Thursday December 14, 2017

Bollywood is a purely money-driven industry : Indian Ocean’s Rahul Ram

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New Delhi: The musical landscape of the Hindi film industry is constantly evolving and Rahul Ram, vocalist and bassist of long-running folk rock band Indian Ocean, believes “Bollywood has changed” and it’s a “purely money-driven industry”. tumblr_static_bollywood-logo

“I think the music evolves on its own. If something works, people would want to go in that direction. Bollywood has changed. It’s a purely money-driven industry,” Ram told IANS in a telephonic interview.

The musician, who has composed three songs for Neeraj Ghaywan’s directorial debut, the Cannes- acclaimed “Masaan”, with his band Indian Ocean, says if the music of the film gets appreciated, “then more people would want to follow that”.

Asked about the evolution of indie music in India, the musician said that every Indian indie band needs a chance to exhibit their talent.

He isn’t, however, too keen on using the term ‘indie music’ for independent artists in India, and says that it’s important to coin a new nomenclature altogether.

“We have to come with our own nomenclature. Non-Bollywood, non-traditional is a better term than indie. We are searching for a term for Indian Ocean for the last 25 years. We call Indian Ocean as ‘frock’ – folk rock,” he quipped.

Indian Ocean have “adequate material” for a new full-length and have worked on two new songs with legendary ghatam player Pandit Vikku Vinayakram and saxophonist George Brooks, says Ram.

“We have another new song ready, which we will perform in Bangalore on July 31. We are doing a set called ‘Side A, Side B’. It will be a four-hour concert, including a track from ‘Masaan’,” he said

For “Masaan”, the story of which revolves around four lives which intersect along the Ganga river, Indian Ocean created heart-warming music that duly fits in with the film’s aesthetics.

“Basically, after initial talks with Neeraj, we figured that there will be one love track in the film, which was ‘Tu kisi rail si guzarti hai’. To get the actual tune took us a long time. We went through four-five variations for it.

“The second song ‘Mann kasturi’ was approved of within an hour. I hadn’t even seen the lyrics. Neeraj and Varun Grover (writer) were coming from Mumbai to listen to the music. They heard the tune and loved it. It was fixed there and then,” Ram said about the musical compositions of “Masaan”.

The third song titled “Bhor” is however an old Indian Ocean song from their album “Jhini”, which was rendered in a different version for the film, says Ram.

“The third song was a version of our song which we released in 2003. It’s called ‘Bhor’. In the final edit, Neeraj had taken the original version of the song, which is way faster. But I told him that it’s not working out. I am talking about a completely different mood, so I had to persuade him to use a new version,” he added.

Talking about the recording process of this song, Ram said it was recorded in a “different” way from how music is recorded in studios nowadays.

“The way we recorded it is also different. Four of us stood in four different parts of the studio and played with the song. Nikhil was on guitars, Amit with flute and all three of us had vocals and we sang. And when we felt we have a version that was adequate, we thought that we should go and repair it,” he said.

“Around 50 years back, there were just two tracks, so the whole orchestra used to play together. Even the old jazz records were recorded in that manner. The feel of interacting with each other is there in those live recordings, but now that feel is gone,” he added.

(IANS)

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Sexual abuse is everywhere in the world, says Radhika

The actress believes that one should know how to say 'No'

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Radhika Apte's view on sexual abuse
Bollywood actress Radhika Apte says that sexual abuse is not only in B-town but in every part of the society. Wikimedia Commons

– Durga Chakravarty

Actress Radhika Apte feels that sexual abuse does not only exist in the world of showbiz but takes place in every alternate household.

“Sexual abuse takes place in every alternate household. So it’s not a part of just the film industry. You have so much child abuse, domestic abuse everywhere in the world, including India,” Radhika told IANS over phone from Mumbai.

She says it exists in “every field and household at some level or the other and that it all needs to be eliminated”.

Sexual abuse does not target just women, stresses Radhika.

“It’s also towards men, little boys and everybody. People exploit their power at every level.”

Radhika asserted that this needed to change.

“I think it starts from us putting our foot down and saying ‘no’ to things, however big your ambition is. You need to be brave about it, believe in your own talent, say ‘no’ and start speaking up because if one person speaks up, nobody is going to listen to him or her. But if 10 people do, then others would (listen to them),” she said.

The “Phobia” actress, who will be seen mentoring budding filmmakers in MTV’s upcoming digital show “Fame-istan”, says there has to be a more organised platform for people to work.

“There has to be more professional platforms as well as rules in place which is slowly happening.”

Sexual abuse has been a topic of debate in Bollywood and Hollywood. Prominent names from the entertainment industry are discussing how men in power take advantage of women in exchange for taking forward their dreams.

The sexual harassment saga started when a media house published a story in October revealing numerous accusations of sexual abuse against Hollywood producer Harvey Weinstein.

But why are no names taken in the case of casting couch in Bollywood?

“Because of fear, because people who have great ambitions are afraid. They think of what will happen to them if they take somebody’s name who has so much power. That’s what I am saying. Everybody has to speak up,” she added.

Radhika ventured into Bollywood in 2005 with “Vaah! Life Ho Toh Aisi!” and since then has explored genres like thriller, drama and adult comedy with films like “Rakht Charitra”, “Shor in the City”, “Badlapur”, “Parched” and “Hunterrr”.

Was it a conscious decision to act less in commercial entertainers?

Radhika said: “Nothing like that. You have to choose from the work that you have. You can’t say that ‘I want that’ if that’s not been offered to you. So, whatever is offered to you, you choose from that. You make your choice whatever you feel is going to be more challenging or something that inspires you or excites you.”

She says she makes her choices in the “spur of the moment” with whatever she feels intuitively. “I am not a very big planner.” (IANS)

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Sridevi’s daughter Jhanvi Kapoor all set to debut in Bollywood

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Daughter of Sridevi
Jhanvi Kapoor is the daughter of veteran actress Sridevi and Director Boney Kapoor

Radhika Bhirani

“Let me tell you, I feel like a newcomer,” Sridevi asserts, breaking into a giggle almost reminiscent from her ahead-of-times 1991 film “Lamhe”, even as she prepares to let her elder daughter loose in the Bollywood world. She says nothing comes easy in life, and she is sure her Jhanvi is ready to face the challenges.

Jhanvi, who is frequently followed by the paparazzi in Mumbai, will reportedly foray into films with a remake of Marathi hit “Sairat”.

Steering clear of divulging details about Jhanvi’s debut, Sridevi told IANS over phone from Mumbai: “She has chosen this path and profession, and I have been in this industry for long. So I am mentally more prepared than her. She has been watching me, and knows what she is getting into.”

“Nothing is going to be a cakewalk in any profession. So you have to work hard, and there will be challenges. I’m sure she is ready for it.”

The charismatic actress made a powerful comeback of sorts with “Mom” earlier this year — five years after her delightful plain Jane avatar in “English Vinglish”.

As “Mom”, which will soon release in Russia, nears its world television premiere on &Pictures on Saturday, Sridevi — who also has daughter Khushi — spoke about her worries as a parent.

“I’m of course worried when they go out, but luckily, they know their limits and they are very responsible children. When you have responsible children, half the battle is over. So, you don’t have to worry. But you are concerned. The concern will never go, and you’ll always be conscious about them,” said the 54-year-old.

Sridevi has been a big screen delight since her Bollywood debut with the 1978 movie “Solva Sawan”. But acting is something she started when she was all of four. In Hindi cinema, “Himmatwala”, “Mr. India”, “Chandni”, “Sadma”, “Nagina”, “ChaalBaaz”, “Lamhe” and “Khuda Gawah” are some of the films which established her footing as a performer who took woman power seriously.

The trait has continued with “English Vinglish” and “Mom” — in both of which she played the strong role of a mother effectively.

While most women actors in India complain about lack of roles for older actresses, Sridevi retorted: “Let me tell you, I feel that my career has just started, haan (giggles). I feel like a newcomer, and I feel that my career is going to start now. It’s not finished, it’s going to start now.”

She is also unlike many others — even much younger actors — who are putting their life story into books.

“Arre, maine kuch achieve nai kiya (I haven’t achieved anything), where I write about my story or my book. There’s a long way to go. There’s nothing, nothing like this,” she said, sounding almost ignorant, but humble, of the fan followers of her emotive power and fluid dancing skills.

At this point, she is just enthused to deliver more.

“There are definitely two films that are coming up, but it’s too early to talk about it. (There’s) Nothing I can say right now,” she said.

Over the years, Sridevi has not just embraced the changes in Indian cinema, but also opened up herself to an environment where celebrities — as opposed to her own shy self in her earlier days — need to go all out to promote her projects.

“Look, with the time, I have definitely opened up. I am definitely introvert and shy, and have never been rude to… I’ve definitely been shy, but thanks to my children, I have opened up. Somewhere, you have to change with the time.

“You can’t be like what you were… It doesn’t work that way. And do that (change) within your comfort, not by going out of it.”

That besides, she says a positive frame of mind, helps her look forward to what life has to offer.

“Be in a positive frame of mind, be happy, fulfil your goals, work hard… It never goes waste.”

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‘Don’t mask ‘masala’ as history’ says Mewar Royal on Padmavati

The upcoming movie Padmavati is surrounded by controversies. This time its Mewar Royal commenting on the movie's theme.

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Padmavati movie shot
Padmavati movie shot. Instagram

New Delhi: The drama and debates over Sanjay Leela Bhansali‘s Padmavati — the story of Rajput queen Padmini — has upset a direct descendant of the Mewar royal family. Baijiraj Trivikrama Kumari Jamwal, daughter of Mahendra Singh Mewar — the 76th Maharana of the Mewar dynasty and a former Lok Sabha member — is otherwise quietly going about her life as an English teacher at a school here.

But amidst heightened protests against Padmavati, which she has tagged an “inauthentic venture”, Trivikrama says it’s unfair that her family’s name is being dragged into generating “free publicity” for the film. “The sad part is that the film is getting free pre-release publicity and that a commercial and inauthentic venture like this is using my family’s name.

“It’s not just a question of incorrect portrayal, which is established from the trailer and the ‘Ghoomar’ song itself, but also the fact that you’re using my family’s name for the commercial pre-release publicity of your film, free of cost… And the national media is talking about it. That’s my problem,” Trivikrama told IANS in an interview here.

Bhansali’s Padmavati has been mired in controversy. The conjecture that it distorts history has led organizations like Shri Rajput Karni Sena and Sarv Brahmin Mahasabha to go up in arms against the release of the movie, while BJP leaders have been making statements and appeal to stop its release on December 1.

“That’s why I am so upset. People have political and commercial agendas. There’s nothing wrong with commercial enterprises and politics, but misusing and exploiting somebody’s pride, honor and dignity for such shallow purposes, that is where I step in and say, ‘Sorry, not acceptable’,” Trivikrama said.

The makers have maintained there is no dream romance sequence shown between the Rajput queen and invader Alauddin Khilji, as had been alleged by some. But a few political leaders and Jaipur’s former princess Diya Kumari have suggested Bhansali must show the movie to some historians prior to its release.

Trivikrama questions: “It depends on who the historians are because history is also colored. It has to be a well-represented congress of historians. He (Bhansali) should approach the most authentic voice, which is the family itself. That he hasn’t done.”

Her mother, Maharani Nirupama Kumari commented: “He has already made the film. What’s the point of showing it to historians now?”

To many, the story of Rani Padmini remains a mystery. What is the story Trivikrama has grown up with?

“If you go as a tourist to Chittorgarh Fort, you’re taken to Padmini’s Palace, and you’re shown a couple of mirrors. The tourist guide tells you about it and he points out a little pond and says she stood over there and Alauddin Khilji saw her face.

“But that is just packaging culture to sell to ignorant tourists,” she said.

Trivikrama said Rani Padmini finds a mention in “Veer Vinod”, a record book on Mewar’s history.

“It’s a historical record that shows yes she was there, she was the wife of Rawal Ratan Singh and she was only an excuse that Alauddin Khilji used to invade Chittor. The real reason was a very calculated military decision to invade,” she said.

“Padmini was not in the picture at all, except now what has been made into a tale, which is a figment of the imagination, I believe. It’s not there in history,” she said, pointing out that their family is one of the oldest families with an unbroken succession.

She estimated that there were over 30 generations between now and the first Jauhar — self-immolation led by Rani Padmini in 1303 during the siege of Chittor

What about the epic Awadhi poem Padmavati?

“Apparently, it’s a self-confessed piece of fiction. I’m ready to accept that you (Bhansali) have made a piece of fiction. But then don’t drag my family’s name into it and claim you’re the custodian of my family’s history,” asserted Trivikrama, a Ph.D. in English literature.

She said filmmakers are doing a lot in the garb of artistic license.

“Sure you have that, but then along with the artistic license, there should be artistic integrity and sensitivity,” she said, pointing out how the representation of Rani Padmini is “wrong” even in terms of dance and clothes.

“Instead of making it clear that it is Bollywood masala, you’re saying it is history and misleading and ‘miseducating’ the future generations.”(IANS)