something from the audience as well. Those were moments when a great deal was risked. I was revisiting Agneepath the other day (Johar must at least be thanked for producing a DVD that is way better than the older one.. better color and contrast… far less cropped than the older one.. even if calling this version a ‘remaster’ is nonetheless a joke.. on this note I do not know whether any of those Hrithik rumors have any truth but if such a remake ever comes about it will only invite contempt and disgust from me.. poor Yash Johar’s ghost must already be quite uneasy with all these rumors.. which let us say are never not ‘produced’.. and Johar claims to have a personal stake in all of this! Knowing nothing about Yash Johar I find it impossible to believe he could ever have endorsed such an idea..). A film which is already a kind of remake or sequel of Deewar (ironical that Agneepath itself is now being remade!). I prefer Deewar infinitely to it but I must admit that this newer film was a remarkable experiment and one that is still rewarding each time I revisit it. First off all one just marvels at Mukul Anand’s visual grammar and expertise. I do not believe he has necessarily been surpassed in some of his ‘representation’ here. I suspect he ‘learned’ from Rathnam’s Nayakan a great deal though he was of course impressive in Insaaf as well earlier one (a film which released around the same time as the Rathnam work). In any case I don’t believe that RGV, who is otherwise so impressive at very many levels, has surpassed Mukul Anand in this sense. Agneepath is really the summa of Anand’s technical vision and one can offer here as example that great claustrophobic moment when Vijay gets into the basti to free his sister. The shots constructed, the frenzy suggested with all the crowds, the fight in the mud, the falling rain and the light being refracted through it, on and on.. I only bring up RGV incidentally because his concerns have often been similar in this sense. But nothing in Satya or Company impresses me as much as some of these very stylized moments in Agneepath. and I say this as a fan of those RGV films. In any case this is but one moment. There is at the opposite end that brightly lit Mauritius entry of yours where even by the standards of your iconic and incredible screen presence this moment is not easily surpassed. Again Anand’s cues are perfect, not least in terms of matching the video to the song (that global hit Yeke Yeke..). It’s a film that takes risks much as your performance does the same. But both are more admired than loved, the strengths and weaknesses of both are perhaps one and the same. The film is a kind of operatic coda to Deewar, updated for a newer age but also very insightful in terms of bringing the ‘angry young man’ phase to a certain ‘end’. Agneepath is a sort of ‘essay’ on Deewar. A film which almost cannot be seen without having the older film constantly in mind as well. One thinks of that great roti scene you have here with Rohini Hattangadi and one can then connect it with Deewar’s own roti moment. Just between these two scenes from the two films an entire world of discourse can be constructed. Your voice was of course controversial at the time but it was the right decision. It has the effect of distancing the viewer from Vijay. One cannot really invest in Vijay, he is a bit too ‘terrible’ to be absorbed, but what ‘disabled’ the film and your performance in a box office sense is precisely that which renders both authentic. Today sadly a young male generation lionizes Agneepath and sees it really as the perfect expression of a certain macho gesturality. The weakest of misreadings.

    I got into all of this for a reason. Rambling as this all was you see how someone who invests in Agneepath cannot really do so in KBC 4! But also at the other end this is why a remake invites a sort of rage in me. A Karan Johar assistant is capable of taking this on?! Yes and pigs can fly too! Still if it has to be done I would want one and only actor to do it for whom this would be (in baseball terms) a bit of a sacrifice bunt. But it could also be very interesting at the same time. To dilute agneepath and to even get box office success out of it really means nothing beyond a good media story. And yet with the right actor there might be something retrievable. I have faith. I hope Johar has some intelligence.]

  20. [In yesterday’s response I asked you about the Poori Jagannath film totally forgetting you had of course mentioned this in addition to the Santoshi and Jha projects. All films to look forward to.

    Also a bit of clarification on yesterday’s longer response. I often start rambling (!) and then end up feeling I haven’t been clear on certain things. When I juxtaposed KBC to Agneepath all I meant was that it is hard to get invested in both equally. Unless it comes about by subscribing to a consumption paradigm. In other words I would the not be interested in your work, the charge of your history and legacy, so on and so forth, but only in you and as a consequence I would be interested in everything that you took on. By the sheer fact that you would be attached to a project the latter would become interesting. At some point ‘what’ you were doing would become immaterial because of course I would only be interested in the ‘who’ (yourself) doing it. In yet other words it is akin to being invested in ‘biography’ more than ‘work’. Shakespeare’s biography interests me for certain reasons but not more than the plays he wrote. If Shakespeare were to start writing pedestrian stuff (if we suddenly discovered mediocre plays of his!) I would not be able to endorse it simply because the biographical continuity would have been maintained. An artist must forever remain linked with the work. I’ve probably used this anecdote before but Heidegger once began a class on Aristotle with the biographical note “he lived, he worked, he died” and then proceeded to the work which of course formed the subject of that seminar of his. This does not mean Aristotle’s biography is not interesting, just that it is not the equal of his work no matter what it is.

    In short I cannot consume ‘Amitabh Bachchan’. Now of course I too am a consumer in this consumption age. I too minimally ‘consume’. I am not therefore indicating a position of ‘purity’ here, just one of resistance. Agneepath again. Note how this film is one that actually cannot simply be consumed. Raavan more recently was another such example. Which is why Johar is now trying to come up with a ‘remake’ that can be consumed! Which proves nothing! He has talked extensively about how he would like to somehow complete the work of his father and get a success where his father couldn’t, etc etc. One admires the sincerity of his emotions (Wilde suggested all bad art was sincere.. we would be lucky to get bad art from Johar) but to remake a film in a way that makes it palatable at the cost of stripping out of it what is most authentic in it is not exactly completing the work of one’s father. In any case I bring in Agneepath here as an example of a film which cannot be appropriated for consumption the way it stands. And so much of your great work is the same way, I refer to both films (and not only the most well known ones but more ‘obscure’ ones as well) and your performances in them. Yes, cinema as mass art is about consumption of course but your work also indexes an ‘event’. This is why I obsess with it so much. It is that rarest of moments in Hindi cinema when truly subversive cinema was wedded to box office glory. It is like Dickens writing bestsellers! Seldom are important works accepted in the present.

    So I am not ‘against’ KBC or a lot of the other stuff you are involved with. Or to be honest I probably am but I have said enough about this in the past. The context is a different one here. Agneepath is again useful. If you were to do that very film today it would not mean as much. Not because of box office reasons but because your overall narrative as star is very different today. Note what happened with Khakee. A film which did well but actually should have been a historic success just based on how well made a film it is. This happened because on the one hand this is an audience that just does not wish for resistance or rebellion as it once did and prefers to wallow in complacency. But leaving this aside and despite your incredible performance in the film you could not mean as much to the audience as you once did in these parts. Because you were also doing K3G and films of that kind where your radical charge was constantly being canceled out. And Khakee was the beginning of 2004. There has been far more dilution since.

    I understand of course that these are roles for you and that you might not really be interested in the ‘project’ you helped unleash (I actually do not quite believe your ‘protestations’ in this sense.. but if indeed these are genuine I’d be rather sad.. the star and actor who really helped ‘write’ all that great body of work turned out to be quite cold to its ‘meaning’.. but again I do not believe this.. though it might be that an ‘older’ star is too tired to invest so much meaning in his past and prefers to let it quietly and calmly drift away..) but I remain interested and in this context part of my ‘fidelity’ involves not getting excited about KBC 4. This stance then enables be to get excited about films like Paa and Raavan. If I got excited about everything I would just be consuming ‘you’ and I do not wish this (not being Christian helps..). It is of course an index of your longevity and your relevance that you can offer such a model. In other words your signature is capacious enough to have first been part of the ‘Vijay’ founding and then its eventual ‘deconstruction’, all with equal success! But one has to choose sides. Even you have. Time divides your choices. You couldn’t have done Vijay and KBC 4 at one and the same time. Even your fans choose though they might not realize it. Those who cheer the present are not really the truest followers of the ‘Vijay’ heritage (I am sorry to frame it quite as bluntly as this) provided they are sincere with all the cheering (I have my doubts about it sometimes including when Abhishek indulges in the same.. I can understand the protective impulse though..). One always chooses. I am today on Raavan’s side! Against the hysterics. Against their consumption paradigms. When one starts living in Beera’s realm one cannot quite come out of it without being transformed in the deepest recesses of one’s soul. I once went over to Vijay’s side. I cannot quite return to this other one from where I could perhaps better appreciate the paradigms that give rise to KBC and the like. Unfortunately this also means that I keep launching these ‘terrorist’ attacks here. I know you are groaning. The ‘clarification’ is worse than the original note!]

    • You have really said a lot here sheathed in a silken glove as it were. said a lot, that is, to Bachchan and about him. Referring in particular to the last paragraph, which represents a fidelity to the “sign” of Bachchan that is so pure even the man may be sacrificed…

  21. KBC promo

  22. [Moving paragraph on your father as always.. The pictures are also once again welcome..

    Have you ever wondered why all those fans who have showed up regularly in such numbers at your residence for three decades often do not show up in similar strength for some of your films?

    Precisely for many of the reasons I often get into! They arrive at a site where they feel a strong connection with the legacy. When they don’t see this in a film they are not as interested. Amitabh Bachchan will have been the name of a force that cannot be accessed but authentically. Imagine the magnitude of that force where even after getting diluted so much at the hands of a consumption economy it still cannot be overcome. Those memories still prevail. Of course the interesting irony here is that those consumption paradigms also enable those past glories to be permanently current! Every single day these are available on one channel or the other. When Dilip Kumar was working in the 80s he did not really have to contend with his screen image of the 50s. That history just wasn’t relevant at that point which is to say it did not inform his viewers in any immediate sense. This is not true for your work which is its great strength but the price you have to pay in the present is that you can never defeat it no matter what you do. Unless it be something extraordinary like Black or Paa where the caliber of performance is considered worthy enough of your ‘event’. everything else falls short. People (usually partisans in the media or online) like to believe this means that you are not as important anymore. Actually the reverse is true. No one who did not continue to mean as much as you do would ever be disabled by a ‘history’ decades removed from the present. If that work were just ’stuff’ for film history enthusiasts there would be no ‘pressure’ on you currently to do one kind of film/role or another. It is because that work still emits a potent charge. Which is as it should be…]

  23. [Thanks for that wonderful note on Udaan. Eager to see this film, haven’t had a chance so far. One of the rare films in Hindi I will end up watching these days. I find myself increasingly unable to watch more than a handful of ‘Bollywood’ films every year. The ones I am truly interested in I check out in the theaters. What’s left often seems a chore to get to even with the comfort of a DVD that one can entirely control (this technology is otherwise very problematic.. one becomes a tyrant bending a work to one’s will and wish… pausing it a hundred times if one needs to, so on and so forth.. but with most of what is produced by Bombay these days even giving the films the DVD treatment is to dignify them!). Also there is much more that is accessible from all over the world and all over India (which many Indians either access last or never!) than ever before and to the point where there is never a good reason to watch mediocre or bankrupt stuff from ‘Bollywood’. Among the Bombay films so far this year the film of the year has been Raavan and I do not expect another film to beat it. Others that I’ve liked include Ishqiya and Striker. Rann was quite watchable despite some serious deficiencies (saw it twice) and Teen Patti less than this (I actually quite liked Leena Yadav’s experimental Shabd, was surprised to see her make such an insipid film out of a rather interesting subject). Rajneeti again was very enjoyable for certain masala reasons though a mess on the question of ‘politics’. Can’t remember if I’m missing anything else. But even with films that I half-like I know I could very easily spend the same time just revisiting an older film. Did this with Gulzar’s Khushboo recently. I doubt an audience would be able to sit through more than ten minutes of this one today given the existing attention spans! Gulzar does not quite work well with twitter rhythms! Distressingly I discovered that it is rather hard to acquire the same director’s Kinara (a film I like even more.. the plot is interesting if you recall.. and it of course has that fine song.. naam gum jayega..) on DVD. I have learnt to my frustration over the years that one has to be something of a sleuth to track down many of these older films. The VCDs are easier to come by in India but again these have to be tracked down. I often end up going to regular stores inquiring about some of these titles and I am quite aware that I present a fair example of someone out of a loony bin! What can one say? Only the maddest today trace these contours of the Bombay cinematic past! But rather be mad than sane like those today who think the world of contemporary ‘Bollywood’! Shouldn’t be too harsh. There is of course interesting work as well today but it is usually the exception. The rest of the time it is merely the pretense of the ‘different’. I sometimes wonder how you can bear to attend a lot of these contemporary screenings. Wouldn’t one rather be run over by a car on the way?! anything to avoid the assault on one’s sensibilities that probably follows! But contemporary audiences thing otherwise. One is reminded of that Herzog film, Heart of Glass, where the whole village operates in a stupor once they lose the art of making a certain kind of glass. This is perhaps not a bad metaphor for contemporary audiences. I can’t remember if the characters in the Herzog film were aware of what they had lost. Certainly most viewers of Hindi cinema today wallow in this ‘lack’. Sometimes I feel Javed Akhtar has suffered the most most cruel ironies. The man responsible for some of Hindi cinema’s, indeed Indian cinema’s greatest scripts. So sophisticated in terms of his thinking in all matters (much of it in evidence in his interviews even today) and yet consider his progeny. Farhan Akhtar made a promising start with Dil Chahta Hai and has since been regressing continually. Quite happy to remake Don endlessly. Meanwhile Zoya Akhtar has outdone even her brother. The first film was an ultimate insider’s deal with not half the humor and warmth that characterizes an earlier age film like Guddi on a similar subject. The second one’s claim to fame now is the representation of an authentic bullfight from Pamplona as some Indian youths come of age. Yes isn’t this the archetypal coming of age Indian story?! This is really the heart of the Indian experience isn’t it? These filmmakers are not just disconnected from the concerns that ought to be informing them. They’re living in outer space. Javed Akhtar deserved better representatives. Now it will seem like a rather partial statement if I bring up Abhishek here but facts must be stated plainly — who among his generation has shown greater interest in authentic, rooted cinema? Who has been willing to risk as much for an association with the meaningful? Most of this generation has seen a number of Hollywood films, a few ‘foreign’ films and this is all they’re interested in reproducing ‘in Hindi’. I wish they would discover another kind of foreign cinema as soon as possible — the glories of yesteryear Bombay cinema! And perhaps beyond this the ‘foreign’ cinema from elsewhere in India. The magnificent Malayalam films of the 80s maybe, so much that’s interesting in contemporary Tamil cinema perhaps. The riches of Bengali cinema? All these hopes are themselves of the order of ‘madness’! I am always haunted by the Mad Hatter’s retort to Alice ‘you must be mad or you wouldn’t be here’! Indeed I must be mad..]

    • I’ll probably make the point elsewhere but sometimes I feel I’ve been too hard on Johar. some of these other figures in Bollywood have been even worse in some ways.

  24. quinqart Says:

    SATYAM ,have you written this on ABs blog???in comments section?

  25. Nice tribute to Amitabh by Mohanlal

    http://www.blog.thecompleteactor.com/

  26. [I would just say two things very briefly about this entire topic:

    1) The idea of a ‘conversation’ while always appealing is often the wrong one to employ between two parties that are often ideological ‘enemies’. Because it is not about misunderstandings and so forth, it is about the ideological battle-lines. So for example the media doesn’t write negative things about your or Abhishek because it ‘misunderstands’ anything. It does so because it (or the class represented in the media) is completely opposed to a great deal of what you and he represent. There is no ‘lack of communication’ on this. Vijay’s message precisely got through as did Beera’s! But to constantly address the media through prisms of ‘communication’ is a way of deferring the decisive step with respect to the very same media.

    2)Much as I think the media should be handled appropriately (for which ‘hardball’ is sometimes needed and one ends up not quite having the stomach for it) it is also the case that a noun like ‘the media’ can also become the excuse to evade the ‘political’. In other words one ‘does’ politics by not doing the kind that matters but engaging in certain battles with the media. There is definitely a necessity in the latter instance but it is dwarfed by whatever happens on the other side of this equation. One avoids commenting on politics because of course the stakes are higher. This is understandable. On the other hand one also sometimes runs the danger of forgetting that insidious as the media might be the even more powerful power brokers of this society lie elsewhere. This is not at all to underestimate the might of the media. So the escape from politics often comes about in this ‘let’s have a conversation’ stance with the media.

    Let me offer a parallel example. Yesterday I re-introduced Karan Johar into the discussion. of late I’ve been feeling bad for launching so much polemic against him for so long. The fact is that there are some among his peers who are even worse. And I name Zoya Akhtar in this regard. People who ‘represent’ India by representing bull-fights in Pamplona! If one really wanted to do this one should have gone either the Johar way or done the thriller mode. At least there would be less pretense in those moves. But here’s the larger point — I have no ‘misunderstanding’ with Johar. I know what his cinema is, the wordlview it reflects, etc etc and I am violently opposed to it. Johar meanwhile is probably the guy who hated villages being represented in films! Or who couldn’t stand some of the fashion statements. On and on. But I know his films and I’ve come across countless interviews from him as well. I have issues with the films he makes and for some of his off screen antics. There’s no misunderstanding therefore.]

  27. [I just posted that link regarding Mohanlal’s tribute to yourself. Of course you too have spoken about Mohanlal very warmly on this blog right from the moment this project first came about.. it’s really moving to see two giants, two titans display real humility of course but also evidence real passion and admiration for each other (including the work).

    This is a certain spirit of genuine homage that is no longer available in Bombay (you are the last great representative of this).. this tradition still exists in the South. In the generations following yourself there are only the exceptions who don’t just pay lip service to those who’ve earned the right to be spoken of with honor but really come across as very genuine in their appraisals. I am referring to figures from the past moreso than anything else. Abhishek certainly displays this attitude (how could he not being your son?!).. a word that I am otherwise sometimes suspicious of for its ‘right wing’ orientations in certain contexts nonetheless seems appropriate here.. it is about ’sanskar’ sometimes..

    I think Aamir Khan comes across as someone authentic in his references to older figures of the Bombay film past. Similarly I sensed this quality in Ranbir as well. Akshay certainly seems so in many contexts. It is not that I am old-fashioned about these things. But I have the deepest contempt for those who do not accurately gauge or value those who have gone before and who think history begins with themselves! I won’t name those I consider to be the worst offenders in this regard.]

  28. [I have been talking so much about not looking forward to most Bollywood films and so on but here’s a trailer that has truly thrilled me:

    I hope this Salman film (Dabanng) truly lives upto the promise of its trailer. I am not a fan of Salman at all, barring his off screen appearances but this trailer has excited me. It is masala of course but with a Southern inflection which is to say masala ‘upgraded’ to match contemporary sensibilities. A masala not afraid to be ‘A grade’ in terms of the visuals and so forth. A ‘refined’ masala (which is not the body without the spirit but the spirit in a ‘newer’ body, that accounts for cinematic ‘change’). All of this routinely happens in the South. Which is why I have said so often that Abhishek needs to consider this model. Get much more pro-active. This Dabanng trailer is partly what I have in mind. Again I have no idea whether the director here, a first-timer and Anurag Kashyap’s brother if I’m not mistaken, will live up to the promise generated by this trailer but the possibility of such is enough from my perspective.

    I see some new stories about forthcoming projects involving Abhishek doing the rounds from the three with Katrina Kaif (two of which had been in the news earlier) to this possibility of an RGV film with Dutt included. Abhishek continues to have the best lineup in the business. There is nothing else even remotely comparable. Given that he engages in much greater volume than everyone else the fact that he is nonetheless able to maintain these high profile projects (whether commercial ones or ‘prestige’ ones or both) makes a remarkable statement. Now I personally wish there were a lot more of the ‘Southern’ here but I can hardly quarrel with his choices (even if post-Raavan I also believe it is now time for a very different sort of intervention.. that’s another debate) here. He has cast quite a net here in terms of directors, genes, co-stars and so on. For a number of years I have loved throwing this argument at the naysayers, both in the online and by extension those in the media. An aside: note how often in the rankings that come up or in the lists that are created the one common thread that unites them is this desperation with which Abhishek is excluded. I always have a sense that those who are ranked above him are probably mortified because their paths don’t lead to anything close to the projects Abhishek routinely seems to land up with and therefore to be placed above him is to be burdened with expectations that lead nowhere, a kiss of death if you will, and surely they know they are being made pawns in a larger ideological struggle. To get back to the main point I love throwing the projects out because isn’t this what really enrages the opposition? I remarked not too long ago that Abhishek is a bit like Odysseus. Those opposed to him are never quite able to pin him down and this drives them to anxiety and rage alternately. After failures, some of which are treated hysterically in the media, he promptly attracts even more high profile attention. How is this possible? if he isn’t much of a box office star as many suggest he must be a phenomenal actor for people to be willing to invest so much in his projects despite being persuaded of that truth! If not then he is obviously more of a star than people believe. And again I am offering a merely formal rebuttal here because of course the anxious and desperate reactions always prove that a repression is in place! Leaving this aside there is the other ’signal’ that always reveals more than its intended. That Abhishek is somehow getting all of this because he is your son. Now this of course begs the question: why wasn’t he attracting all of this attention before 2004? His biological resume was certainly the same then! Note how the truth here comes out in inverted form. Actually there are many directors who are excited with the prospect of working with him because he’s your son. But NOT because he is a biological ‘descendant’! Not at all! It is because he represents a worthy, credible, authentic slice of the Bachchan signature. He represents a plausible valence with respect to your legacy. He is sought because he has enough of the signature in him even in the obvious physical sense. All of this is dimly or unconsciously intuited even by the greatest detractors which is why they offer this imbecilically weak ‘biographical’ misreading. The authentic questions of inheritance always revolve around the work and not the ‘person’. Which is not to say biology is nothing but it serves to reinforce what must already be perceived as ‘authentic’. In other words one can have the structure of a ‘crown prince’ because of a genetic link, however the kingdom must still be earned. Incompetent crown princes become kings but then kingdoms fall in disarray. Henry IV once again is about all of this. But Hal must only be a competent follower or ‘administrator’ of his father’s legacy. He must be something more by being something ‘other’. No one could ever confuse Henry IV with Henry V irrespective of who one preferred. Of course you are hardly the former and it might be impossible for anyone to be the latter to your ‘godhead’! Having said that Abhishek is definitely doing something ‘other’ with the signature which is to say he is not doing the predictable. My own sense is that some of the very commercial directors in their excitement to work with him reveal as much as more esteemed directors like Rathnam and Mehra. Because in the latter case there is a serious thinking of the signature, consciously or otherwise. In the former instance there is the ‘asymmetry’ that excites. Abhishek doing an Italian Job is not really like any of his peers doing it because he also presents (to use a psychoanalytic term) an ‘obstacle’ to the world of these films. In a sense he is in them by being resistant to them. The rest of his body of work confirms this but equally his persona within some of these films where the stance of the performer always includes a minimal distance from the body of the text (film). Even if not quite of the order of self-parody there is a level of ongoing critical commentary. The lead star who in an odd sense never quite ‘buys’ what’s happening around him in the world of such a commercial film. People wonder why I am such a fan of Abhishek’s work. It is precisely for such reasons. There is a very serious point here. Everything I have just described is a ‘hint’ that a shrewd actor could derive from your best work in the same commercial context. I too have remarked on this before. So for example people who think that what you did in a film like Suhaag and then what Govinda did in many of his films is sort of the same thing don’t know how to watch movies! There is a link in the sense that Govinda has learned from you like many others. But what he has not intuited however is that crucial ‘hint’ I’ve just been referring to. He plays it straight, he does not have that element of ‘reflection’ that involves your characters. To wit, you are often in your commercial films of the Desai kind a star-actor who is aware of being an actor in those films! The performance moves at this double level. It is in turn a hint a shrewd actor who knew his Shakespeare would always pick up. And you certainly did! I have said this before too. But it is not really Govinda’s fault. In some odd sense it is only a really gifted actor who can pick up these hints. Govinda is undoubtedly gifted but only in ‘predictable’ ways. I love watching him but he never surprises me. I am referring to gifts of a different kind. Anyway this is just one instance of why I esteem so many of Abhishek’s performances. Rohan Sippy catches some of this ‘crosscurrent’ in the always interesting Bluffmaster. Note the humor here — there is really another film at the end! It’s as if the actor were aware of the world of the film not being everything there was and this literally turned out to be true! Roy is relieved at the end of that film for precisely this reason. The ‘fold’ of the narrative pleases him. There really was something on the other side of the screen!

    For some of these reasons I am actually quite interested in the ‘effects’ Abhishek produces in films like Game or Italian Job and so on even when these are not genres that otherwise excite me at all.]

    • Re: “Rohan Sippy catches some of this ‘crosscurrent’ in the always interesting Bluffmaster. Note the humor here — there is really another film at the end! It’s as if the actor were aware of the world of the film not being everything there was and this literally turned out to be true! Roy is relieved at the end of that film for precisely this reason. The ‘fold’ of the narrative pleases him. There really was something on the other side of the screen!”

      …and there is a(n)(other) film at the beginning too, with the first word being “Action”…

  29. [I find this to be one of your most illuminating posts, especially certain passages in it. Stardom or better still becoming a public figure creates a strong ‘other’ for the self. I’ve said this before I think but there begins then an economy between the private person and the public figure. Increasingly a chasm is created between the two and this is of a structural order. It is not something willed by anyone. It is of the essence of entering into the dominion of the ‘public’. In fact self-deprecating public figures like yourself are rare (easily one of your most admirable qualities.. but equally intriguing..), most of the time people fall on other side of the divide, which is to say the ‘private person’ moves over to the side of the ‘public figure’ and entirely starts living that ‘fiction’. I do not mean ‘fiction’ in any negative sense, if anything the ‘private person’ is also a fiction, just of a different sort. The ‘public figure’ incorporates all the hopes, desires, dreams, passions and so on of many other than himself (or herself). In other words if the ‘private person’ is formed by a certain set of forces of which he is not totally master of the ‘public figure’ is at the juncture of ‘historical’ forces. As such it is very hard for any person to be both equally. One can either keep treating the ‘public figure’ as a fiction to be always avoided except professionally or else go over to that side completely. But the latter is a much darker choice as it unhinges one in a number of ways. I could offer examples from the film industry but on a public forum such as this I wish to be polite. In either case the structure is the same though — one is estranged from one’s public identity, that identity which is co-created with the public. Whether one starts living it or rejecting it either way it operates as one’s ’shadow’. Something one cannot ignore. It actually testifies to an inner strength and an inner self-belief when one chooses the private self over the celebrated public figure. But the commerce remains ongoing between the two and it is something the public figure has to deal with every single day. I quite sympathize with the plight of public figures on these grounds. It is not easy to always lead this double existence. None of us can imagine this reality.

    Given everything I have just said you would be correct to wonder as to whether this does not contradict so many of my other ‘objection’ dealing with your legacy and so forth. Actually no! I have never urged you to become more like your public fiction. I have only insisted (and I insist today as well) that you are the guardian of a body of work in the most immediate sense and that you understand this ‘responsibility’. Yes the work is public so the viewers are also the keepers of this heritage whether they just watch the films incessantly or think about them or learn from them or whatever. We too have responsibilities which is why I react so badly when audiences behave in certain ways and lionize the worst kinds of cinema. But a body of work can only fall into neglect when an audience starts forgetting it or not engaging with it, it cannot be affected in any other way. However in your case it is entirely different. You hold the power to damage your ‘text’ by choices that might not be in keeping with the ‘event’ of your work. Is this too much pressure? Yes! Wouldn’t you be disappointed if you felt that your father after writing some great works had suddenly started penning unbearably mediocre ones? A poet can control this far less in fact than an actor, certainly one of your stature. This is all I have ever argued for. That you not engage in a ‘forgetting’ of your ’signature’. This has nothing to do with your ‘personal self’. It only means that when you don the actor’s paint, as it were, you are automatically on the ‘other side’, that of the public figure, and hence you cannot act any other way once you are there. It is there that responsibilities truly begin. I am referring only to professional ones. Your personal ones have nothing to do with all of this and in any case are no one’s business. Similarly when you respond to questions in interviews you do so as a public figure, the bearer of the same ’signature’. Interviewers who claim that they are looking for the ‘personal side’ are either lying or being terribly naive. They actually want the public figure to ‘play’ the private person for them. This fiction is even inherent in a number of star biographies.

    In the same sense when I talk about Abhishek along these lines I am referring to the very same structure. Henry IV yet again. Hal is where he is because of biology of course but he can only truly become Henry V (not just any king but a great king) by taking his father’s legacy and configuring it in his image. In other words by accepting responsibility for it. Now as a matter of cultural criticism I might discuss how the biological structure is received by audiences but that’s another matter.

    In terms of the mindset you possess, assuming of course you have always possessed it in the very same way (one is not at 60 what one was at 35…) this is greatly admirable as a private posture, certainly one I can empathize with, but it becomes something else when carried over into the public domain. A very crude example — if you think you are not a great actor at all in your mind that’s one thing but if you start expressing the same as a public figure in interviews or so forth the effects created are important, specially in an industry where supposedly everyone else is a ‘great’ actor. One can unwittingly lend one’s signature to a narrative that is not really helpful even in an overall sense. What if for example you were to express constant doubt about so much of contemporary ‘Bollywood’? Express doubt about the mediocre and even bankrupt stuff that is celebrated all the time? Sure one tries to be civil and polite but one can still get a message through. It would actually mean a great deal to very many people but more significantly for the overall discourse. Otherwise we are left with those who offer bankrupt cinema pretending they are the descendants of Fellini and Bergman and those who know better concurring. This then leads to a film culture which does not illuminate or educate anyone. Yes the media is the worst problem in all of this but how has the public figure whose opinions influence millions of people really made a difference? I don’t say all this in any accusatory sense at all. It’s just an example of what responsibilities are entailed in the public sphere.

    Here is perhaps the moment for a confession on my part. I alluded to this sometime back but recently I read some pieces on a certain site which offended me deeply, even repelled me in profound ways. I did not however criticize the writings very much or did so in the most brief and guarded ways. In earlier years I had done the opposite on a couple of pieces from the same source when I had felt as strongly but the pieces appeared on that very site and hence did some credit to the latter as well. But this time around I did not have that opportunity as I do not write for that site anymore. So I would have had to respond forcefully to the writings elsewhere. There was ample opportunity but I did not. Because I felt the person responsible for those writings had been kind to me in certain personal ways and I felt uncomfortable attacking the writings very comprehensively. I nonetheless had a bar in my mind, a sense that I would respond at some point but I was fooling myself. perhaps I had placed the bar too high and therefore avoiding the need to respond. The moment I did this though I thought about all the things I had said to you on this blog. Felt a strong sense of personal hypocrisy. Because this was precisely the trap I had often urged you to avoid. If on one occasion I felt this ‘conflict’ how much greater by an order of magnitude and how much more numerous might the same conflicts be for you? You who have spent so long in an industry and have so many personal associations in addition to the professional ones? So I do have a sense of guilt about this. I think I failed in my responsibility. I hope to do better next time. I have been meaning to speak on this at length for sometime here but today’s comment finally presented the opportunity. So I plead guilty to hypocrisy of the first order. Do not be too relieved though as I will not stop being vigilant because of this admission! I shall just be more vigilant with respect to my own self as well! We are always allowed to fail but we must recognize the truth of these failures. For all that I have said here I have never judged you, I would never dare to, but I also think I have enough regard and admiration for you to have been able to say so much without ever intending judgment. This is ultimately credit to yourself for allowing the conversation but also for always revealing the kind of public face throughout your career where I never felt as I did in this personal instance I just related that I needed to compromise with principle. Yes I have been a strong critic at many points but I have never doubted your core integrity. Conversely some of your industry peers have not been as lucky because I have not found enough reason to extend them the same courtesy and the same benefit of doubt!]

  30. ab says:
    July 23, 2010 at 11:50 am
    satyam .. interesting as ever .. i do hope you are storing all that you write .. it is priceless .. i may ask for it someday .. all about Abhishek, me and the film industry of india

    • thanks Shakti.. hadn’t seen it..

      • AB echoes the sentiments of a lot of us. Your writings should be compiled in some organised form and dare I say, published. Would be a tour de force on AB’s career, what he represents and his achievements. Apart from being one of the most incisive takes on the Bollywood of last thirty years.

        • One is always a great writer when one is surrounded by the kindness of those like yourself!

          thanks as always..

          I do certainly want to collect all the comments in one place..

  31. [That paragraph about Kamini Kaushal is worth its weight in gold. It is always a pleasure to see you highlight such important chapters from the Bombay film past. Sadly, these are all too neglected everywhere. Her last film with Dilip Kumar was Arzoo if I’m not mistaken, also the one I like most from this pair. But this is my sore point — unlike the West there is just that passionate engagement with the past (here cinematic history) in India. You don’t really get those groups of afficionados obsessed with all aspects of popular culture, all the slices of these histories. And when one reads write-ups in the media about films from the past even far more famous classics are so inadequately represented it becomes fairly obvious that the writer is just completely at sea! It is not just the individual films that are badly critiqued but also the star careers that are so poorly and even inaccurately defined, let alone understood. But on the other side of this the kind of anecdote you’ve related draws me in so much because it hearkens to an age of cinema when the medium enjoyed a certain transcendence. We’ve long exited that age and I think you are fortunate to have live through it for the longest time. In Bombay cinema terms it ended somewhere around the very early 80s. Today it is just about consumption and sensationalism. The media created such hysteria over Raavan and yet within no time even this story was dead quickly replaced by the blaring ones talking about Abhishek’s three films with Katrina Kaif. This is what it’s all become. No sense of pause, no sobriety. There is simply not the space available for reflection and measured judgment, not just in film media but in any other kind as well. And it correlates to the rhythms of contemporary life as well. No transcendence is possible in such an age. And cinema too suffers badly. These rhythms of today make art a casualty. The most challenged art form is actually poetry because its sense of time is so ‘other’ to prevailing rhythms. I am not just being a ‘nostalgist’ here. There is much about the ‘contemporary’ that is liberating in significant ways. I would never brush this aside. But getting back to cinema that episode you brought up was very welcome. Last evening as I put up that piece on Bombay and so forth I revisited some of those videos as well and some more I did not mention in that piece. I tried to actually not say very much about your work because I have done so copiously everywhere and I thought I’d highlight Rajesh Khanna instead. But the video that I revisited among others and that moves me profoundly whenever I see it is once again the female version of Rim jhim gire saawan, a ‘rain-swept’ song if ever there was one and video that to my mind is one of the greatest I’ve seen in Indian cinema. Utterly nostalgic, utterly moving.. it leaves me with a strange heart-ache every time I watch it. For what once was.. and of course there is that peak period of your work which can never cease to move me even on its own. This is just a beautifully shot song.. I was reminded of a moment from this video when the first previews of Paa came out and you seemed to be splashing the water around in the same way. and as you know I just adore that film. The man with the galvanometer as I have called him before. It is one of your extremely fluid performances. Pitch perfect. Not a blemish anywhere. A gem that deserves a lot lot more attention. This film and this song are to my mind exemplary moments of Hindi cinema and cinema in general. If there is a theme that defines my present it is this quest and search for that lost paradise of classic Bombay cinema..

    Incidentally I must agree completely that where you are ought not to matter at all.]

  32. [wow! what a fantastic post! THANK YOU!

    Because you have been talking about Azad I shall talk about Desh Premee. No, I am not mad! There is a connection. I have written a piece on this before if you recall, about how Desai’s Nehruvian ideals get represented in this film among others. However I won’t repeat those points. There’s also a box office story here. All of Desai’s films with you did extraordinary well with you for years — from Parvarish to AAA to Suhaag to Naseeb to Coolie to Mard. The odd one out here is Desh Premee which did well but as exceptionally as all those other films. Why? The really strong character within your double role in the film is that of the father. The son is just around to ‘entertain’. His character isn’t particularly etched out. Hence he cannot constitute an authentic foil to his father. The defining ‘accent’ of the film is then that of the father’s ideals and ethics and his insistence on a certain code for life which includes a high degree of patriotism. Could it be that it was precisely in this character that the audience found it hard to locate your history? You had never played that sort of character before Desh Premee — someone who argued so much for the foundational mythologies of the nation-state. Consider Deewar — the scenes under the bridge offer possibly the most damning indictment in Hindi cinema of the post-Independence state. But this is what so much of your history was about. Always at odds with the easy fictions of the nation-state (in this sense the one false move in Deewar is the conservative/commercial book-ending of the film’s story within those segments where Ravi receives the police award… this is an attempt to keep the Vijay revolution circumscribed.. have it all evaporate by the end.. suggest that the ‘normal’ is only the institutional.. of course the film is too strong for any such attempt to be persuasive but it is nonetheless attempted.. or we see by the end of Trishul the ultimate ‘destroyer’ of the bourgeois paradise making his piece with his institutionalized brother..). Even in the alternative films with Hrishikesh Mukerjee your characters were often ‘uneasy’ in the existing socio-political order. Mili is the classic example here. I was discussing Manzil yesterday. Again there is enough of a critique even in this supposedly ‘light’ film. So your characters were always ‘out of time’ and a bit ‘off track’ in the existing hierarchies. Then Desh Premee came along and suddenly your were speaking for the state, for all its cherished ideals. Perhaps this was hard to digest. In the later Mard things are back to normal because here it is simply masala cinema masquerading as the period piece. Once again you become the angry young man completely against the establishment (in this case British). A rebel one way or the other. This film surpassed the box office returns of even Raj Kapoor’s megahit (Ram Teri Ganga Maili) that same year.

    This has always constituted a certain truth of your screen history. The audience is always uncomfortable when you represent institutional forces. Note how this ‘unhinging’ if you will is also well-captured in a film like Paa where in addition to all its other strengths Auro is also a character constantly critiquing his society. In fact there are some subtle political points made by him as well. It’s all handled deftly by Balki, beautifully interwoven into the film and is always in keeping with Auro’s character but these are nonetheless there. I think you are most loved when you are anti-institution(s). The rest of the time you might often be admired but this is different.

    Getting back to your post this is an astonishing bit of reminiscence on your part. As always these are the posts I love the most..]

  33. My comment:

    “Perhaps fitting that the “Eternal City” should have led to these reminiscences — one of my favorite posts of yours, covering so many kinds of lost worlds and fragments of memory: personal (of your mother); political (Azad); and the passing of a way of life (as represented by the “hold all”) — and all of these intersecting in/around your home and your city…”

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Connecting to %s