Friday, October 30, 2015

WELL KNOWN DUTCH PAINTER VINCENT VAN GOGH AND KASHMIR'S MYSTIC SAINT POETESS LAL DED ( LALESHWARI )


                                                                


WEEPING WOMAN / WOMAN IN MOURNING 
                        BY
  Renowned Dutch painter Vincent van Gogh( 1853-189 ).




I am tempted to add a lal Vaakh ( Four line Poem ) to this master piece. Vaakhs have been composed by Kashmir's tallest Mystic  saint poetess Lalleshwari popularly known as Lal Ded. Venerated by Himdus and Muslims alike  , her eternal poetry was treasured by masses for centuries in  oral tradition before it was finally put on paper .She lived sometime during fourteenth century . She was a leading expounder of kashmir's Shaivism ( Shaiv Darshna ) and Tantra . She was the first poet of kashmri language. To her goes the credit of bringing    NOTHINGNESS, DEATH CONSCIOUSNESS and  VEDIC PRINCIPLE OF NETI NETI  into kashmiri poetry .

Lalithh Lalithh vadaai Boh Vaai
Tchietaa Muhutch Peyii Maai
Rozii Na Pataa Loh Langareitch Tchhaai
Niz Swroof Kyaah Mothuaai Haai
( Lal Ded )


My simple English rendering would be as under …

“ I shall sob and sob for you ,
O Mind ! How you fell to this worldly greed ?
Not even the shadow of this shall hang around at the end .
O Mind ! Why you ignored the real self within ?


( Autar Mota 


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Tuesday, October 27, 2015

MAHARAJ SANTOSHI'S WONDERFUL POETRY COLLECTION " THE CHINAR IS MY ADDRESS"


                                                                                       





Reading Maharaj Santoshi's Hindi Poems in English translation ..Wonderful job done by Arvind Gigoo with his apt , to the point and perfect translation.
I felt as if I was reading my favorite Kurdish Poets . The original thought and presentation by Santoshi and then the equally enthralling translation by Arvind Gigoo , keeps a serious lover of poetry engrossed.The book has a fifteen page forward by Dr Shashi Shekhar Toshkhani that puts forth a lucid  and analytical commentary on  this poetic collection.Dr Toshkhani has also taken up some individual Poems from this collection and skillfully  evaluated  the deep rooted  exile consciousness  appearing in  Maharaj Santoshi's poetry.

Kudos to the poet and the translator and Dr S S Toshkhani.

I quote from this book of poems..

(1)

Santoshi uses the title of Manto's famous short story " Toba Tek Singh " to convey something serious about the conflict and the divide that has been gripping this subcontinent.

(Toba Tek Singh)

Across the border
In presence of the soldiers
Even today
the voice of Toba Tek Singh
Echoes
Against those
Who divided the shade of trees.

The soldiers are standing
In attention
Unable to catch
The soul of Toba Tek Singh.

Some heartbeats
Hole in the gaps
In the long wall,
Fly through them
And
Hang their agony
Upon the chests.

These hanging sorrows
Draw
A question mark
Upon
The trophies
Of the victorious soldiers

(2)

The poet asks whether seasons and climates have turned political and clever . Do they don different religious apparels as they visit different countries ?

( Monsoons in Pakistan )

Daughter twirled the globe
that was
On the table
And asked:

" Papa ,
Have you been to Pakistan?
Do Monsoons
become
Muslim there?"

I silently
try to forget
History...

(3)
His poem "Blood stained Snow " touches the reader with its content and presentation .I found it deeply moving. quote some lines..

"I have nothing
to fight violence with.
Snow is my strength.
Walking on the snow covered roads
With love in my hands
I knock at the doors
Desperately to break the shameless silence
Of my friends.
I fill my eyes
With the sorrow of
the Vitasta
Of the Chinar
Of the Lake.
And weep for hours
On the blood stained snow"

(4).

" The Potter" is another poem that creates a nostalgia and desire to be in one's Birth place .In this poem, the poet has used "Potter" symbolically. He misses this potter who brought earthen lamps for Deepawali festival.He meets him in his dreams. The poem concludes Beautifully..

" The potter
Is
Going away
From my dreams
to
His native place.
When
Shall I smell
the fragrance
If my soil?
I don't know..."

(5)
The neglect and abandonment of elders in our society has been presented by the poet in a unique way. These unfortunate people , ordained to postpone even visits to their dreams , find sudden utility during electoral process.

( Old Man )

In my world
there are
Such beautiful sights to see
That
I have postponed
My visits .

What else could i do ?
They have taught me
to walk
only
upto the polling Booth .

(6)

Albert Camus felt that the Summer sun treats every person with its benign warmth. A Warmth that is life regenerating . About winters , he was always doubtful . Winters tend to treat people differentially , Quite often , exposing them for something they do not possess .
Santoshi touches this thought in his poem " Poor Children " .

( Poor Children )

Poor Children
Are not afraid
Of sunshine .

They
Are afraid
Of the cold
Which betrays
their faded Sweaters ..

Maharaj Santoshi ( Born 15th June , 1954 ) is a native of village Mattan in Kashmir. He is a postgraduate In English Literature from Punjab University . He writes in Hindi and has Published some books . I quote his books..

(1) ISS BAAR SHAAYAD ( A collection of poems)

(2) BARF PAR NANGAY PAANV ( A colection of Poems )

(3) VITASTA KA TEESRA KINAARA ( A collection of Poems ) 

(4) ATMAA   KI   NIGRAANI MEIN ( A collection of Poems )

(5) HAMAARE  ISHWAR KO TAIRNAA NAHIN AATAA HAI ( Our God Does not Know How to swim Across . A collection of short Stories ) .

The stories in the last book are again moving and presented with refreshingly newer sensibilities .

He lives in Jammu.

Reach him..... mk_santoshi@rediffmail.com...

(Autar Mota )


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Sunday, October 25, 2015

GREGORY PECK AND DEVANAND


                                                                      

“AISSEY TO NA DEKHO “

DEVANAND (1923-2011) AND GREGORY PECK (1916-2003)

Both were Stars of their time. Both were handsome ,iconic and both carried themselves with a romantic casualness . On screen, both presented a happy go lucky image .

And to some extent , Devanand carried an "I damn care attitude" through his characters and that is what his audience loved. 
                                                                                                       
                                                                                                

Both had a style in wooing their heroines.

So many magazines wrote that Devanand copied Gregory peck. Like Gregory , Dev was also suave and a debonair star. And with his caps , walking style, Wind kissed hair and dresses, Devanand did resemble Gregory.

Some Magazines wrote that Bolywood singer cum actress SURAIYA had a great crush for Gregory Peck. She had also sent him her photograph .And when she found a version of Gregory in Devanand , she instantly fell in love. And Gregory , during his visit to India, in early fifties of the last century, met Suraiya at her Marine Drive Home.

In an interview published in 1972, Suraiya has said ,

“ The meeting was arranged through Frank Capra sometime in 1954. Gregory and i met and talked for an hour . I could not sleep that night . It was difficult for me to make people believe that I had met Gregory Peck. People laughed at my story. Some Newspapers carried stories later that I was in love with Gregory. I enjoyed reading all that stuff.”

And did she find Gregory in Devanand?

“ During our shooting schedules, I started teasing Devanand that he looked like Gregory Peck.In fact every person inside the studio where we were shooting , started taking it seriously. And they did look alike . And then Dev started copying his mannerism.”

Devanand and Gregory Peck met thrice . Once in India when the Hollywood star visited Bombay, Again in Rome when the Gregory was shooting ROMAN HOLIDAY with Audrey Hepburn and once in London on the sets of Moby Dick .
                                                                                                   

Devanand who acted in more than 100 films has said,

“Guide, Hare Ram Hare Krishna, Des Pardes and Hum Dono are closest to my heart. People may draw my comparison with Gregory Peck but it is Ashok Kumar whom I truly admire. I was always awed by his work in films like Achhut Kanya and Kismat. “

About Suraiya and Gregory Peck meeting , Devanand has said , 

.
"He must have read about me as my romance with Suraiya was grabbing the headlines. And he knew about Suraiya's fascination for him. So he knew who I was. I didn't quite feel anything. It wasn't as if they were going to fall in love or make love. Even if they would have, it wouldn't have mattered. I was mature enough. Moreover, he wasn't my rival. I too was a big star by then." 

About his Jewel Thief Cap ,Devanand once informed,

“ No that cap was not Copied from any Hollywood actor or from Gregory peck as written in some Magazines. It was my own creation. I was shooting in Denmark and bought that cap from a store and then wore it in JEWEL THIEF “

                                                                                         


In Hollywood, Devanand had friendly connections with Kirk Douglas , Shirley Maclaine and James Stewart.

( Autar Mota )



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INDIAN FILMS SHALL ALWAYS MISS NUTAN


                                                       



NUTAN ( 1936-1991 )

“Dil Na chaahe to bhi, Saathh sansaar mein ,
Chalnaa padtaa hai sab ki khushi ke liye ….”

Nutan Samrath , Daughter of noted Marathi actress Shobna Samrath, became Nutan Behl after she married Naval officer Rajnish Bahl in 1959.

In Films , Her USP was a combination of ,

(1) No shelter in make up

(2) Dress No issue; Could be even Rag Tag simple sarees .

(3) Sometimes , Unkempt hair and a goddess like look.

(5) Eyes conveying more than her spoken Dialogues in each frame.

(6) A face that was always malleable to human emotions .

Through her films , She presented the essence of Gracious  Indian womanhood. A woman who handles Joys and sorrows of her life with an inexplicable deftness .
For fans , she presented Extraordinary beauty and inner strength through her limber  frame .

Most of her roles matched her personality . I do not know whether she was choosy or roles came to her in a selective way. If she chose them , then surely, she was the most intelligent artist who had done her own *SWOT analysis .

I am informed that she rarely dyed her hair And her producers could not force it either .

She acted in more than 70 Hindi films. She will always be remembered for her towering roles in some films like Sujata (1959), Chhalia ( 1960 ) ,Bandini (1963), Milan (1967), Dil Hi To Hai ( 1963) Paying Guest ( 1957), Sone Ki Chidiya (1958), Anari (1959), Saraswatichandra (1968), Khaandaan(1965), Dil Ne Phir yaad Kiyaa (1966) , Me Tulsi Teray Aangan ki (1978), Seema (1955), Meharbaan ( 1967 ), Anuraag (1972) and Saudagar (1973).

About Nutan' s expressions on screen , Lata Ji once said,
" Her expressions come closest to suggest that she was genuinely singing a song herself. “
And to believe what Lata ji says , one needs simply to watch I her lip movement and expressions in the Classical song " Man-mohanaa Bade jhoothe" In “ SEEMA"

Apart from films, she kept herself busy with social work, running her family's Dairy Farm Business and singing Bhjajans in Satsangs( Spiritual gatherings) that she organised in her own house or attended these gatherings at other places. She had a melodious voice.

She died of an inoperable malignant growth that had spread to some other organs of hér body. Very Tragic and unfortunate end. Rest in peace Nutan ..None like you Anymore.. or Anywhere......

( Autar Mota )


*SWOT is a term used in Banking and Financial Management.… STRENGTH , WEAKNESS , OPPORTUNITY AND THREAT .

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HINDI CINEMA ACTOR RAJAN HAKSAR WAS A KASHMIRI


                                                          

RAJAN HAKSAR

Another kashmiri who rose to popularity as Character Artist in Hindi cinema was RAJAN HAKSAR. He belonged to a Kashmir Pandit family that had migrated out from  Kashmir valley during the Dark days of Afghan rule .  Rajan started his career in Mumbai prior to 1947. And in Mumbai, another philanthropist and a fellow kashmiri actor Chander Mohan Wattal , came to his help. He helped him with work and settlement .
Rajan Haksar married Manorama , another actress ( real name Erin Isaac Daniel ) who was half Irish and a christian . Manorama was a leading actress in lahore's film Industry , where, at the time of partition , she was earning Rs10000/= PM . After the partition riots broke out in Lahore , she ran for safety to Bombay. In Bombay , actor Chandermohan wattal came to her help .
Through Chander Mohan Wattal, she got introduced to Rajan Haksar . They fell in love and married . Manorama statred doing Character roles while Rajan remained busy with various film offers that came his way.
Manorama informs us  ,
. " In Bolmbay , I was miserable, and one day , I almost decided to return to Lahore But Chandramohan ji told me to hang on. Thank God, if I'd caught the train that day, I'd have been finished. Not a single passenger on that train survived. Everyone was massacred."
Starting from DO Bhai in 1947, Rajan Haksar worked in about 204 films in various roles , last being Aakhari Sangursh ( 1999). His prominent Roles were Raghu Rai ( In Mangal Pandey 1983 ), Madan ( Meri Awaaz Suno 1981) , Thakur Bhanwar Singh ( Pran Jaaye par Vachan NaJaaye 1974), Thakur Vijay Bahadur Singh ( kasam Suhaag Ki 1989 ),Kishan J.J.'s Employer ( DON 1978 ), Dr Sharma ( Banarasi Babu 1973) , Jagannath 'Jaggu' Khanna ( sambandh 1982), Randhir singh ( Gora aur kala 1972), Police Inspector ( Pandit Aur Pathan 1977 ), Shyam Sunder ( Satyakaam 1969 ), Inspector Sawant ( SHARAT 1969 ), Young Baijnath ( Baiju Bawaara 1952 ) and Motilal ( Mahal 1969 ). He al;so did memorable roles in Junglee (1961 ), Meri Jung ( 1985), Sharaabi ( 1984), Choron Ki Baraat ( 1980), Jaanwar ( 1983), Arjun Pandit ( 1976) and Bindiya Aur Bandook ( 1983).
Rajan also shifted to production and co produced three films ( 1974) Resham Ki Dori , (1969) Pyar Ka Sapna and (1965 )Adhi Raat Ke Baad .
Though Rajan and Manorama lived happily for more than 2 decades , trouble erupted in their married life  later and they parted company .
In an interview , Manorama once said,

"I did try hard to make our marriage work for ten years. But it was no go. We did remain friends... till he passed away two years ago."







Their only daughter Rita Haksar also acted in films . She played lead role as actress opposite Sanjeev Kumar in 'Suraj aur Chanda' . She married an engineer and moved to Dubai permanently.
Manorama died in 2008 while Rajan died earlier. They worked together in about 15 films.Even after divorce, they kept meeting . Manorama’s  last movie was Deepa Mehta's Water (2005) where she enthralled Hollywood critics with her role.

( Autar Mota)


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Tuesday, October 20, 2015

WAS GURU DUTT UNABLE TO EXPRESS HIS LOVE ?


                                                                         
              
GURU DUTT ( 1925-1964)

“ Jab Hum chalein to saaya bhi apnaa na saathh dhe ,
Jab tum chalo Zameen chalay Aasmaan chalay.
Jab hum rukein to saathh rukay sham e bekasi ,
Jab Tum Ruko Bahaar rukay chaandini Rukay.”

Guru Dutt ( 1925-1964 ) , known as genius and enigmatic film maker, continues to haunt Indian Cinema even 51 years after his Death. In this October 2015, he would have been 90 years old.

Why had he to kill himself at a very young age of 39 ?

(1) Was he an Alcoholic ?
(2) Was it due to his troubled marriage ?
(3) Was it due to the affair with his leading actress Waheeda Rehman ?
(4) Was it due to failure of his “ KAAGAZ KE PHOOL “ at Box office that ruined him financially?
(5) Was it the deep hurt that he carried on account of failure of his audience to appreciate his serious film “ KAAGAZ KE PHOOL “.
(6) Was it due to his belief ( in later years ) with regard to futility of existence that he had also conveyed to Abrar Alvi ?
(7) Was it an accidental overdose of sleeping tablets after his usual heavy drinking session ?

Even if he died young and could not completely do what he wanted to do for Indian Cinema , GURU DUTT remains a pioneer. A Pioneer for introducing the methodical song picturization . He is the first film maker who introduced dialogues in street language . Film dialogues used to be Bookish and the credit for this change goes to his friend , team mate and his script and dialogue writer Abrar Alvi. Guru Dutt had a fantastic perception of camera shoots . He made the characters in his frames speak inner tales. This he did with exceptional use of Light and shade. His team included the exceptionally skilled and crafty cinematographer known as V K Murthy.

His Pyaasa ( 1957 ) has been rated as one among100 best films of all times . Guru Dutt used the staircase symbolically in this film to create space for exchange of words between prostitute Gulab ( Waheeda Rehman ) and poet Vijay ( Guru Dutt ).The poet and the prostitute demonstrate higher and mundane love with their appropriate up and down movements along the staircase . In 2004, The British film Institute magazine "Sight And Sound" credited PYAASA with one of the best music creations for Cinema.

And his Kaagaz ke Phool ( 1959 ) , though a box office disaster , was ranked at 160 among the greatest films of all time . The song “ Waqt ne Kiyaa Kyaa haseen sitam “ remains as fresh and popular as it was in 1959. After some Hollywood directors appreciated the subject and its cinematic presentation by Guru Dutt, the movie was suddenly rediscovered . And after 1980 it picked up a cult following world over.


For her book “ GURU DUTT: MAKING OF CINEEMA  “ , Nasreen Munni Kabir interviewed Guru Dutt’s relations , friends and acquaintances some time around 1988. As producer of documentaries for Channel 4 TV, UK , she also made a well received documentary “ In search of Guru Dutt “ in 1989 .

 From her Book , it appears that some one who came very close to Understanding the enigma called Guru Dutt was his friend and film maker Raj Khosla.

In fact Guru Dutt was introduced to Raj khosla by Devanand and finally Raj KHOSLA  directed the all time super hit CID ( 1956 ) produced by Guru Dutt. The film had music composed by O P Nayyar and almost all the songs (Kahin pe Nigaahein kahin pe nishaana , Boojh Mera kyaa naam re , Aey dil Hai Mushkil jeena yahaan , Le ke pehlaa pehlaa pyaar, Aankhon hi aankhon mein Ishaara ho gayaa and Jaata kahaan hai deewane ) were instant hits .

In 1988, Late Raj Khosla told Nasreen Munni Kabir  ,

“He was a tremendously generous person. After CID, one day he called me and just handed me the keys of a car. It was a Dodge convertible. He said: "Here it is, here's your car." "What's this all about?" "It's a present for you for making CID" And the beauty of it was when I took the car home, I found the paperwork and everything was in my name. I did not have to bother to do anything further.

Guru Dutt's interest in detail was tremendous. That is the basis of all good writing and filmmaking. You look to the details and the details will look after the rest. He was very careful about the details and that's why his characters came alive. For Guru Dutt they were not characters merely talking and acting - but what worried him was: "What is my artist thinking at the moment in the story?"

I miss his quietness. We would sit together, he wouldn't speak for hours but I was comfortable with him. Today everybody talks a lot - they mean nothing. That company which would speak in silence - that's what I miss.
I could never touch the core of his heart . He was a deeply affectionate to everyone , to servants and the humblest people . He was devoted but could not express love . You see it is one thing to love someone but it is another to express love. So the whole thing came out in his films .That love he put through his movies .”


( Autar Mota )


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THREE FRAMES OF HINDI CINEMA ACTRESS MEENA KUMARI



                                                                               


MEENA KUMARI (1932-1972)

Baar Baar Tohe kyaa Samjhaaye Paayal ki Jhankaar
Tore Bin Saajan Laage Na Jiyaa Hamaar..

( How many times these tinkling anklets
 shall make you believe one simple thing?
" Love! Without you I am restless and undone ")
Who says Meena Ji performed nothing except Tragic roles ?

This song from Aarti (1962) written by Majrooh and composed by Roshan presents another on screen dimension of her talent ; Grace, happiness and satisfaction of a woman in love .
A love that is acknowledged touches some inner strings within the heart of every woman.This is the moment when the external world looks so beautiful and worth living .The fire that love ignites comes like a warmth that starts melting icy frozen mess around her.
Meena Ji has presented this beautiful feeling of a woman in love through many of her songs.

While writing this mini post, I am also reminded of the song" Mera Dil Ab Tera O saajana" that shailendra wrote for Dil Apna Aur Preet Paraayi. Who can match Meena ji's style in presenting the intense feeling of a woman in love ? In this song , she Dances with a happiness that appears to be reassuring and deep with in her heart . She is possibly moved by the sweeping feeling of being owned ,acknowledged and loved ..
(Autar Mota)


                                                                                     




MEENA KUMARI.

Has Meena Ji again heard a word of faithfulness in love ?
.
I am tempted to add Parveen Shakir's lines to this frame..

"Eik shaakh e yasmeen thhi kal tak khizaan assar ,
Aur aaj saara baagh ussi ki amaan mein hai.
Eik Khwaab hai ke baar e digâr dekhtein hain hum,
Eik Aashnaa si roshini saare makaan mein hai.."
And Meena Ji knew that the Enterprise of Love may only bring Losses once more ..But then,
Baithay raheingay shaam talak teray sheeshagar,
Yeh jaantay huve ke khasaara dukaan mein hai..

(Autar Mota)



                                                                                    

MEENA KUMARI…..

And for this frame , Shakeel Badaayuni wrote below lines…..

“Yeh Bikhari Zulfein Yeh Khiltaa Gajraa 
Yeh Mehki Chunri Ye Mun Ki Madira 
Yeh sab Tumhaare liye hain pritam
Me aaj Tum Ko Na jaane Doongi
Jaane na Doongi
…”
Guru Dutt and Abrar Alvi made Meena ji to perform the complex role of of Chhoti Bahu in “Sahib Bibi Aur Ghulam” . This role drained her emotionally .
Writes Abrar Alvi,
“ So much was Meena ji involved in this role that once she wept and cried loudly as we ( me and Dutt sahib ) tried to bring her too close to the Character .She went inside the make up room and wept loudly. No amount of our consoling could help. Most directors chose her simply because of her “star” status but this role brought out the best in her and was one of the best performances of her career in the industry. There’s a note in Meena Kumari’s diary that says “I am sick to death of Choti Bahu” that shows how deeply affected she was by the role.”
And later , when her own people , whom she loved and idolized ,abandoned her and pushed her to alcoholism, she brought chhoti Bahu to her own life  .

( Autar Mota )

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Thursday, October 15, 2015

HINDI CINEMA ACTOR ULHAAS WAS ALSO A KASHMIRI


                                                                          

ULHAAS 


He was known as  ULHAAS and his  real name was  M N Kaul.He belonged to a  kashmiri Pandit family from Ajmer. As a young boy, he moved to pune in 1937 and joined Prabhat Pictures as an actor. His first movie as an actor was " Wahan ".He worked with stalwarts like A R Kardar and Sohrab Modi.

Chander Mohan Wattal , another actor of 1930s and 1940s helped him a lot to settle in films .In fact he intervened  and requested V Shantaram for his  role in “WAHAN”. Ulhaas remained loyal to Chander Mohan  wattal for this favour till later’s death in 1949. 

 When Bombay Talkies decided to start their New film BASANT, Ulhaas and Mumtaz Shanti were signed as lead pair.Again in the movie PARBAT pE APNAA DERA , he was signed as hero.

Thereafter , he started doing charactet roles. He played memorable character  roles in GUIDE , AMAR, AADMI, ,SHAMA PARVANA, SEHRA, ZIDDI, GOONJ UTHI SHEHNAAYI, RANI ROOPMATI, DAKKA KI MALMAL, SAMRAAT PRITHVI RAJ CHAUHAN, KUNDAN, HEER.MIRZA GHALIB ,JHANSI KI RAANI , NAI UMAR KI NAI FASAL,SANGARSH , PREM PUJAARI,  BADI DEEDI,  DO AANKHEIN BAARAH HAATH,  AMAR AND JOHAR MEHMOOD  IN  GOA .

 In  his 38 years of career,  he acted in many hit  movies. His last movie was  Sawaal (1982)..


( Autar Mota )

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HINDI CINEMA ACTOR CHANDER MOHAN WATTAL WAS A KASHMIRI


                                                             
                 


CHANDER MOHAN WATTAL ...
THE GREAT ACTOR OF HINDI CINEMA ..
This blue eyed Man is none other than Chander Mohan wattal (1904 - 1949) the GREAT ACTOR of Indian cinema during 1930s and 1940s . He was a star of that period . 
When V Shantaram saw him for the first time , he is reported to have said ,

“ His looks are Regal. I want to have him at any price .”

And V Shantaram offered him the key role of Rajguru in "Amrit Manthan," a movie that was released in 1934. It was followed by "Dharmatma."and “ Amar Jyoti “ both produced by V Shantaram. His acting in “ Amar Jyoti” won him all India Fan following. His name became a sure shot guarantee at the box office especially after worked in Sohrab Modi's "Pukar" in 1939. His successful films at Box office include "Geeta" (1940) , "Roti" (1942 singer Begam Akhtar then Akhtari bai Faizabadi also acted in this movie) , "Taqdeer" (1943), "Shakuntala" (1943),’ Naukar “ (1943), “Raunaq “(1944 ) ,Panna Dai" (1945), "Humaayun" (1945), “Mumtaz Mahal” ( 1945 ), “Shalimar” ( 1946 ) “Shaheed" (1948) followed by Raambaan" and “Dukhiyaari" etc .. Chandramohan was fluent in Marathi and he acted in 3-4 Marathi movies as well.
Chandert Mohan belonged to a well off kashmiri Pandit family , originally from Allahabad . His father , Pandit Jagannath Sahai Wattal moved to Gwalior around 1900, where he got employment with Maharaja Madhav Rao Scindia (first) . Pandit Jagan Nath Sahai wattal was a cousin of Sir Tej Bahadur Sapru. He was married to a girl from Mushran, family of Gwalior and young Chander Mohan was brought up at his Maternal Grandmother’s house as his mother died when he was a child . His maternal grand mother lived at Narsingpur (MP).
                               

In 1935, #Babu Rao Patel , who published the only English film magazine in India before 1947 known as :” FILM INDIA” , devoted one issue of his popular Magazine to this star . He also published his own interview with this star . I quote some portions of the interview ,
“ Mr Babu Rao , My grand father was Dewan of Kaurauli state and my father was a member of Gwalior Darbaar .I did not marry because it meant losing my individuality . I never work for money but for satisfaction of the artist within me .I read a lot of poetry in urdu and I love to read English literature . By the time I grew up, I had lost my parents . So only guardians were there to take interest in my life .I ran away from my home in 1930 , joined a Cinema House in Delhi as its manager and then moved to a film distribution company. One day I got a chance to visit Poona for some job assigned by my employers and there I met V Shantaram at his” Prabhat Films” office .I dislike men who try to be goody goody . Man is a mixture of Good and Bad . if he is not that way , he is not a man . Horse racing is my passion. I would like to work with Buster Keaton in any comedy.”
And Babu Rao Patel concludes the interview with his own comments as under ,
“ At a monthly salary of 3750 rupees , He is the highest paid actor in the industry today. Take it from me , this swash buckling black sheep of numerous films , may not be exactly modest but is a fine fellow and a wonderful actor. ”
..It is pertinent to mention that in 1945, K. Asif had originally signed Chandramohan for “MUGHAL E AAZAM “ to play the role of Akbar . But due to partition of the country in 1947, The producer of the movie, Hakim Shiraz Ali decided to go to Pakistan. The movie remained unfinished. Later on, when the determined K. Asif revived this project in 1951-52, Chandramohan was no more.
A Bachelor , Chander Mohan’s close friends included Ulhaas , K N singh, K L Saigal, Prithvi Raj Kapoor ,Rajan Haksar and Moti lal. He was fond of buying race horses, betting and drank best quality scotch whisky. His horse racing friends included Maharaja Harisingh of Kashmir and the Maharaja Jeewajirao Scindia of Gwalior.
 Actor Ulhaas and Rajan Haksar were kashmiris whom he patronized . Ulhas (M N Kaul) was from Ajmer. It was Chandramohan who had got him his job in Prabhat Film Company and a role in the movie "Wahan". Ulhaas respected Chandramohan like an elder brother. He would visit Chandramohan at his house (16 Bilkha House, Churchgate) even during his bad times. Chandramohan treated Rajan Haksar like his own younger brother .
Mrs Shiela james ( a Christian lady who was his house keeper ) , Mohammed his life long cook and Mr Patel his secretary remained obedient and attached to him till his death.

I end up this post with a couplet of Ghalib..

“Rekhte ke Tum Hi Ustaad Nahin ho Ghaalib ,
Kehtein hain agle Zamaane mein koyee Meer Bhi thhaa.. “

(Autar Mota )


PS
#
 Babu Rao Patel was editor of a very popular and successful Film Magazine of  30s,40s and 50s of the last century. This magazine named FILM INDIA , was published in English from Mumbai. Urdu writer Saadat Hassan Manto also worked with Babu Rao Patel's" weekly URDU Newspaper CARVAAN published from Mumbai during that period. Manto also edited Nazir Ludhianavi,s Urdu film Magazine MUSSAVIR published from Mumbai during those days.


Creative Commons LicenseCHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.

Wednesday, October 14, 2015

ASHOK VAJAPAYEE'S POEM IN ENGLISH TRANSLATION



                                                                                    

PHOTO by… Sandeep Mota In Greece

To this photo I am adding a poem “ TUM JAHAAN KAHO “ by Ashok Vajpayee  (    Born 1941 ) well known Hindi Poet , Critic and Art administrator  . He retired as   very senior officer from  Indian Administrative Services . He was also a Chairman of Bharat Bhawan  Bhopal apart from being a member of Executive Board of  ICCR and Sangeet Natak Academy . Ashok Vajpayee was also chairman of Lalit Kala Academy ( 2008 -2011 ) .
In 1994 , his Collection of Verses " Kahin Nahin Wahin" ( Nowhere , There only ) won him the prestigious Sahitya Academy Award.

 I Have also done simple English rendering of this poem for those who do not understand Hindi ...He has  also  translated works of four major poets from Poland  into Hindi. This  poem bears visible influence of Modern Polish poetry.

( Tum Jahaan Kaho )

Tum Jahaan kaho
Vahaan chale jaayeingay,
Doosre Makaan mein,
Andhere Bhavishya mein ,
Na kahin Pahunchaane vaali Train mein …
Apnaa Bastaa Boriyaa Uthaakar ,
Radhi ke bojh saa
Jeevan ko peeth par laadh-kar 
Jahaan kaho Vaheen chale Jaayeingay ,
Vaapas iss shahar ,
Iss chogaan , Iss Aangan mein nahin Aayeingay..
Vaheen Pakshi Baneingay 
Vriksh Baneingay ,
Phool ya shadbh ban jaayeingay ,
Jahaan tum khud nahin aanaa chaahogay 
Vahaan tum kaho to chale Jaayeingay..

( Ashok Vajpayee)


My simple English  of this poem goes as under ...

Wherever you tell me ,
I shall move to that place
 Another house ,
Towards a dark future
or board a train that goes nowhere .

Carrying my Bag and Baggage,
Like a pack of waste material ,
Carrying this life too on my back,
 Wherever you desire ,
I shall move to that place .
 And Never shall I return
To this city ,
This Meeting point ,
This courtyard .

There , At that place ,
I shall become a bird or a Tree
or a flower or just  a Word .
A place , where you yourself   won’t like to come  ,
If you  desire ,
I shall move to that place only..

( Autar Mota )





Creative Commons License

CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.