The #GangubaiKathiawadiTrailer is all kinds of wow for Vijay Raaz. Though these images do remind me of Mary Ellen Mark's photo work in Falkland Road in 1978.
Bhansali, of course, knows how to copy and make it his own.
Say for example, the door's colour is the same, the mogra is in the hair, but the artwork on the door, the styling of the flower, that bears his chhaap, his stamp, and that's how he creates Bhansaliland.
Which is quite unlike, say, this gorgeous song, shot on location in Nana Patekar's Prahaar. Unglam, but then unfortunately it doesn't reach the mass.
Not identical, the transformation can be imagined. Vijaz Raaz as Razia Bai, not related to the other image of Ibrahim.
Incidentally, my mother heard of the dreaded Razia Bai, when mother worked as a courtesan in Foras road.
The street was also home to the glam trans community.
Mary Ellen Mark said how the girls hung out in Olympia Cafe. Hope it has been faithfully recreated.
This second image, I cross-checked with my mother, we happened to live close by in the 80s. She says there was a Dilli Darbar restaurant in the area in those days where the kamanewaali, and the tawaif intermingled.
Strangely, mother didn't hear of Gangubai Kathiawadi in the 80s, when mother frequented the Bacchu Seth Ki Wadi for her mujras.
She is curious to see what SLB has done in this film, moving from the kotha to the dhanda.
In other news, my second book, a memoir of my mother's life, titled The Last Courtesan, was due to be published by #Westland this summer after a long pandemic delay, but Amazon shut down the publishing company it owned a few days ago.
So until my excellent agent @kan_writersside finds a new home for my book, here's hoping the SLB film gives us a whole lot to enjoy. The trailer is lovely. The music, cannot even wait! ❤️
For those of you who are asking, please read this essay I wrote earlier if you'd like to invest you time in my book later. This is the story that got me the book deal. It might help you understand how the kotha is outside of films. 🙏🏼 arre.co.in/gender/womens-…
Funnily, yesterday, when I was writing about Bhansali, this cropped up in my FB memories, also thoda SLB connection. So 4 years ago, on this day, the journey of my book had started when these poems went thoda viral. Why am in resharing? Loha garam hai. 😷🙏🏼medium.com/@manishgaekwad…
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Some fun stories from the just concluded Indian Screenwriters Conference.
When Mani Ratnam was researching for his film Nayakan, loosely based on underworld don Varadarajan Mudaliar, Mudaliar invited Ratnam to his house and personally fed him dosa dipped in chutney.
Mudaliar said he was keeping a low profile because he knew the cops would never let him reach the court for justice.
Ratnam was struggling with the climax of Nayakan.
How to end it?
He could have conveniently inserted an encounter sequence and finished the character Velu.
Instead, Ratnam back-pedaled and put the gun in a minor character's hand.
Velu (Kamal Haasan) walks out a free man after the court exonerates him but karma is a bitch.
Ajit (Tinnu Anand), shoots Velu to avenge his father's death whom Velu had killed in the past.
The first time I saw my father, he was standing naked in the room.
I know, I know, how can I talk like that on #FathersDay
Sharam karo and all.
But that first line is the end of that story.
Let's get to the beginning if you have no sharam.
A man got out of bed and stood in front of me. The single yellow bulb hanging from the ceiling was miraculously switched on by a person behind me adjusting her petticoat. I could tell the woman from the silvery sounds of her bangles and anklets — the music was home to my ears.
Turning around would have made me catch the woman in the act. I was too groggy to be surprised.
Indian living spaces are so tiny and they often have to accommodate unwelcome guests in bed, even when there is no room for more.
If you thought Dharamji was promoting homophobia, take a look at what Hemaji was suggesting. She was romancing her lady-in-waiting in Razia Sultan. With #Pride
In the beautiful lullaby Khwab Ban Kar Koi Aayega, when Parveen Babi is singing to her queen, the two young girls rowing the boat are conscious and aware of the dalliance that must be kept a secret.
One of the finest actors' contribution to queer cinema remains locked in a closet somewhere. #Pride
Why was Irrfan Khan’s gay film Adhura banned?
In 1995, the Censor board did not approve of the same-sex romance.
In the film, ironically called Adhura (Incomplete), Irrfan Khan plays a journalist who has an affair with an ageing industrialist.
Art dealer and gallerist Ashish Balram Nagpal played the role of the industrialist. Kitu Gidwani was playing a key role as Irrfan’s wife.
I found snippets of a 2007 article. The actor spoke to @upalakbr999 about the film and his comfort with queer love.
"If Ashish had a crush on me, he expressed it in the most intimate way in the film! Adhura was made for TV audiences, but I don't know why it never got released."
Yesterday, the demise of Shiv Kumar Sharma, the musical duo of Shiv-Hari took me to an all-time fave album Lamhe (1991). I return to for joy, or even solace. Each song I know by heart.
Sample the tune and lyrics of Yeh Lamhe Yeh Pal Hum for instance.
The tune is quite simply just a plaintive flute by Hari, faint guitar riffs, Shiv's santoor or keyboard, following the singer's wistful voice reciting 2 lines of Anand Bakshi's lyrics.
Yeh Lamhe is a slowburn like Neela Aasman So Gaya.
Another Shiv-Hari song with fabulous use of shehnai, santoor, and the vocals, all of which are given 'solo' space within the melody - or as we say theraav.