For Congress, ‘Rajneeti’ is full of Sonia

By Utpal Borpujari

From films like Gulzar’s Aandhi and Amrit Nahata’s Kissa Kursi Ka to books like Catherine Frank’s Indira: The Life of Indira Nehru Gandhi, an otherwise liberal-faced Congress’ ire has always fallen on anything that is construed to be critical of the Nehru-Gandhi family.

If for the Sangh Parivar any alleged attack on Hinduvta is reason enough for moral policing, with examples like those of M F Hussain’s paintings of nude goddesses and Deepa Mehta’s films Fire and Water highlighting it, for the Congress, it is the party’s first family that becomes the most sensitive factor.

The latest to barely escape an overzealous Congress’ ire is Rajneeti, Prakash Jha’s reworking of the Mahabharata in the context of present-day politics, for allegedly modelling Katrina Kaif’s character on party chief Sonia Gandhi.

Only a couple of years ago, the party ensured, through a legal notice sent by AICC spokesperson Abhishek Singhvi, that Jagmohan Mundhra drop his planned biopic on Sonia Gandhi, based on an unauthorized biography of hers by a journalist.

In fact, the party has quite a history when it comes to blocking material that it considers has portrayed the Nehru-Gandhi family in critical light.

The most brazen among them was the burning down of the print of Kissa Kursi Ka, directed by Amrit Nahata and starring Shabana Azmi, Raj Kiran, Manohar Singh and Surekha Sikri, allegedly by goons sent by Sanjay Gandhi during Emergency.

Another film that suffered at Congress’ hand was Gulzar’s Aandhi. In July, 1975, soon after imposition of Emergency by the then Prime Minister Indira Gandhi, it was banned as the party thought the lead character played by Suchitra Sen resembled Gandhi.

The film was cleared after quite a few months only after its makers agreed to delete some scenes and make some changes in the narrative.

Jha has vehemently denied that Kaif’s character has any similarity with Gandhi – “except that both are women” – but Congress got three pro-party members of the Central Board of Film Certification (CBFC) – Tom Vadakkan, Pankaj Sharma and Sanjeev Bhargava – to specially vet the film, flying them to Mumbai to view it.

AICC secretary Vadakkan, party mouthpiece Sandesh’s editorial department’s Sharma and cultural activist Bhargava reportedly took a dim view of certain scenes and dialogues in the film and suggested an ‘A’ (for adult viewing) certification.

But Jha finally got an ‘U/A’ (unrestricted viewing, including by children if accompanied by adults) certification from the Board’s appellate tribunal after deleting a few scenes, including portions of a lovemaking scene between Arjun Rampal and Kaif, beeping out some words and replacing the word “bidhwa” (widow) with reference to Kaif’s character with “bitiya” (daughter).

Two other important deletions have to do with a reported reference to tampering of the electronic voting machine and a mention that women have to sleep their way through to rise in politics.

All this apparently has settled the problems with the film, also starring Ranbir Kapoor, Ajay Devgn, Nana Patekar, Naseeruddin Shah and Manoj Bajpai, which will see a worldwide release on June 4.

But the overt alertness by Congress about the film has once again highlighted the party’s extra-sensitivity towards matters relating to the Nehru-Gandhi family.

It goes without saying that the only dissenting member in the appellate tribunal decision, one Anil Thomas whose minority view was to grant the film an “A” certification for its violence and “gory sex scenes”, is reportedly close to Congress.

(An abridged version was published in Deccan Herald, www.deccanherald.com, www.deccanheraldepaper.com, 30-05-2010)

http://www.deccanherald.com/content/72387/for-congress-rajneeti-full-sonia.html

Deepti Naval: Do Paise Ki Dhoop Chaar Aane Ki Baarish

By Utpal Borpujari

Deepti Naval is a multi-faceted talent. From acting in a number of highly-acclaimed films over the years, to painting,  writing poetry and doing photography, she has her hand in quite a few creative pie. Now, she has extended her creativity even further, going behind the camera to hold the directorial megaphone.

Yes, Deepti Naval has turned director with a film with a sensitive subject and a very poetic title that goes Do Paise Ki Dhoop, Chaar Aane Ki Baarish. The film, which was screened at the market section of the 62^nd Cannes Film Festival this year, marks a significant turn of leaf in Naval’s cinematic career that has seen her portray a range of characters in movies of various moods and shades.

As Naval takes her experience of acting in films as diverse as Chasme Buddoor, Mirch Masala, Hum Paanch, Saath Saath, Katha, Aandhi Gali, Damul, Mane, Bawandar, Angoor, Kamla, Ankahee, Main Zinda Hoon, Anaahat and Firaaq to directing films, she is all set to write a new chapter in her creative life. And as she scouted for prospective international buyers for her film at Cannes, she was visibly enthusiastic about it.

“My film is a modern, sensitive and realistic portrayal of people seeking to find happiness amidst adverse conditions,” says Naval, who describes her film as one that talks of human bonding.

The film has Manisha Koirala, Rajit Kapur and Naval’s nephew Sanaj in the lead roles in a story that is about the intertwining lives of an ageing prostitute, her wheelchair-bound child and a gay song writer. Koirala, whose sensitive acting in films like Bombay, Dil Se and 1942 – A Love Story is still remembered, will be seen in a script-driven role after quite a long time. “This film has given me great insight into the world of the protagonist. I feel enriched having played the part,” says Koirala, who accompanied Naval to Cannes to promote the film.

Naval is aware that going by the film’s basic premise, people could and would construe it to be a film about gays and prostitutes. And that is why she emphasises, “I did not set out to make a film about gays or prostitutes. I wanted to tell a story, a simple story about the intricacies of human bonding, the highs and lows of relationships. That is what this film is.”

Naval, who has always sought to traverse a path away from the beaten track, which is why probably in physical terms she regularly tracks in the mountains, doing so even when she was extremely busy as an actress, is keenly awaiting the film’s theatrical release. “This is not made for festivals only. My goal is to reach out to filmgoers across India,” she says, adding that the subject of her directorial debut might not be what a typical Bollywood potboiler is composed of, but it is something that would connect with the viewer at an emotional level.

The director in her is all praise for the cast, and while both Kapur and Koirala are seasoned performers, Naval has been particularly charmed by Sanaj. “I am not saying it just because he happens to be my nephew, but Sanaj has surprised everyone with his nuanced and sensitive performance, which goes much beyond his age,” she says.

With Kiran Deohans doing the cinematography and Gulzar writing some sensitive lyrics, Naval seems satisfied with what she has been able to do in her first outing as a director. But that does not mean that she is turning her back to acting. “That is something that will never happen, as acting is something I cannot forego. And my role in Nandita Das’ Firaaq showcases what kind of roles I am looking for – performance-based and powerful, something which viewers will remember me for,” says Naval.

(Published in Deccan Herald, www.deccanherald.com, www.deccanheraldepaper.com, 13-09-2009)

http://www.deccanherald.com/content/24779/intricacies-bonding.html