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To play Lata in a biopic is dream: Deepti Naval


Deepti Naval, who has essayed a melange of powerful and memorable roles in Indian showbiz, will be seen playing a singer in the approaching TV show “Meri Awaaz Hi Pehchaan Hai”. She said that she would love to take the opportunity to portray the Nightingale of India, Lata Mangeshkar, in a movie.

“Meri Awaaz Hi Pehchaan Hai”, which also stars Zarina Wahab and Amrita Rao, among others, tells the story of two sisters, Kalyani and Ketki, whose bitter-sweet relationship turns into conflict.

The show’s narrative bears a creepy resemblance to the story of real life sisters and Bollywood’s legendary singers Lata Mangeshkar and Asha Bhosle — but Deepti begs to differ.

“The show is not based on Lata Ji and Asha Ji. There seems to be a similarity between the two stories, but the story of the show is totally different. Though, if given a chance, I would love to play Lata Mangeshkar some time, may be on the big screen,” Deepti told agency.

A bulging face in the entertainment industry for the last three decades, Deepti is best known for her roles in films like “Kamla”, “Chashme Buddoor”, “Angoor”, “Bawandar” and “Freaky Chakra”.

Her natural flair for acting, she says, comes from the fact that she is “greedy” about observing others’ life.

“I like to observe others a lot. I’m very greedy about that. I like to read people’s gestures and implement them into my acting. When I take up a role, I start believing that I’m that person only,” said the 59-year-old.

Talking about “Meri Awaaz Hi Pehchaan Hai”, she said: “It’s high time that something like this is coming to take us back to our roots. It’s a very well-timed show. It’s coming at a time where we have these pop albums which have no content at all and instead have a lot of faffing.

“We have gone away from our basic background and heritage in music which is so rich that the whole world can look at us to learn.”

Deepti believes that the show will remind viewers of the value of Indian classical music, which is something every countryman should be proud of.

“We can’t belittle ourselves. We are losing out on our own Indian classical music while copying them (western musicians). Today, the sound is being replaced by metallic buzz. It’s not something that actually reaches our soul. Everything has become superfluous,” Deepti said.

So will she sing in “Meri Awaaz Hi Pehchaan Hai”?

Deepti said: “No, I don’t think I’m in a position to sing. I just keep humming every time, though. I really envy singers… they can sing and that itself is an expression of every mood. I feel envious of people who have been connected to music throughout their lives.

“As an actor, you are expressing somebody else’s thoughts about life, but as a singer you bring forth what your soul is saying,” she said, adding that while she is happy to come on board for the show, television is not something she wants to put most of her time in.

“Meri Awaaz Hi Pehchaan Hai” will be aired on TV starting March 7.(IANS)(image-buzzintown)

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Different Versions of India’s National Song ‘Vande Mataram’ over the past 140 Years of its History

Shri Aurobindo had translated Vande Mataram to English in 1909

National Song of India
Vande Mataram. Wikimedia
  • ‘Vande Mataram’ is the National Song of India written by Bankim Chandra Chattopadhyay
  • The song was published in 1876 in a mix of Bengali and Sanskrit words
  • Vande Mataram was also a slogan for the freedom fighters of the nation

August 19, 2017: It was in 1876 that Bankim Chandra Chattopadhyay wrote Sanskrit and Bengali mixed verses of Vande Mataram, the national song of India. However, it was originally written in Bengali as ‘Bande Matara’ a few years before it published.

The most famous rendition of the National Song was carried out at an Indian National Congress meeting by Rabindranath Tagore in 1896.

ALSO READ: Bankim Chandra Chatterjee: Remembering the voice who gave India ‘Vande Mataram’

Vande Mataram as a phrase was also of common usage among the freedom fighters during the struggle for independence from the British rule.

The song has been used in the pop culture and Bollywood in a variety of ways. In 1952, Lata Mangeshkar covered the song on Hemant Kumar’s tune for the movie Anand Math. Later in 1998, Lata Mangeshkar did her over version which had added stanzas of Hindi but the tune remained the same.

Manna Dey’s version came out in 1951 and AR Rehman’s version of the song came out in 1997 as Maa Tujhe Salaam. The most recent, in 2012, Sonu Nigam along with Sunidhi Chauhan did a version featuring famous percussionist Bickram Ghosh.

In poetry as well, different ragas have been used to express the national song.

The father of the nation, Mahatma Gandhi, favored Pandit VD Paluskar’s composition. Paluskar himself was known for singing the song in Congress meetings. Interestingly enough, he was once intercepted by Maulana Ahmed Ali’s objection at the Kakinada Convention in 1933.

The Congress decided to use the song’s first two stanzas while excluding the other half which is about Hindu goddesses. These two stanzas were sung at the All India Radio on 15th August 1947 by Pandit Omkarnath Thakur.

Tagore’s version in 1896 was a slower one. A gramophone record of 1904 which is now available online was released with Tagore’s voice.

Shri Aurobindo had translated Vande Mataram to English in 1909.

Vande Mataram, in its over 140 years of history, has come under a lot of allegations. Starting with the origination, Vande Mataram faces challenges as it comes from Chattopadhyay’s novel Anandamath in which the enemy was identified as the Muslim ruling class. Additionally, the invocation of Hindu goddesses in later stanzas was questioned as well.

However, the song still managed to become India’s national song with Jana Gana Mana being the national anthem.

The Indian National Army (INA) had composed a Hindi version of Jana Gana Mana to replace their anthem for Provisional Government for Free India in Singapore, which was Vande Mataram.

Objections to Vande Mataram were first aired publicly in 1933. At the time, Vande Mataram was sung along Saare Jahan Se Acha by poet Allama Iqbal. Iqbal had written this song in 1904 and had initially titled it as Tarana-e-Hind. But within two years, drastic changes took place. Iqbal became an advocate for the two nation theory and demanded a separate Pakistan. He also changed the title of the song to Tarana-e-Milli.

– Prepared by Saksham Narula of NewsGram. Twitter: @Saksham2394

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Where is Indian Television Steering? ‘Pehredar Piya Ki’ Shows a Young Boy and Mature Girl in Wedlock

The show features Tejaswi Prakash Wayanganka as Diya Ratan Sing and Afaan Khan as Ratan Singh

Pehredar Piya Ki
A still from television show Pehredar Piya Ki. Youtube

– by Naina Mishra

July 26, 2017: Recently, a show called ‘Pehredar Piya Ki’ has been gaining popularity all for the wrong reasons. The show showcases an uncanny marital bond between a girl and boy. What’s appalling is the age difference between the duos. The boy is merely 10 years old and the girl is eight years older than him. The show features Tejaswi Prakash Wayanganka as Diya Ratan Sing and Afaan Khan as Ratan Singh.

The director of the film ousted the backlash by saying that “there’s no romantic situation. It’s a bonding between the boy and the girl. The scenes are innocent scenes. Ratan, the boy always has a dreamy eye for the girl believing she’s a fairy. He’s always in the same mood and thought.  It’s a special kind of a bond, not romance”, as reported by Desimartini.

Pehredar Piya Ki
A still from Pehredar Piya Ki. Youtube

The male lead, Ratan, is seen stalking the girl he wants to marry. In his fantasy world, the 18-year-old girl is akin to fairies from the fairy land. No wonder, how sensible it sounds to the makers of the show but such portrayal of a child will leave the viewers of the same age group in a tight spot.

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For a long time now, Indian television industry has used children to earn a highly engaged audience. The information acquired through what is being depicted on television distorts the mind of a child. A child may not be able to comprehend the deeply embedded meanings in the series; they only acquire what appears to them the most apparent. What children are watching on screen makes a crucial difference, and it is obligatory for those at the helm of it to take the accountability of the shows that involve children. It is widely believed that what children see on television influence their attitude and behavior. They are likely to feel some of their first time experiences in life particularly at the formative stage.

Diya, the female lead marries Ratan of the royal household to become his protector. The show revolves around the girl who will discover her hidden warrior traits as and when the time comes. She is said to protect the boy, which further sounds nonsensical. If at all, the makers wanted to show the strength of a girl, they wouldn’t have tied her in wedlock. What appears palpable is the loss of childhood innocence with such shows. The conception of marriage is way broader than how it is depicted in the show.

ALSO READ: Shivgami Devi of Baahubali: The abode of all character a Woman Dwells 

Not to ignore, a girl child marrying a man double of her age, which is as wicked as its opposite is considered normal for our society. No one tries to object the strange wedlock of the child bride owing to its acceptance.
It’s shocking to see how the time has flown. From growing up watching 90’s kids shows like, “Hum Paanch, Malgudi Days and Mowgli”, it horrifying to see children growing up watching serials like ‘Pehredar Piya Ki’ now. The content of the shows has regressed. Moreover, it is the audience which allows such shows to thrive. If there will no audience to watch, such shows will not survive a single day. There are lots of intelligent content and shows which are not regressive. The power to decide lies in the hands of viewers. Children have a tendency to follow what is projected on the screen and it ultimately reflects in the society. Selling anything in the name of content is unjustifiable.

– by Naina Mishra of Newsgram. Twitter @Nainamishr94

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Melody queen Lata Mangeshkar pays tribute to Filmmaker Dadasaheb Phalke on his 148th Birth Anniversary

Dadasaheb Phalke shooting with his moving camera, Image source: Book my show

Mumbai, April 30, 2017: Melody queen Lata Mangeshkar paid a tribute to filmmaker Dadasaheb Phalke, fondly known as the father of Indian cinema, on the occasion of his 148th birth anniversary on Sunday.

Dadasaheb Phalke made India’s first full-length feature film, ‘Raja Harishchandra’ in 1913.

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“Who can forget the king of the Indian film industry? Today (Sunday) is his birth anniversary. I salute him (Bhartiya Film industry ke janak DadaSaheb Phalke ji ko kaun bhul sakta hai. Aaj unki jayanti hai. Mera unko koti koti pranam),” Mangeshkar posted on Twitter on Sunday.

Before his death in February 1944 at the age of 73, Dadasaheb Phalke directed films like ‘Mohini Bhasmasur’, ‘Lanka Dahan’, ‘Shri Krishna Janma’ and ‘Gangavataran’. (IANS)