Gujarat Titans Wins IPL In Debut Season, Previous Champions Struggle

Ahmedabad/Mumbai: Not many gave them a chance after the Indian Premier League auction but that is the quality of underdogs- they adapt and evolve to prove their detractors wrong. Gujarat Titans are the new IPL Champions in their maiden season. 

The captain, Hardik Pandya led from the front and in the final, he was adjudged Man of the Match for his all-round performance.

In the post-match interview, Pandya spoke about how he had to come up with the order to bat throughout the tournament once he realized the team composition after the IPL auction. These little adjustments along with other tactical maneuvers ensured that Gujarat went from being nobody to favorites by the end of the league stage. Eventually, they won the final by 7 wickets, dominating the entire game against Rajasthan Royals.

The final, before the game even began, was a grand spectacle. The pre-match ceremony saw some of Bollywood’s biggest stars including AR Rahman and Ranveer Singh perform to entertain the fans. Interestingly, the BCCI entered the Guinness Book of World Records as they showcased the largest sports jersey with the logo of all 10 IPL teams.

The toss of a coin wasn’t a worry for Gujarat Titans as Rajasthan opted to bat first, a decision which went wrong for them. The Orange Cap winner for most runs, Jos Buttler started steadily and top-scored with 39. But once he fell, Rajasthan folded like a pack of cards and could muster a paltry 130 total in 20 overs. The score just wasn’t enough to challenge an in-form batting line-up like the Titans. Despite a couple of initial hiccups, the arrival of Hardik Pandya at the crease steadied their ship and later David Miller along with the classy Shubman Gill made sure that victory was achieved without any drama.

ipl 2022 gujarat titans finals rajasthan royals
Gujarat Titans skipper Hardik Pandya | Courtesy: Twitter/IPL

All through the final, the spotlight was firmly fixed on Hardik Pandya. Apart from losing the toss, he did everything right. His figures of 3 for 17 in 4 overs, broke the momentum of Rajasthan’s innings and they could never recover. During batting, Pandya came at a crucial stage with his team in trouble at 23 for 2 but he put on a 63-run partnership with Shubman Gill to cement a famous win. 

His return to form along with his newfound talent as a sharp captain, augurs well for the Indian team as they prepare for the T20 World Cup later this year. Pandya had been struggling all through the previous year due to a back injury. But IPL2022 has proved his fitness and his performances clearly show why experts had rated him as the new Kapil Dev when he entered the national team.

Besides Gujarat, the other debutants Lucknow Super Giants were also superb through most of the season. KL Rahul and Quinton de Kock’s combination was the finest opening pair of this IPL. But unfortunately, a lot of imports were disappointing, especially the bowlers.

Indian players though showed a lot of potential. The IPL has become a key platform to get into the Indian Team and everyone from Umran Malik to Dinesh Karthik has found inclusion in Team India by performing consistently well in the tournament.

A whole bunch of Indian new pacers has been the find of the IPL2022. Umran Malik, Arshdeep Singh to Mohsin Khan and Avesh Khan have made everyone sit up and take notice. Also, Indian spinners, especially Chahal and Kuldeep, proved their utility whereas others like Ravi Bishnoi showed promise.

The worrying factor for India is the batting form of its superstars. Virat Kohli and Rohit Sharma have both had a dreadful season. Some other established members of the Indian side like Ravindra Jadeja and Rishabh Pant had a forgettable season too. Even Shreyas Iyer and Suryakumar Yadav seemed in a sketchy form. Ahead of the T20 World Cup, the Indian batting machine needs considerable improvement or they can kiss their chances goodbye for this edition as well.

The season saw a lot of thrills and close contests. While the top three teams- Gujarat, Lucknow and Rajasthan ensured their place in the semis easily, Royal Challengers Bangalore had to rely on Mumbai to win their last game for a spot in the top 4. But Bangalore had another barren season and will look to 2023 for another shot at the title. For that to happen they would need their biggest star- Virat Kohli to fire all guns blazing which wasn’t the case this time around. Perhaps Indian batting stars can take a leaf out of Jos Buttler’s book who had an outstanding season with the bat scoring four hundred. But as the finals revealed, it wasn’t ‘Jos the Boss’ but Pandya who outshone everyone on the big stage. 

The last two months saw history being made as debutants became champions while giants like Mumbai and Chennai had a disastrous season. For fans, it was a treat as they got two new teams to cheer for and ultimately, Brand IPL won with more viewership. 

For the time being, the focus now turns to the Indian team as they take on South Africa in the T20 series. The franchise fans will now be a larger family as they support Team India and hope that their stars hit peak form as the much-awaited World Cup looms ahead.

Bareilly: A Fountain of Love and Amity in the Desert of Hate

Bareilly (Uttar Pradesh): Have ears to the ground and listen to the folk communication among the people on the streets of Bareilly—you will come across a soothing oasis of the Ganga Jamuni tehzeeb (syncretic culture) in the city in contrast to the hot desert of hate-mongering many other parts of Uttar Pradesh have become of late.

During the month of Ramzan and Ramnavami gone by recently, Bareilly which also has Asha Bhosle’s  number –“jhumka gira re Bareilly ke bazaar mein”—going into the folklore turned out to be a perfect spectacle of love, camaraderie, brotherhood and amity among the Hindus and Muslims on its full play.

In fact, the setting of Bareilly—the headquarters of the Rohilkhand—has sustained the syncretic culture. The city finds mention in the Mahabharata as Panchal, the birthplace of the Pandava queen Draupadi also known as Panchali. At the same time it has the shrine of Aziz Niazia, descendent of Shah Ayatullah Indizani of Bukhara (Afghanistan) who had relinquished his empire to adopt Sufism and spread the message of love and devotion over 300 years ago.

Another notable shrine is the Chunna Mian ka Mandir, also known as the Lakshmi-Narayan temple in the heart the city. This temple has a picture of Fazalur Rahman alias Chunna Mian with a container on his head – a testimony to his kar seva to build this temple in 1960. It was inaugurated by then President Rajendra Prasad. Fazalur Rahman’s picture finds place among the same of the Hindu gods and goddesses adorning the walls of the temple. Chunna Mian had donated his land and Rs 1,00,001 at that time to build this temple.

Besides, Bareilly has seven Shiva temples and as such it is also called Nathnagri.

Be it the Shiva temples, the Khaneqah-e-Niazia or Chunna Mian ka Mandir—the places of worship drew the city dwellers in hordes during the Ramzan and Ramnavami. The devotees and faithful crossed their paths while buying the flowers at Maliyon ki Pulia – a common spot to buy flowers and aromatic sticks—exchanging pleasantries and sharing love and bonhomie.

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Khaneqah-e-Niazia | Credit: Asha Sharma

My colleague at the Invertis University and the local of Bareilly, Nasreen Javed took us on a trip to these holy places. Grown and brought up on the streets of Bareilly, Nasreen is a repository of the tales and communications in  folk that are the hallmark of Bareilly.

“My ancestors who were landlords had got malis (gardeners) settled on their land, which came to be known as a Malion ki Pulia. The devotees buy roses to offer to Khanqah-e Niazia and other Sufi shrines, and hibiscus, oleander and marigold flowers to offer to Shiva, Lakshmi and Narayanji in the temples,” Nasreen said, breaking into the folktales that she know about in abundance.  She added, “The population of the malis here has dwindled over the years with the malls, restaurants and garment shops coming up, but it still continues to be a favoured spot for buying flowers”.

While guiding me through the streets and shrines during the festive season, Nasreen shared her her own story which was equally charming. “When I was in my teens I had a friend, Asha Upadhyay, studying at a coaching centre and living in a town lodge. One day in the late 1980s, she was fear-stricken and felt insecure. I brought Asha (a Brahmin) home and my parents spared a separate room for her to live in. Asha set up a puja corner in her room. We celebrated Diwali and Holi to keep Asha happy, and Asha celebrate Eid with us with equal enthusiasm. Growing up together, we used to play and visit dargahs and temples.”

“When she was older, Asha married a man named Deepak Lotha. The couple visited our home after their marriage. They refer my abbu (father), Javed Hasan Khan, as ‘abbu’ and my mother as ‘ammi’. They are now settled in Haldwani but they are our family members. They visit us often and I, too, call on them,” Nasreen continued, promising, “I will make you meet Asha and Deepak one day.”

bareilly love hate chunna mian ka mandir
Shabbu Mian | Credit: Asha Sharma

Mohammad Sibtain Niazi alias Shabbu Mian, a Sufi cleric and descendent of saint Aziz Niazia, greeted us at Khankah-e-Niazia. “Chhodo mujh-e bekhud mera aaram yahi hai; Nam-o-nishan rahn-e do bas naam yahi hai (Leave me to myself with the name, I am at peace here. I don’t hanker for fame, let me live with my name in seclusion),” Shabbu Mian chanted this couplet by Qibla Shah Niazi.

“We don’t ask for the caste or religion of anyone visiting us. We make dua (prayers) for all, and people visit us with love. We are bound by the Almighty’s farman (order) to ensure peace, harmony and brotherhood,” he said, smiling. Asked about the rise of an atmosphere of hate, Shabbu Mian said, “We will keep on spreading love and amity, without seeing what others are doing. We are here to give peace to the distressed. Love is the panacea to all ills afflicting human society.”

The frequent visitors to Khaneqah-e Niazia include the mayor of Bareilly, Umesh Gautam – who is also the chancellor of the Invertis University. “He (Gautam) is a mureed (devotee) of this dargah and is very nice to all of us. He specifically visits during the Urs mela (fair) and oversees the arrangements,” Shabbu Mian said, while asking us to keep vising the shrine regularly.

chunna miyan ka mandir mian laxmi narayan temple mandir bareilly
Chunna Mia | Credit: Asha Sharma

The pujari at the Lakshami Narayan temple or Chunna Mian ka Mandir, Sandip Tiwary, says, “We revere the name of Fazlur Rahman alias Chunna Mian – the builder of this temple – as much as we do with the builders of the temples in the country. We offer Prasad to the family members of Chunnu Mian ji wheneve45r they come at this place”.

“I was not destined to see Chunna Mian ji. But I learnt a lot by hearing from Bhup Ram and other caretakers of the temple, who had seen Chunna Mian ji. Though he was a landlord, he carried containers with bricks and other materials on his head to build this temple. He devoted his entire life to the service of this temple. He was the true son of the God,” Tiwary said.

Tiwary said that previously, many Muslims too used to visit this temple. “The number of Muslim visitors has relatively dwindled of late. But we treat them with care and love when they visit us, offer prasad to them and make prayers for them. I am always conscious of the fact that Chunna Mian ji had built the temple,” he said.

Headquartered in Lucknow, Uttar Pradesh chief minister Yogi Adityanath has made many objectionable comments on the Taj Mahal – the monument of love built by Mughal emperor Shah Jahan and located 221 km from Bareilly – and is on a spree to fiddle with the names of many ancient and medieval cities and towns in UP to pursue his politics of polarisation. Though located between Delhi and Lucknow – 250 km from Delhi and 252 km from Lucknow, to be exact – Bareilly is far removed from the “wave” of hate and conflict in Lucknow and Delhi.

জুরি এবং প্রতিনিধি দল, তবে একটিও ভারতীয় চলচ্চিত্র কানের প্রতিযোগিতামূলক বিভাগে নেই

স্বাধীনতার 75তম বছরে, কান চলচ্চিত্র উৎসব এর মক্কায় ভারত সম্মানিত জাতি। তথ্য ও সম্প্রচার মন্ত্রী অনুরাগ ঠাকুরের নেতৃত্বে এ আর রহমান, সেখর কাপুর, প্রসূন জোশী এবং বাণী ত্রিপাঠি টিকু-এর মতো স্বনামধন্য ব্যক্তিত্বদের একটি প্রতিনিধিদল কান 2022-এর রেড কার্পেটে উপস্থিত ছিলেন৷ দীপিকা পাড়ুকোন জুরি সদস্য হিসাবে কাজ করছেন৷

এই সমস্ত রজমাতাজ দেশের সিনেমার টুপিতে কোনও পালক যোগ করেনি। একটিও ভারতীয় ছবি প্রতিযোগিতামূলক বিভাগে নেই। সত্যজিৎ রায়ের প্রতিদ্বন্দী এবং জি আরবিন্দনের থামপু-এর একটি পুনরুদ্ধার করা সংস্করণ কান ক্লাসিক বিভাগে প্রদর্শিত হচ্ছে। প্রতিদ্বন্দী সংরক্ষণ ও পুনরুদ্ধার করেছে নেশন ফিল্ম আর্কাইভস এবং থামপুকে ফিল্ম হেরিটেজ ফাউন্ডেশনের শিবেন্দ্র সিং দুঙ্গারপুর পুনরুদ্ধার করেছে।

কান চলচ্চিত্র উৎসব

হাস্যকরভাবে, প্রতিভান্দির প্রযোজক অরিজিৎ দত্তকে পুনরুদ্ধার করা সংস্করণটি দেখানো হয়নি বা কানে স্ক্রিনিংয়ে আমন্ত্রণ জানানো হয়নি। বিতর্কিত অরিজিৎ দত্ত বলেন, “আমার মা পূর্ণিমা দত্ত পিয়ালী ফিল্মসের ব্যানারে প্রতিদ্বন্দী নির্মাণ করেছিলেন। এর আগে তিনি ছবিটির প্রদর্শনের জন্য সম্মতি দিয়েছিলেন। দুঃখজনকভাবে আমরা পুনরুদ্ধার করা সংস্করণটি দেখিনি বা ক্লাসিক বিভাগের স্ক্রীনিংয়ে আমন্ত্রণ পাইনি।”

অন্যদিকে, শিবেন্দ্র সিং দুঙ্গারপুর যিনি থাম্পু ফ্রেমকে ফ্রেমে সংরক্ষণ ও পুনরুদ্ধার করেছিলেন সঠিক পথ অনুসরণ করেছিলেন। “আমি আমন্ত্রণ জানিয়েছিলাম এবং ফিল্মটির পুনরুদ্ধার করা সংস্করণটি পরিচালক প্রয়াত জি. অরবিন্দনের পরিবারকে দেখিয়েছি। তারা খুশি হয়ে তাদের সম্মতি দিয়েছেন এবং ছবিটি প্রদর্শিত হচ্ছে।” ক্লাসিক সেকশনটির নিজস্ব একটি সুবিধাজনক আকর্ষণ রয়েছে যেখানে আগে চারুলতা, খন্দাহার এবং গাইডকে ব্যাপক সাধুবাদ জানানো হয়েছিল।

দীপিকা পাড়ুকোনকে জুরি সদস্য নির্বাচিত করার ভিত্তি কী ছিল? গৌতম ঘোষকে জিজ্ঞাসা করেন, “এটি অবশ্যই কানে গ্ল্যামারের ভাগ যোগ করতে হবে।” জুরি হিসেবে বলিউড ডিভাকে বেছে নেওয়ার ফলে ক্লাসিক সিনেমার গভীরতা সম্পর্কে তার যোগ্যতা সম্পর্কে অনেক ভ্রু তুলেছে। এর আগে মৃণাল সেন ঐশ্বরিয়া রাইয়ের কানে জুরি সদস্য হওয়ার বিরুদ্ধে তীব্র প্রতিবাদ করেছিলেন।

film Festival De Cannes india 75 years independence
কান চলচ্চিত্র উৎসবে ভারতীয় প্রতিনিধি দল সৌজন্যে: টুইটার/লাইক ইয়োরস

1951 সালে, চেতন আনন্দ কান-এ জুরি হতে অস্বীকার করেন যদিও তার পরিচালনায় আত্মপ্রকাশ, 1946 সালে কান প্রথম চলচ্চিত্র উৎসবে নিচানগর একটি গ্র্যান্ড প্রিক্স জিতেছিল। তিনি অনুভব করেছিলেন যে তিনি এই ধরনের লোভনীয় পদে থাকার যোগ্য নন। সত্যজিৎ রায় প্রাথমিকভাবে 60-এর দশকের শেষদিকে একজন জুরি হিসেবে নির্বাচিত হন কিন্তু বিমান টিকিটের সমস্যার কারণে তিনি উপস্থিত হতে অস্বীকার করেন। মৃণাল সেন কানে জুরি সদস্য হিসেবে দুবার দায়িত্ব পালন করেন এবং তার নিরপেক্ষ সিদ্ধান্তের জন্য প্রশংসা অর্জন করেন।

বিমল রায়, গুরু দত্ত, শ্যাম বেনেগাল, গৌতম ঘোষ বা গোবিন্দ নিহালানিকে কেন কানে জুরি সদস্য হওয়ার জন্য আমন্ত্রণ জানানো হয়নি তা নিয়ে বিড়ম্বনা রয়ে গেছে। সত্যিকারের অমিতাভ বচ্চন এবং সেখর কাউর কান চলচ্চিত্র উৎসব এর উদ্বোধন করেছিলেন। বলরাজ সাহনি, নার্গিস, নূতন, সৌমিত্র চট্টোপাধ্যায়, মাধবী মুখার্জি, নাসিরুদ্দিন শাহ বা শাবানা আজমি কি এমন লোভনীয় উত্তাপের জন্য অযোগ্য ছিলেন? কানে রাজ কাপুর, গুরু দত্ত এবং স্মিতা পাটিলের রেট্রোস্পেকটিভ ছিল বড় সাফল্য।

নীচানগরের নায়িকা কামিনী কৌশলের কথা মনে পড়ে, “যদিও আমি আমার ছবির স্ক্রিনিংয়ের জন্য কানে উপস্থিত ছিলাম না, আমি অনেক মিডিয়া ব্যক্তিদের কাছ থেকে শুনেছি, নীচানগর দাঁড়িয়ে প্রশংসা পেয়েছে। ডেভিড লিন ফিল্মটির দ্বান্দ্বিক মন্তেজে বিস্মিত হয়েছিলেন।” সন্দীপ রায় স্মরণ করেন, “1982 সালে, কানের রজত জয়ন্তীতে, সমস্ত পুরস্কার বিজয়ীদের আমন্ত্রণ জানানো হয়েছিল। আমার বাবাকে সত্যিকারের মর্যাদার সাথে গ্রহণ করা হয়েছিল এবং তার প্রতিভাকে সর্বজনীনভাবে প্রশংসা করা হয়েছিল।”

কানে দেবীকে দেখার পর ইংমার বার্গম্যান বলেছিলেন যে অভিনেত্রী শর্মিলা ঠাকুরের চোখ তাকে স্বপ্নে তাড়া করেছিল। 1973 সালে কানে প্রদর্শিত হওয়ার পর গরম হাওয়াতে বলরাজ সাহনির অধ্যয়নরত অভিনয়ের জন্য ইউরোপীয় মিডিয়া প্রশংসায় ভরপুর ছিল। মৃণাল সেন 1982 সালে খারিজের জন্য মধ্যবিত্ত পরিবারের শিশুশ্রম শোষণের উপর তার উজ্জ্বল চলচ্চিত্রের জন্য জুরি পুরস্কার জিতেছিলেন।

ভারতীয় সিনেমায় পুনরুত্থানের সময় এসেছে এবং আধুনিক পটভূমিতে ছিঁড়ে ফেলার মতো চলচ্চিত্র তৈরি করা হয়েছে। মধুর ভান্ডারকর যথার্থই বলেছেন, “কানে আনন্দ আনার জন্য সত্যজিৎ রায়, মৃণাল সেন, চেতন আনন্দ এবং এমএস সাথুর গ্রেট লিগের সত্যিকারের উত্তরসূরি হওয়া উচিত।”

Jury and delegation, but not a single Indian film is in any of the competitive sections of Cannes

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In its 75th year of independence, India is the Nation of Honor at the Mecca of film festivals Cannes. Led by Anurag Thakur, Minister of Information and Broadcasting a delegation of reputed personalities like A R Rahman, Sekhar Kapur, Prasoon Joshi and Vani Tripathi Tikoo among others were present at the Red Carpet at Cannes 2022. Deepika Padukone is serving as a jury member at the festival.

All this razzmatazz has not added any feather to the cap of the nation’s cinema. Not a single Indian film is in any of the competitive sections. A restored version of Satyajit Ray’s Pratidwandi and G Aravindan’s Thampu are being screened at the Cannes classic section. Pratidwandi has been preserved and restored by the Nation Film Archives and Thampu has been restored by Shivendra Singh Dungarpur of the Film Heritage Foundation.

Ironically, Arijit Dutta, producer of Pratiwandi has neither been shown the restored version nor invited to the screening at Cannes. A disputed Arijit Dutta says, ”My mother Purnima Dutta produced Pratidwandi under the banner of Piyali Films. She earlier did give consent for the screening of the film. Sadly we have neither seen the restored version nor been invited to the classic section screening.”

On the other hand, Shivendra Singh Dungarpur who preserved and restored Thampu frame by frame followed the right track. “I invited and showed the restored version of the film to its director Late G. Aravindan’s family. They were pleased lent their consent and the film is being screened.” The classic section has a vantage charm of its own where earlier Charulata, Khandahar and Guide were screened to big applause.

What was the basis for selecting Deepika Padukone as a jury member? Asks Goutam Ghose, ”It must be to add to the glamour quotient at Cannes.” The selection of the Bollywood diva as a jury has raised many eyebrows about her merit to fathom depths of classic cinema. Earlier Mrinal Sen strongly protested against Aishwariya Rai being a jury member at Cannes.

film Festival De Cannes india 75 years independence
Indian delegation at Cannes Film Festival | Courtesy: Twitter/Pasand Apki

In 1951, Chetan Anand refused to be on a jury at Cannes though his directorial debut, Neechanagar won a Grand Prix at Cannes first film festival in 1946. He felt he was not qualified to hold such a coveted post. Satyajit Ray was initially selected as a jury in the late 60’s but due to an air ticket problem, he refused to be present. Mrinal Sen served twice as a jury member at Cannes and earned accolades for his impartial decisions.

It remains an irony as to why Bimal Ray, Guru Dutt, Shyam Benegal, Goutam Ghose or Govind Nihalani were never invited to be jury members at Cannes. True Amitabh Bachhan and Sekhar Kaour inaugurated Cannes Film Festivals. Were Balraj Sahni, Nargis, Nutan, Soumitra Chatterjee, Madhabi Mukherjee, Nasiruddin Shah or Shabana Azmi incompetent for such a coveted heat? Retrospectives of Raj Kapoor, Guru Dutt and Smita Patil at Cannes were big successes.

Remembers Kamini Kaushal, the heroine of Neechanagar, ”Though I was not present at Cannes for the screening of my film, I heard from many media persons, Neechanagar received a standing ovation. David Lean marveled at the film’s dialectical montages.” Sandip Ray recalls, ”In 1982, the silver jubilee of Cannes, all the award winners were invited. My father was received with true dignity and his talents were publicly applauded.”

Ingmar Bergman stated after viewing Devi at Cannes that actress Sharmila Tagore’s eyes haunted him in his dreams. The European media was full of praise for Balraj Sahni’s studied performance in Garm Hawa after it was screened at Cannes in 1973. Mrinal Sen had won a Jury Award for his brilliant film on middle-class family exploitation of child labor for Kharij in 1982.

It is high time a resurrection takes place in Indian cinema and films like tore are made with modern backdrops. As Madhur Bhandarkar rightly says, ”There should be true successors to the great league of Satyajit Ray, Mrinal Sen, Chetan Anand and MS Sathyu to bring encomiums to Cannes.”

Reality-check for the pandemic business models as countries reopen

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The exuberance of a pandemic induced growth of tech companies and startups is facing a harsh reality check. Netflix is losing subscribers in hundreds and thousands, Zoom’s stock price is down over 80% from the pandemic highs, the nearly invincible Amazon announced its first loss since 2015 as sales slowed, costs rose and its investment in electric vehicle company Rivian wiped out profits.

Start-ups now talk real profits

Even startups with dizzying valuations like Uber are talking about showing real profits. Closer home, TechEd unicorns are foraying into offline coaching and laying off employees in the face of mounting losses. During the pandemic most of these companies, with huge VC and IPO finances at their disposal, went in for aggressive market share capturing strategies. But now as the pandemic weakens in major markets, and people crave for social contact once again, the platform companies and service aggregators are perhaps seeing the end of a honeymoon period.

Amazon’s revenues grew at a sluggish 7% in the first quarter to $116.4bn, Amazon’s slowest growth rate in nearly two decades. The company lost $3.8bn for Q1 compared with a profit of $8.1bn during the same period in the previous year. There might be more losses ahead it warned. For the current quarter, Amazon expects operating income between a loss of $1bn and a gain of $3bn, compared with $7.7bn in Q2 of 2021.

Need to show the money

Uber’s chief executive, Dara Khosrowshahi, emailed employees with a uncharacteristic message: “we need to show them the money.” Using mixed metaphors, Khosrowshahi explained that the market was undergoing a “seismic shift” and the “goalposts have changed.” company’s urgency was to generate free cash flow. “We are serving multitrillion-dollar markets, but market size is irrelevant if it doesn’t translate into profit,” he wrote. For the boss of Uber to be underscoring cash flow and profit would once have seemed about as incongruous as Elon Musk stressing personal humility and promoting petrol-fueled cars. No company has been more illustrative of the long, wild, capital-drugged bull market in technology stocks than Uber. Founded in 2009, the company went public a decade later at a valuation of $76 billion without showing even a single quarter of profits.

The company’s ultimate realization about financial orthodoxy reflects much markets have been transformed since the turn in the interest rate cycle and the crash of the tech-heavy Nasdaq market, that has plummeted 26 percent this year.

covid-19 pandemic business start-ups online offline
Courtesy: lemonde.fr

Netflix lost 200,000 subscribers

During the first quarter of 2022, Netflix recorded a net loss of 200,000 subscribers to its streaming service for the first time in over a decade; however, Netflix remains the leader in SVOD services. According to Parks Associates OTT Tracker data, Netflix has nearly 67 million customers in the United States. The company’s executives claim to have 222 million paying subscribers worldwide, but likely an additional 100 million using a shared password to access the service, is what they estimate.

A comeback plan

To mitigate the revenue loss from this quarter’s decrease in subscriptions, Netflix announced two strategies: focusing on password sharing and launching an AVOD (Advertising-Based-Video-On-Demand) tier service. The account sharing plan that Netflix would let customers to opt-in but is likely a few years away for those in the U.S. An AVOD service lets customers subscribe to an ad-supported version of the service at a lower price point is also planned. Parks Associates’ latest data show that 27 percent of internet households watch ad-based (AVOD or FAST) OTT services. Consumers are enticed by AVOD and FAST services because it allows them to access a massive content library at no extra cost, but it would also allow brands and advertisers to collaborate and capture a sizeable portion of marketing and advertising budgets.

Zoom lost market capitalization

Since the beginning of this year, Zoom has lost about half of its market capitalization—dropping from $54 billion to $27 billion. Zoom became a catchphrase for remote calls as in March 2020 as millions of people were suddenly forced to work from home. Just over two years later, travel restrictions are easing, the tech market is wilting amid rising interest rates, and Zoom’s stock price has fallen to pre-pandemic levels, a sharp decline of 83% from its all-time high in October 2020.

Only 18 of 100 Indian unicorns are profitable

Only 18 of the top 100 unicorns of India are profitable, while the rest are in red. Hospitality brand Oyo, B2B e-commerce platform Udaan and Flipkart (acquired by Walmart) were the top three loss-making unicorns with more than Rs 2,000 crore loss each in FY21. Edtech startup Eruditus was the latest to post losses.

The days of unbridled growth fueled by easy money seems to be over for Indian unicorns. Since the beginning of 2022, at least 5,600 employees of startup companies have been hit by cutbacks, termination of contracts and layoffs. From unicorns such as Unacademy and Vedantu to global tech companies and growth-stage startups such as Furlenco and Trell, the tech industry is going through a period of harsh recoking after the funding bonanza of 2021. The spate of layoffs has forced many to question some of the expansion over the past couple of years. These hirings and expansions appear reckless in hindsight.

Hirings hit

The global tech sector, which boomed during the pandemic, is showing signs of tightening its finances and the move is hitting employees first. Facebook parent company Meta is putting the brakes on hiring and scaling down recruitment plans. Amazon’s CFO told that its warehouses have become “overstaffed,” following large-scale hiring during the lockdowns when consumers flocked to online shopping. Uber’s CEO told staff that the company would “treat hiring as a privilege…”

The Split Verdict on Marital Rape

The Delhi High Court’s divisional Bench on May 11, 2022 delivered a split verdict in the marital rape case regarding the validity of Exception 2 to Section 375 of the Indian Penal Code (IPC). The exception says that a rape charge cannot be filed against a man who has non-consensual sex with his wife. This very exception and its validity were challenged before the Delhi High Court. The judgement of the two judges — Justices Rajiv Shakdher and C Hari Shankar — differed on the matter. While Justice Shakdher struck down the provision as unconstitutional, Justice Shankar upheld it.

“The judgement is problematic on many counts and it is unclear and contradicts itself in some ways. At one place it says that ‘a husband forcing his wife to have sex with him, despite her unwillingness is wrong’ but goes on to say that ‘the man, in such a situation, requests her, on a particular occasion to have sex, he is exercising a right that vests in him by marriage, and requests his wife to discharge an obligation which, too, devolves on her by marriage’. Family and collective decision-making are important across cultures, societies and governments but that cannot circumscribe the rights of individuals. This would leave the socially and economically less powerful vulnerable, which majority of women are in the marital power equation. Bodily autonomy is a human right, and it is the foundation upon which other human rights are built. India signed the CEDAW convention in 1994 under which we have agreed to respect the bodily autonomy of women. It is essential for the prevention of violence against women, and this becomes especially important in a patriarchal society like ours where a large number of women face abuse and violence in the hands of intimate partners,” says Tanushree Bhowmik, domestic violence counsellor and development professional.

India is one of the 36 countries including Pakistan, Afghanistan, Bangladesh, Egypt, Algeria and Botswana that legalises marital rape. According to a study, during the first month of the COVID-19 lockdown in 2020, data revealed an alarming rise in reported cases of domestic violence: women in India were 17 times more likely to be assaulted by their spouses during the lockdown. The National Commission for Women helpline reported that distress calls reporting domestic violence had nearly doubled.

India’s Stand on Marital Rape

India is engaged in a heated debate about whether to make marital rape illegal. Far from criminalising the act, the section of India’s Penal Code on sexual offenses specifically calls out marital rape as “not rape.” It reads, “Sexual intercourse or sexual acts by a man with his wife, the wife not being under fifteen years of age, is not rape.” And yet, we know that “the most common form of violence that women experience is from an intimate partner” and 30 percent of women above age 15 around the world have experienced physical and sexual partner violence. In fact, around the world, the cost to world GDP of deaths due to interpersonal violence is ten times the cost of deaths due to war in a year. And this is not taking into account the personal loss faced by the perpetrators of violence

The exception in the law exists because India is still following the laws made by the British in the 1860s. Although Britain and its former colonies like Australia now have laws criminalising marital rape, India seems to be still stuck in the age-old conservative norms. Over 30% of women in India aged between 18 to 49 reported having experienced spousal violence, as per the latest Indian government’s National Health Family Survey. According to the survey of 724,115 women, an average Indian woman is 17 times more likely to face sexual violence from her husband compared to anyone else. A lot of women endure sexual violence in a marriage. It is already difficult for a woman to be vocal about sexual violence in the marriage. Some of the common reasons are the fear of a downfall in the family’s reputation when reported, an emotional dependency on the abusive partner and social stigma around divorce. Considering how societal sanctions further repress a victim of marital rape, the least that one could expect is for the laws of the nation to provide proper redressal for a victim of sexual abuse in marriage.

“Divorce proceedings lead to lifelong mental suffering on both parties.
Further, it leads to losing a lot of money for the partner paying alimony, matrimony, and child support among others. Irrespective of whether the state and judiciary see marital rape as legal, notwithstanding anything, repeated non-consensual behaviour in a marriage will drive your partner to seek divorce (opt-out) of the situation and they will be well within their rights to claim damages for mental cruelty & harassment,” says Jahnvi Sharma, Advocate Supreme Court of India & Co-founder The Virtual Lawyer.

Mental Health of rape survivors

The National Women’s Study produced dramatic confirmation of the mental health impact of rape. The study determined comparative rates of several mental health problems among rape victims and non-victims. The study ascertained whether rape victims were more likely than non-victims to experience these devastating mental health problems like Post-traumatic Stress Disorder.

The first mental health problem examined was post-traumatic stress disorder (PTSD), an extremely debilitating disorder occurring after a highly disturbing traumatic event, such as military combat or violent crime. The study revealed that almost one-third (31%) of all rape victims developed PTSD sometime during their lifetime, and more than one in ten rape victims (11%) still have PTSD. Rape victims were 6.2 times more likely to develop PTSD than women who had never been victims of crime (31% vs 5%).

Rape victims were 5.5 times more likely to have current PTSD than those who had never been victims of crime (11% Vs 2%).

If we talk about rape, apart from other intricate details what comes into prime focus is ‘consent’ – which is absent. So when a rape survivor comes to me, it doesn’t matter whether she is married or unmarried concerning their traumatising experience. Any act of sexual offence without consent is equivalent to rape if we talk in terms of mental trauma. The psychological impact of sexual abuse & trauma associated with the act of marital rape is comparable to that of any rape victim. It requires similar treatment modalities rather somewhat in a more aggressive manner to heal them mentally as the trauma caused to them is by their intimate partners. So as a psychiatrist, for me, a rape victim has no further categorisation based on his/her marital status. We focus on the impact of an event & try to stabilise them on the severity associated with the same which is comparable in all the scenarios & are alike,” says Dr. Ankita Priydarshini, Psychiatrist.

Irrespective of what the law is today and what it may come to be in the future, marriage and everything that comes with it is a consensual relationship between two people. This includes the sexual relationship they share. No doubt the complete denial of a conjugal relationship in marriage amounts to cruelty for which the relief lies in applying for a divorce. But marital rape and the complete denial of sex by the wife throughout the marriage are distinct from each other.

“Marital rape is even worse than rape by a stranger because your attacker is your life partner. He is someone you put all your faith and trust in. Non-consensual sex is the marking of an abusive marriage which will ultimately lead to the breakdown of the marriage. Subsequently, leading to a divorce. Resulting in the very same thing those who oppose criminalisation of marital rape are trying to prevent – the breakdown of the family unit and marriage as an institution. Moreover, if non-consensual sex is considered acceptable within a marriage, it is time we as a society take a hard look at the foundation of the institution itself because, from this point of view, it seems that it is built on the abuse of one partner at the hands of the other,” says Mannat Kahai Singh, Practicing Advocate at Delhi High Court.

Arjun’s ‘Ghar Wapsi’ In TMC After Three Years

Kolkata: It’s yet another ‘Ghar Wapsi’ for Trinamool Congress with Bharatiya Janata Party’s Member of Parliament from Barrackpore and its vice president Arjun Singh returned to TMC in presence of its national general secretary Abhishek Banerjee.

With the defection of Singh, the total number of BJP MPs came down to 16 from 18. In September last year,  Bollywood singer Babul Supriyo had deserted the saffron camp and left Asansol seat.

Soon after defecting to the TMC, Singh addressed the media and said that his fight is against the poor condition of the jute mill in the state.

“I have learnt that chief minister Mamata Banerjee had written a letter to Prime Minister Narendra Modi in November last year over the poor condition of the jute mills. There were 62 jute mills in the state out of which only 12 mills are operational. With the fight of our chief minister, we have achieved few things and 75 per cent is yet to get about the jute mills from the Central government,” said Singh.

In 2019, before Lok Sabha elections, Singh had joined BJP and won the parliamentary seat.

Joining back to his old party within three years, Singh said that he was with TMC since the party was formed in 1998. He added that due to a certain ‘misunderstanding’ he had defected to BJP.

“Everyone will soon see that the countrywide fight will be led by Mamata Banerjee and keeping her ideology in front we all will fight. I am an organizational person and will look after the organization,” mentioned the Barrackpore MP. He pointed out that he will meet TMC chief whenever she calls him.

Asked whether he will resign from the MP’s post, to which Singh without naming anyone argued that if two BJP leaders who are still TMC MP will resign from their post then within an hour he will put in his papers.

Slamming the Bengal BJP, Singh alleged that BJP in Bengal does politics through social media.

“Elections in Bengal are different in other states. BJP Bengal leaders play politics sitting in AC rooms and on social media. They don’t visit the grassroots. The downfall of the BJP in Bengal has started. If TMC wants, entire BJP Bengal leaders would join the TMC,” claimed Singh.

Significantly, Arjun Singh’s son Pawan is also a legislator from BJP and it will be interesting to watch when he will follow his father’s footsteps.

Countering Singh, BJP’s national vice president Dilip Ghosh said that when BJP became ‘powerful’ in Bengal several leaders from TMC had joined BJP and are now leaving the party as they want to stay close to the ‘power corridor’.

Soon after Singh became vocal against Union Textile Minister Piyush Goyal, the minister had a couple of meeting with Singh and last Thursday the central government revised the price of raw jute.

TMC Jagatdal MLA Somenath Shyam said that those who will understand that Mamata Banerjee is the only alternative in the national politics will join TMC.

“Even Arjun said that Mamata is the only alternative in national politics. We those who are old TMC workers didn’t leave the party and are with TMC, those who went if they want to come back and if Mamata and Abhishek give the clearance then they will be brought back in the party,” said Somenath.

मध्य प्रदेश में भाजपा नेता ने एक बुजुर्ग जैन को मुस्लिम समझ कर मार डाला

भोपाल: मध्यप्रदेश के नीमच में मुसलमान होने के शक में एक मानसिक रुप से बीमार बुज़ुर्ग व्यक्ति की हत्या के मामलें में पुलिस ने भाजपा नेता दिनेश कुशवाह को गिरफ्तार कर लिया है. यह मामला उस समय सामने आया जब बुज़ुर्ग की पिटाई वाला वीडियो वायरल हुआ और उनका शव मिला.
जिस व्यक्ति की पिटाई की जा रही थी वह भंवरलाल जैन थे जो रतलाम के जावरा के रहने वाले थे. वही पिटाई करने वाला व्यक्ति की पहचान दिनेश कुशवाह के रुप में हुई जो भाजपा की एक पूर्व पार्षद का पति है और मनासा का रहने वाला हैं. भंवरलाल जैन का शव मनासा के रामपुरा रोड के किनारे शव 19 मई को मिला था. उनकी उम्र 65 वर्ष बताई जा रही थी.
मारपीट के बाद दिनेश भाग गया था हालांकि बताया जा रहा है कि उसे उम्मीद नही थी कि वह व्यक्ति ख़त्म हो जायेंगा. उसी ने वीडियो को वायरल भी किया था. लेकिन जब पुलिस ने उसका घर तोड़ने की चेतावनी दी तो वो फौरन पुलिस के पास पहुंच गया.
इस मामले में नीमच के पुलिस अधीक्षक सूरज कुमार वर्मा ने बताया कि दिनेश कुशवाह से पूछताछ की जा रही है. उन के ख़िलाफ हत्या का मामला दर्ज किया गया है.
भंवरलाल की लाश मिलने के बाद उसे अज्ञात मान लिया गया था लेकिन उनके परिवार ने वायरल वीडियो से उनकी पहचान कर ली. परिवार के मुताबिक़, भंवरलाल जैन परिवार के साथ राजस्थाकन के चित्तौयड़गढ़ घुमने गए हुए थे लेकिन वो वही पर परिवार से बिछड़ गये.
उनकी गुमशुदगी की रिपोर्ट भी दर्ज करा दी गई थी लेकिन 19 मई को उनकी लाश मिली.
दिनेश कुशवाह ने जो वीडियो वायरल किया था उसमें भंवरलाल को लाल रंग की शर्ट पहने देखा जा सकता है. इस वीडियो में दिनेश भंवरलाल से आधार कार्ड मांगता दिख रहा है और थप्पड़ भी मार रहा है. वो पूछता है कि, “मोहम्मद नाम है?
वीडियो को देखकर साफ प्रतीत हो रहा है कि व्यक्ति की पिटाई इस शक में की जा रही है कि वो व्यक्ति मुसलमान लग रहा है. जबकि भंवरलाल सही तरह से बोल भी नही पा रहे है.
परिवार का दावा है कि भंवरलाल की मौत पीटने से ही हुई है.
जबकि पुलिस अभी भी जांच करने के बाद किसी निष्कर्ष पर पहुंचने की बात कर रही है.
लेकिन इस हत्या के बाद विपक्षी काग्रेंस पार्टी ने भी इस पर सवाल उठाये है.
प्रदेश कांग्रेस अध्यक्ष और पूर्व मुख्यमंत्री कमलनाथ ने ट्वीट कर कहा कि, “ये मध्यप्रदेश में आखिर हो क्या रहा है? कमलनाथ ने कहा कि सिवनी में आदिवासियों की पीट-पीटकर हत्या, गुना, महू, मंडला की घटनाएं और अब प्रदेश के नीमच जिले के मनासा में एक बुजुर्ग की पीट-पीटकर हत्या. जिनका नाम भंवरलाल जैन बताया जा रहा है. कमलनाथ ने कहा कि सिवनी की तरह यहां भी आरोपी का जुड़ाव भाजपा से होना सामने आ रहा है. प्रदेश की कानून व्यवस्था आखिर क्या है? कब तक लोगों को यूं ही मारा जाता रहेगा? अपराधियों के हौसले इतने बुलंद क्यों हैं? सरकार का ध्यान तो सिर्फ इवेंट में है?”
वही गृह मंत्री नरोत्तम मिश्रा ने कहा, “बुज़ुर्ग व्यक्ति ठीक से जवाब नही दे पाए, इसलिये उनके साथ मारपीट की गई.”
वही स्थानीय लोग मांग कर रहे है कि आरोपी का घर तोड़ा जाए. लेकिन इस पूरे मामलें में ऐसा प्रतीत हो रहा है कि प्रशासन आरोपी के घर को बचाना चाहती है. जब बुलडोज़र घर तोड़ने के लिये पहुंचा तो बताया गया कि वह पिता के नाम पर होने की वजह से तोड़ा नही गया लेकिन दूसरे मामलों में आरोपी के नाम पर न होने पर भी प्रशासन ने बगैर किसी बात को सुने मकान को ढहा दिया है.
इससे पहले डिंडौरी ज़िले में आसिफ नाम के एक युवक पर आरोप लगा कि उसने साक्षी का अपहरण कर लिया है. लेकिन दोनों ही अपनी मर्जी से गये थे और मामला जब हाईकोर्ट में पहुंचा तो कोर्ट ने उन्हें सुरक्षा देने की बात कही. लेकिन उससे पहले ही आसिफ के पिता के मकान और दुकान को अवैध बता कर ढ़हा दिया गया. उसमें आसिफ का नाम कहीं भी नही था. लेकिन उसके बाद भी प्रशासन ने उनकी कोई बात नही सुनी. इस तरह के कई मामलें मध्यप्रदेश में आ चुके है जब प्रशासन ने बिना किसी ख़ास वजह के मुसलमानों के घरों को तोड़ दिया है.

বিদ্রোহী চলচ্চিত্র নির্মাতার কথা মনে পড়ছে

তার তেরো পর্বের টেলিফিল্ম, কিতনে পাস কিতনে ডোর-এর শুটিং চলাকালীন, মৃণাল সেন বলেছিলেন যে তিনি আবিষ্কার করেছিলেন যে টেলিভিশনের ভাষা সিনেমার থেকে আলাদা। প্রকৃতপক্ষে, তিনি বলেছিলেন যে টেলিভিশনের সীমাবদ্ধতা রয়েছে তবে এটি নিয়ে পরীক্ষা করা একটি আকর্ষণীয় অভিজ্ঞতা ছিল।

সত্যজিৎ রায় এবং ঋত্বিক ঘটকের সাথে, মৃণাল সেন ভারতীয় চলচ্চিত্রের গ্র্যান্ড ত্রয়ী গঠন করেছিলেন। একসাথে তারা দেশের আন্তর্জাতিক প্রশংসা এনেছে যা এখন আর কোন চলচ্চিত্র নির্মাতা করতে পারেনি। মৃণাল সেন সত্যজিৎ রায়ের মতো বহুমুখী প্রতিভার অধিকারী ছিলেন না বা তাঁর চলচ্চিত্রগুলো ঋত্বিক ঘটকের সিনেমার মতো আমাদের দেশভাগের যন্ত্রণায় ভেজা ছিল না।

তবুও উস্তাদ তার বিখ্যাত প্রতিযোগীদের তুলনায় তার নিজস্ব ক্ষমতা ধরে রেখেছিলেন। তাঁর চলচ্চিত্র ভারতীয় শহুরে ও গ্রামীণ মূল্যবোধের মধ্যে সত্যিকারের ভারসাম্য বজায় রেখেছিল। আদর্শের দ্বারা একজন সমাজবাদী, মৃণাল সেন বাংলার রাজনৈতিক মানসিকতায় প্রবেশ করেছিলেন এবং এমন একটি বাস্তবতার সেলুলয়েড চিত্র তৈরি করেছিলেন যা অনেকেই চিত্রিত করতে ভয় পান। তিনি বাণিজ্যিক সিনেমার হ্যাকনিড ফর্মের বিরুদ্ধে বিদ্রোহ করেছিলেন যা তিনি ভয়ঙ্কর বলে মনে করেছিলেন।

মৃণাল সেনের আকাশ কুসুমে ফ্রিজ এবং জুম শট ব্যবহার করে গোবিন্দ নিহালানি এখনও বিস্মিত। মৃণাল সেনের কলকাতা ট্রিলজি, কলকাতা 71, পদাতিক এবং সাক্ষাৎকারে আদুর গোপালকৃষ্ণ বাংলার অস্থির রাজনৈতিক দৃশ্যপটকে খুব ভালোভাবে মনে রেখেছেন। Padatik-এর চমৎকার মন্টেজ রয়েছে কালো এবং সাদা রঙে প্রসাইক আকারে তৈরি। Calcutta 71-এর জাম্প কাটগুলি নির্দিষ্ট কিছু দৃশ্যে মাইম অভিনয়ের সাথে মিশে যাওয়া দিকনির্দেশনার একটি পাঠ হিসেবে রয়ে গেছে। সামন্ততান্ত্রিক সমাজের আন্ডারকারেন্ট যা মরণশীল হতে শুরু করে তা ভাওয়ান সোমে উল্লেখযোগ্যভাবে আলোচনা করা হয়েছে।

 

Filmmaker mrinal sen bengali cinema
কিংবদন্তি চলচ্চিত্র নির্মাতা মৃণাল সেন তার ছবির ফ্রেম নিয়ে | সৌজন্যে: শিবেন্দ্র সিং দুঙ্গারপুর, ফিল্ম হেরিটেজ ফাউন্ডেশন

মৃণাল সেন কানে পুরস্কার জিতেছেন এবং চলচ্চিত্র উৎসবের মক্কায় জুরি সদস্য হিসেবেও কাজ করেছেন। তিনি কানকে তার দ্বিতীয় বাড়ি বলে অভিহিত করেছিলেন। তার জীবদ্দশায় তিনি স্নেহের সাথে আকিরা কুরাসাওয়া, রিচার্ড অ্যাটেনবরো এবং জিন লুক গডার্ডের সাথে তার মিথস্ক্রিয়া স্মরণ করেছিলেন। তিনি তার চলচ্চিত্র নির্মাণ শৈলীতে গডার্ডের প্রভাব স্বীকার করেছেন।

রঙ, আলো-ছায়া এবং কাব্যিক ছবি নিয়ে খেলা খান্দাহারকে সমৃদ্ধ করেছে। দারিদ্র্যের যন্ত্রণা আকালের সন্ধানে প্রায় দুর্ভিক্ষের মতো পরিস্থিতির সময় তাদের গ্রামে একটি চলচ্চিত্রের শুটিং দেখে মানুষ আশ্চর্য হয়ে যায় এখনও কোনও সহকর্মী নেই। মৃণাল সেনের অনুরোধের পর, পরিচালক রাজেন তরফদারের স্ত্রী আকালের সন্ধ্যায় অভিনয় করতে রাজেন তরফদারকে রাজি করান। রাজেন তরফদার একজন স্বনামধন্য পরিচালক হয়ে আজীবন অভিনয় দিয়েছিলেন।

মৃণাল সেনের ফিল্ম কেরিয়ারের জন্য এটি একটি কেকওয়াক ছিল না। তার পরিচালনায় অভিষেক, উত্তম কুমার অভিনীত রাত ভড় ছিল একটি স্যাঁতসেঁতে স্কুইব। যদিও নীল আকাশের নিচে এবং বাইশে শ্রাবণ তার খ্যাতি অর্জন করেছিলেন, তবে তিনি ভুবন সোমের মাধ্যমে আন্তর্জাতিকভাবে বিখ্যাত হয়েছিলেন।

গৌতম ঘোষ বলেছেন যে মৃণাল সেন অজয় করের কাঞ্চ কাটা হীরার মতো পরিচালকদের জন্য স্ক্রিপ্ট লিখতে বাধ্য হয়েছিলেন। তিনি তার কলকাতা ট্রিলজি দিয়ে বিখ্যাত না হওয়া পর্যন্ত একটি শালীন জীবনযাপনের জন্য জোরা দীঘির চৌধুরী পরিবার লিখেছিলেন এবং তাকে আর ফিরে তাকাতে হয়নি।

কৌশিক গাঙ্গুলি, আধুনিক সময়ের স্বনামধন্য বাংলা চলচ্চিত্র পরিচালক স্বীকার করেছেন যে তিনি মৃণাল সেনের কাজ দ্বারা গভীরভাবে প্রভাবিত হয়েছিলেন এবং বর্তমানে একই কাস্ট, অঞ্জন দত্ত এবং মমতা শঙ্করের সাথে কিংবদন্তীর খারিজের একটি সিক্যুয়েল পরিচালনা করছেন৷

কার্ল মার্কস, ফ্রেডেরিক এঞ্জেলেস, রবীন্দ্রনাথ ঠাকুর এবং মুন্সি প্রেমচাঁদের একজন আগ্রহী পাঠক, মৃণাল সেন সর্বদাই একজন নিম্নমানের এবং স্নেহময় ব্যক্তি ছিলেন। সত্যজিৎ রায়ের মতো, তিনি মিডিয়ার একটি বড় অংশকে এড়িয়ে গেছেন যা গ্ল্যামারে আঘাত করেছিল। চার্লস চ্যাপলিনের প্রতি তাঁর বাণীটি একটি বই আকারে ছিল যা তিনি দুর্দান্তভাবে লিখেছেন।

মৃণাল সেন সর্বদা স্বীকার করেছেন যে তাঁর সঙ্গীত বোধ সত্যজিৎ রায়ের মতো ভালো ছিল না। তার নীল আকাশের নিচের অবিস্মরণীয় শিরোনাম গানের কথা বলতে গিয়ে, তিনি হেসে বলেছিলেন যে হেমন্ত মুখার্জি এমনভাবে সংখ্যাগুলিকে রেন্ডার করেছেন যা তার দর্শনকে প্রতিফলিত করে। মৃণাল সেন দৃঢ়ভাবে বিশ্বাস করতেন যে নীল আকাশের নীচে দুঃখ নিয়ে বসবাসকারী অগণিত মানুষ তাদের চোখের জল মুছে দেবে এবং হাসবে যেদিন একটি শ্রেণীহীন সমাজের জন্ম হবে।

Remembering The Rebel Filmmaker

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During the shooting of his thirteen-episode telefilm, Kitne Paas Kitne Door, Mrinal Sen said he discovered that the language of television was different from that of cinema. In fact, he stated that television had its limitations but it was an interesting experience to experiment with it.

Along with Satyajit Ray and Ritwik Ghatak, Mrinal Sen formed the grand trio of Indian cinema. Together they brought international acclaim to the country which no other filmmaker has now been able to. Mrinal Sen was neither versatile like Satyajit Ray nor were his films drenched in the pathos of our partition like the cinema of Ritwik Ghatak.

Yet the maestro held his own sway in comparison to his illustrious competitors. His films maintained a true balance between Indian urban and rural values. A socialist by ideology, Mrinal Sen delved into Bengal’s political psyche and created celluloid images of a reality many were afraid to portray. He rebelled against hackneyed forms of commercial cinema which he considered trepid.

Govind Nihalani still marvels at the use of freeze and zoom shots in Mrinal Sen’s Akash Kusum. Adur Gopalkrioshan fondly remembers the restless political scenario of Bengal so perfectly highlighted in Mrinal Sen’s Kolkata Trilogy, Calcutta 71, Padatik and Interview. Padatik has excellent montages created in black and white in prosaic form. The jump cuts of Calcutta 71 mingled with mime acting in certain scenes remain a lesson in direction. The undercurrent of a feudal society that starts getting moribund is remarkably discussed in Bhvan Some.

 

Filmmaker mrinal sen bengali cinema
The legendary filmmaker Mrinal Sen with his photo frame | Courtesy: Shivendra Singh Dungarpur, Film Heritage Foundation

Mrinal Sen won awards at Cannes and also served as a jury member in the Mecca of film festivals. He termed Cannes his second home. During his lifetime he affectionately recollected his interactions with Akira Kurasawa, Richard Attenborough and Jean Luc Goddard. He confessed to the influence of Goddard on his filmmaking style.

Playing with colors, light and shade and poetic images enriched Khandahar. The agony of poverty struck people awed to see the shooting of a film in their village during an almost famine-like situation in Akaler Sandhane still has no peers. After Mrinal Sen’s requests, director Rajen Tarafdar’s wife convinced the latter to act in Akaler Sandhane. Rajen Tarafdar gave a lifetime’s performance, being a reputed director himself. 

It was not a cakewalk for Mrinal Sen in his film career. His directorial debut, Raat Bhor starring Uttam Kumar was a damp squib. Though Neel Akasher Niche and Baishe Sraban earned his fame, he became internationally famous with Bhuvan Some.

Goutam Ghose says that Mrinal Sen was compelled to write scripts for directors like Ajay Kar’s Kanch Kata Heera. He also wrote Jora Dighir Chowdhuryr Paribar to earn a decent living till he became famous with his Calcutta Trilogy and there was no looking back for him. 

Kaushik Ganguly, modern-day reputed Bengali film director admits he was deeply impressed by Mrinal Sen’s work and is currently directing a sequel to the legend’s Kharij with the same cast, Anjan Dutta and Mamata Shankar.

An avid reader of Karl Marx, Frederick Angeles, Rabindranath Tagore and Munshi Premchand, Mrinal Sen was always a down-to-earth and affectionate person. Like Satyajit Ray, he avoided a large section of the media that was glamour struck. His ode to Charles Chaplin was in the form of a book penned by him brilliantly.

Mrinal Sen always confessed his sense of music was not as good as Satyajit Ray’s. Speaking about the unforgettable title song of his Neel Akasher Niche, he smiled and said the Hemanta Mukherjee rendered numbers in a way that reflected his philosophy. Mrinal Sen strongly believed countless people living with sorrows under the blue sky would wipe their tears and smile on the day a classless society would be born.