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Piyush Mishra: The Man Who Is Also Known As India’s, Bob Dylan

Piyush Mishra is undoubtedly the kind of talent which only comes along once in a while

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Piyush Mishra is an Indian film and theatre actor, music director, lyricist, singer, scriptwriter. Wikimedia Commons
Piyush Mishra is an Indian film and theatre actor, music director, lyricist, singer, scriptwriter. Wikimedia Commons
  • Piyush Mishra is a born star and his achievements are incalculable
  • Piyush Mishra shifted to Mumbai in 2002
  • Self-destructive in nature, Piyush Mishra admits that his anger drives his creativity

The Bollywood industry has plentiful stars but not like Piyush Mishra. He was born 13 January 1963 and is an Indian film and theatre actor, music director, lyricist, singer, scriptwriter. Piyush Mishra is a born star and his achievements are incalculable. He started writing lyrics with the film, Dil Pe Mat Le Yaar in 2002 and subsequently wrote for Black Friday (2004), Aaja Nachle and Tashan. Piyush Mishra’s songs gave industry back to back hits like “Aarambh Hai Prachand” (Gulaal, 2009), “Ik Bagal” (Gangs of Wasseypur – Part 2, 2012), and “Husna” (MTV Coke Studio, 2012).

Piyush Mishra’s Life

He was born in Gwalior to Pratap Kumar Sharma. However, living in the authoritative household of his aunt, developed a rebellious streak in him, which showed up in his first poem, ‘Zinda ho haan tum koi shak nahin’ (Yes you are alive; of this, there is no doubt), he wrote in class 8th.

“Zinda ho haan tum koi shak nahin, saans lete hue dekha maine bhi hain,

Haath aur pairon aur jism ko harqatey khoob dete huey dekha maine bhi hain,

Ab bhale hi yeh kartey huey honth tum dard sehtey huey sakht see lete ho,

Ab hain bhi kya kum tumhaarey liye, khoob apni samajh mein toh jee lete ho”

He shifted to Mumbai in 2002, actor, lyricist and screenwriter, and receiving acclaim for his acting in Maqbool (2003) and Gangs of Wasseypur (2012). Around this time, he began to be drawn to the theatre – it was at places like Kala Mandair and Rangshri Little Ballet Troupe in Gwalior that his talent for the medium was first identified. Piyush acted as Maniac in operation three stars (an adaptation of Dario Fo’s play Accidental Death of an Anarchist).

Also Read: 8 Facts About ‘The Queen of Indipop’: Asha Bhosle

A lost and vile drunkard from the past has today become an almost ideal family man. Climbing from a dark weak background, he emerged as an example of self-transformation. He’s gone on air and has often reiterated in the media as being “ganda” and “neech.”  Now, let the dead past bury its dead; he’s done everything to swap this image. In 2010 he attended a course of Vipassana in Igatpuri.

Piyush Mishra received acclaim for his acting in Maqbool (2003) and Gangs of Wasseypur (2012). Wikimedia Commons
Piyush Mishra received acclaim for his acting in Maqbool (2003) and Gangs of Wasseypur (2012). Wikimedia Commons

Here are 20 Piyush Mishra facts that will amaze you about the journey of one of the most talented actors of Bollywood:

  1. When it comes to actor’s past journey, Piyush Mishra is a born rebel, 51 odd years of Piyush Mishra’s life are defined by a mix of disturbed childhood, wasted adulthood and an undeniable genius for arts and creativity.
  2. He grew up in Gwalior and was adopted by his father’s eldest sister at an early age
  3. Growing up in an authoritarian household incited in his rebellion and creativity both. Piyush Mishra attended Carmel Convent School, Gwalior, which according to him was the ‘wrong school.’
  4. Self-destructive in nature, Piyush Mishra admits that his anger drives his creativity.
  5. Priyakansha Sharma was his real name, which he changed to Piyush Mishra, by filing an affidavit when he was in class 10.
  6. Piyush Mishra moved to Mumbai as recently as 2003, before which he spent 20 years as an unruly and alcoholic theatre artist in Delhi. This was the most poetic and destructive phase of his life, marked by 24 hours work, alcohol and women.
  7. Piyush Mishra graduated from NSD (National School of Drama in 1986) and started a theatre group “Act One” with contemporaries like director NK Sharma, Manoj  Bajpai, Gajraj Rao and Ashish Vidyarthi.
  8. After becoming graduated from National School of Drama in 1986, he was considered to play the lead role in the famous blockbuster “Maine Pyar Kiya”. Piyush never made an effort and Sooraj Barjatya signed Salman Khan.
  9. Piyush Mishra did his film debut with Mani Ratnam’s Dil Se in 1998. He played the role of a C.B.I investigating Officer.
  10. Piyush Mishra television debut came with Tele-series, Rajdhani in 1989. He also worked in Shyam Benegal’s “Bharat Ek Khoj” and appeared in a horror TV serial, “Kile Ka Rahasya”.
  11. Piyush Mishra wrote lyrics of the famous musical score “Arre Ruk Ja Re Bande” and it gave him fame as a lyricist and singer. The song from the movie “Black Friday” is perhaps the most popular Indian Ocean song till date.
  12. He also gave stinging music for Anurag Kashyap’s “Gulaal,” And, he’s never had any formal training in music. He composed the music in 8 days and won the Stardust Award for “Standout Performance by Music Director: Gulaal”.
  13. Piyush Mishra songs from the movie Gulaal such as “Ye Shahar Humara Sota Hai” and “Yara Maula” are improvisations of songs Piyush Mishra did during theatre days.
  14. Piyush Mishra wrote dialogues for “The Legend of Bhagat Singh,”; it won him the award for the best Dialogue at the Zee Cine Awards
  15. Anurag Kashyap, Tigmanshu Dhulia, and Sai Kabir are the filmmakers Piyush shares a close bond with Anurag Kashyap, he says is a “Bad Habit.”
  16. If you remember Rockstar you can’t forget Dhingra, the music company owner who reiterates “image in everything… everything is image”
  17. All his dialogues in “Jhoom Barabar Jhoom” were self-written. The most famous of which is “Saj Gaye Lute hue sajinda jaise behte hai… aur yaar gaye magar hum besharam zinda jaise behte hain.”
  18. Piyush Mishra sang one of the most memorable Coke Studio India songs, Husna.
  19. Some of the Piyush Mishra movies are Gulaal, Gangs of Wasseypur, The Shaukeens, Pink, Dil Se and many more.
  20. He is well known for his performance in Swadesh Deepak’s Court Martial as Suraj Singh, first with Ranjeet Kapoor (1991) and later under the direction of Arvind Gaur (1996).
    Piyush Mishra shifted to Mumbai in 2002. Wikimedia Commons
    Piyush Mishra shifted to Mumbai in 2002. Wikimedia Commons

    Also Read: The Aspects You Don’t Want To Miss About Nusrat Fateh Ali Khan

    Piyush Mishra is undoubtedly the kind of talent which only comes along once in a while. It’s not an overstatement, hence, when one says that Piyush Mishra is India’s, Bob Dylan. While most of us swoon over his songs and poetry, not all of us know about the roller coaster of a life he’s had. Receiving popularity at a later stage in his life, there are several aspects of his life that his fans don’t know.

Next Story

Know How The Content Providers Seem To Have Decided To Capture The Attention Of Masses

There are voices that the OTT content should come under CBFC certification. It is reported that at the CBFC, while the films from big makers are cleared out of turn so that they can meet their scheduled release dates, makers of smaller films have to wait a long time for that kind favour from the censors?

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Usually, the films with family entertainment, RomComs or mildly plausible action films work (Salman Khan types). The religious and saas bahu family themes have been hijacked by television channels. Pixabay

By Vinod Mirani

When a fad invades India, it does so in hordes. May it be mobile manufacturers, car makers, and so on and so forth. But, now, we have a line-up of streaming content providers. They enjoy an open, unhindered run on your small screens.

Usually, the films with family entertainment, RomComs or mildly plausible action films work (Salman Khan types). The religious and saas bahu family themes have been hijacked by television channels. Presently, though suddenly, we are now into this genre called nationalism/patriotism and biopics. But, that market is flooded and all future announcements for forthcoming films seem to be on patriotism and biopics! Not long before the law of diminishing returns takes over.

In fact, this week’s release, Romeo Akbar Walter, may prove to be an indicator to that considering the lukewarm reception the film has got. The thing is, those people who want to watch these films, they are mainly available in cinema halls. These films would not be as much fun on a small smartphone/tablet screen, also known as Over The Top (OTT).

The content providers seem to have decided to capture the attention as well as the initial eyeballs through a nonconventional way; providing content which is not available on cinema screens. That is to majorly deliver content that is morbid, gory, semi pornographic, drugs and all those things that are repulsive to a normal entertainment seeker and the family audience. Now this is the content designed for personal viewing with no one else watching over your shoulder!

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The CBFC does not work on precedents. Does not matter that a number of films, Hollywood as well as Indian with lengthier kissing scenes, have been passed with UA certificate! There is no consistency in policy. Pixabay

The target viewer is the youth and the purpose is to change their taste and preferences. Indian, Spanish, Mexican, all the content that I scanned through had gore, sex, and all that as common as well as the dominant factors. While providing such content, there are also some decent features but not enough yet.

But, how long can this trend last? There was an era when Malayalam films with a lot of titillation and suggestive sex were dubbed in Hindi language and, for the interior audience, interpolation was a regular practice as explicit sex scenes from porn films were added. They worked for a while but faded soon.

So, the issue is, while the Central Board Of Film Certification (CBFC) makes all kinds of demands from a feature film producer before his/her film is approved for public exhibition, this morbid mobile OTT streaming goes unchecked! The CBFC, in fact, has become the moral guardian of the Indian moviegoer; one to check on its ethics and morals!

Pahlaj Nihalani, the recent past Chairman of the CBFC, asked to delete a kissing scene from a Bond film from some 15 seconds to six seconds. Isn’t that ridiculous considering that Nihalani in real life can’t finish a sentence without adding a couple of BCs and MCs no matter if women or kids are around! Is it possible that a single panel member of the examining committee of CBFC, who watches films to rate them, has never watched an illicit porn film? And, to think that these people think a film is kosher only for six seconds, not 15! Do this politically connected panel members really qualify to sit in judgement over what the people should watch? That has been an eternal debate.

The CBFC does not work on precedents. Does not matter that a number of films, Hollywood as well as Indian with lengthier kissing scenes, have been passed with UA certificate! There is no consistency in policy. As is the wont of Indians, a seat of authority robs them of logic. It is a high to be able to judge others, especially when in an official position. As a rule, this lot found fault with every film presented for clearing. For example, the examining committee suggested 14 cuts to a children-oriented film, Mr India, in 1980. I can quote numerous such examples.

But, the issue is about parity. That is to say, while almost all other mediums are free of a watchdog, why are films censored? Why not OTT content? Come to think of it, what does the ‘power’ that the CBFC panel members and the Chairman
amount to when a motely mob negates their certification and blocks a film? Padmaavat, Manikarnika and so many other examples.

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Also, considering every other so-called group or organization or a community can ignore CBFC clearance and block a film’s release, the Board means nothing. And, this despite the highest court order ages back that the CBFC is the ultimate authority on cinema content! Pixabay

Coming back to streaming content and films, how come the film, PM Narendra Modi, is denied even the courtesy of a screening for the examining committee yet while the streaming episodes on the same subject, Modi, are already on people’s mobiles? So, how is the CBFC and Censor Certificate relevant anymore when a biopic on a person is blocked indefinitely while the same subject OTT platform, Modi: Journey Of A Common Man, produced by Eros Now, has already started streaming?

There are voices that the OTT content should come under CBFC certification. It is reported that at the CBFC, while the films from big makers are cleared out of turn so that they can meet their scheduled release dates, makers of smaller films have to wait a long time for that kind favour from the censors? In that case, suppose OTT content had to pass through censors, what would be the scene? Would it be the Amazon and Netflix that will get priority or a score of others who apply? After all, big shots get priority! Imagine the chaos that can follow. A 30-minute episode can end up
being chopped off to 15 minutes and the second episode of a series may appear weeks after the previous one!

Also, considering every other so-called group or organization or a community can ignore CBFC clearance and block a film’s release, the Board means nothing. And, this despite the highest court order ages back that the CBFC is the ultimate authority on cinema content! Something needs to be set right in the Cinematograph Act. To start with, the word Digital Content, should be made part of the Act.

@The Box Office
*The latest release, a highly promoted film, Junglee, just about manages to stay afloat. With a meagre opening day collections of three crore, it managed a face-saving weekend of around 13 crore. The film had a tapering effect at the box office with the start of the new week and closed its first week with a total of over 19 crore.

*The other release of the week, Salman Khan’s production, Notebook, failed to make its mark. With an opening weekend of Rs 2.3 crore, it had a low opening week figures of Rs four crore.

Also Read: Cambodia Approves Hydropower Dam, Solar Energy Plant to Meet Electricity Demand

*Akshay Kumar carries Kesari on his popularity though a regional subject with a limited appeal, it collects Rs 19 crore for its second weekend and Rs 30 crore for its second week taking its two week tally to Rs 135 crore.

*Badla has collected Rs 5.3 crore in its fourth week to take its four week total to Rs 79.3 crore. (IANS)