Katyar Kaljat Ghusali- A Marathi Movie Review!

Some are movies and then some are masterpieces. Movies have actors while, the masterpieces comprise the characters portrayed with perfection. The masterpiece –
Katyar Kaljat Ghusali– is a beautiful movie which has music as its central character, and that too classical music. Moreover, it has many firsts. Shankar Mahadevan has debuted as an actor, Subodh Bhave has debuted as a director, Sakshi Tanvar has debuted in the Marathi film and Sachin Pilgaonkar playing a classical singer for the first time! The 4 ‘S’ brings a lifetime experience, that goes hand in hand with drama, music, cinematography and dialogues.
It has the stalwarts singer Vasantrao Deshpande playing one prominent role and Pt Jitendra Abhisheki playing the other. The drama is set in the pre-independence period and has the whole setting accordingly which carries the weight and nostalgia of the whole play. The story revolves around the ego and ambition of Khansaheb to become the king’s musician. It is narrated in the form of a musical fight between the 2 schools (gharanas) of music represented by him and Pandit Bhanu Shankar Shastri. It has all the elements of film- deceit, greed, revenge and politics while the opposite side has determination, love, devotion and righteousness.
The music is so mesmerising here that it truly transcends the boundaries of language and culture and one does not need to understand Marathi to appreciate this movie.
Classical music lovers like me, will will treasure this movie, while the uninterested one’s will come out with a new admiration and passion for this genre of music. The music is the heart and soul of the film. The presentations of the bandishes like Soorat Piya Ki and Dil Ki Tapish are sure to bring tears to the audience’s eyes. Such a wonderful renditions all the songs are! Shankar Ehsaan Loy have really done a fantastic job with the music.
Cinematography is top-notch while there are some magical scenes- like that of fireflies behaving as per the music also the silence after Shankar Mahadevan’s first rendition. The beauty of Katyar Kaljat Ghusali is that one does not need any special liking for Indian classical music to like the film. More than sufficient elements come together to make the movie watching experience worthwhile. The movie also brings out the idea of how classical music can change the person completely i.e. from a evil person to a nice person.
But, the stereotypical portrayal of the Indian Classical Music was what I disliked. People still believe that such performances and such impact of classical music could only happen at that time-period, shown in the movie. Why couldn’t the director show the whole drama in the modern era?
Overall, the movie definitely does ‘pierce the heart’ with its performances and storyline. Its very rare that a movie is made where the central character in music that too Classical music. Repeating a dialogue by Panditji- The throat is strategically situated exactly in between the brain and the heart because a musician is required to use both. As a audience, I too appreciate this movie with both!

Remembering Ustad Abdul Rashid Khan, the torch bearer Of 'Ganga-Jamuni Tehzeeb’

A legend, a composer, a performer, a musician and the torch bearer of ‘Ganga Jamuni Tehzeeb’ has left us. Yesterday was the death anniversary of the legend Ustaad Abdul Rashid Khan, who left us two years back. Its once in centuries when one sees a 108 year old musician performing. But even at that age Ustaad Abdul Rashid Khan didn’t miss a note though before he started his performance he used to say “Main 107 saal ka hoon (I am 107 years old),” and then pausing for a minute and then adding, “Nahi, nahi, main 108 saal ka hoon... bhul gaya (no, no, I’m 108 years. I forgot).”  After that he used to give a disclaimer that “Forgive me if I go wrong... I’m such an old man.”Though he used to never miss a note. Ustaad Jee, a descendant of Tansen was awarded by Padma Bhushan in 2013 and thus making him the oldest musician to receive this prestigious award. He was such a legend that he has composed around 2000 compositions in his life-time. In addition to khyaal he was also known for dhrupad, dhamar and thumri. These forms of Hindustani classical music are so old that they take us back to the time of Rg-Veda.

   An incident shows his skills as a composer. He was in the famous town of Vrindavan, playground of Lord Krishna, and en route to the concert venue. The vehicle was caught in traffic and the driver said, "Radhe radhe". Ustaad Jee was then taken aback by the fact that he did not have an appropriate composition for Vrindavan. And thus in the car itself he composed the following verse, "Gaur varan chanchal nain sakhiyan sang mil, dhol karan nainan band Radhe" and performed it for the audience.

        In 1991, he was specially invited by the ITC Sangeet Research Academy (ITC SRA)  in Kolkata to take over as the senior guru. He has been giving talim there for almost last 25 years. His traditional compositions have been recorded by the BBC and Iraq Radio.

       The UP Sangeet Natak Academi and the ITC Sangeet Research Academy have more than 1500 compositions of the ustad in their collection.

He saw no difference between worshipping Allah and worshipping Lord Ram. After his passing away last year India has perhaps lost the last living embodiment of its Ganga-Jamuni tehzeeb.

His musical journey was not without obstacles. Some even claimed that professional rivalry had once led to an attempt on his life. A jealous singer was reportedly so insecure after a jugalbandi with Khan that he bribed a waiter to mix mercury in Khan's food. The mercury ended affecting Khan's fingers. But it couldn't impact his voice.

I would like to conclude with my humble regards to the legendary Ustaad on his death anniversary!!

Odissi...

India has a very rich tradition of classical dances. Almost all the Indian States have a particular dance form which has the roots from the culture and tradition of that particular state. Today, I will be talking about the Odissi dance form.

Odissi dance is the dance established in the Indian state of Orissa. The cadence, the bhangis and mudras utilised as a part of Odissi dance has its very own unique nature. Odissi bargains to a great extent with the affection subject of Radha and Krishna. 

This dance was kept alive by the devadasis. The devadasis are one, who dedicate their life to the service of Lord Jagannath. Prior to the presentation of the Gita-govinda in temples, the devadasi used to dance to the recitation of songs and bols of talas. In any case, after Gita-govinda turned out to be an integral part of the customs, the devadasis performed abhinaya with various bhavas and rasas. 

The Gotipua arrangement of dance was performed by young men dressed as young ladies. In this convention one can identify yanking developments set up of smooth interpretations starting with one stance then onto the next. Beam Ramananda the Governor of Rajamahcndri as a performer artist and screenwriter who instructed moving to a gathering of young men chose to order his move show, jagannath Vallabha Nataka. It was performed in the Gotipua style. 

The diverse things of the Odissi move style are Managlacharna, Batunrya or Sthayi Nata, Pallavi, Abhinaya and Moksha. In mangalacharana the artist devotes herself to the Lord and asks absolution of the Mother Earth for stamping her feet upon her; she apologizes to her gathering of people for any weaknesses and offers greetings to the Guru. Batu Nrytya is unadulterated move. It starts with a progression of sculpturesque stances symbolising the playing of the veena, drum, woodwind or cymbals. Pallivi is greatly elegant and expressive. The tune is in some raga and is sung to the backup of Sargam and Bols. Through outward appearances abhinaya portrays rasa and bhava to draw out the importance and disposition of melodies. By and large the melodies composed by writers, Banamali, Upendra Bhanja, Baladeva Rath, Gopala and Jayadeva are sung. Moksha Nrutya is the last thing, performed to the backup of musical syllables. It has a quick rhythm. The spirit of the artist is to converge with the Divine as the artist winds up overjoyed. Odissi dance is a push to draw close to God and experience genuine ecstasy.