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Rohit-Rahul show squashes Afghanistan to bring smile on millions of Team India fans before Diwali

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Mumbai: It’s adverse situations that test the true character of a team in sports. After being outplayed by Pakistan and New Zealand in the last two matches, India crushed Afghanistan and showcased why they are the powerhouse in the world of cricket. In a crunch, ‘do or die’ game, India came up with a clinical, almost flawless performance that outclassed Afghanistan in all three departments. As they played in the dominant fashion that fans expect of them, India kept their slim hopes of reaching the T20 World Cup semi-finals alive. For a cricket-crazy nation, there was finally something to cheer on the eve of Diwali as the Indian stars set up a sparkling show, especially with the bat.

The turnaround in fortunes came with getting the team combination right. Though Virat’s horrendous luck with the toss continued, things looked a lot better as India finally got Ashwin into the playing XI and found a more balanced side for the game. It reflected a change in mindset and with Suryakumar Yadav also coming back in place of Ishan Kishan, the batting looked stronger.

It is well-known that Indian batting is top-heavy, relies a lot on the ‘Top 3’ to build a solid foundation, and then goes berserk in the latter part of the innings. Hitman Rohit Sharma and fast-improving KL Rahul came up with a tremendous opening partnership. Their flop show in previous matches had triggered Indian defeats. This time the duo made amends and showed great intent right from the first over. The one important factor that India had missed in the tournament so far was a regular rotation of strikes but this time both the openers looked busy, keeping the dot balls to a minimum.

Once the foundation was laid with a steady start, Rohit cut loose with a flurry of boundaries. Since 2017, Rohit has hit 15 T20 international 50s – and India has won all of those matches. With their sparkling 140 run stand, Rohit (74) and Rahul (69) had virtually deflated the opposition morale.

After the openers got out, it was the ‘Pant and Pandya’ show who were promoted ahead of Virat Kohli. As the Captain watched from the pavilion, the two young hitters lit up the Indian innings with power hitting of the highest quality. The left-hand right-hand combination took India to a dominant 210/2 – the highest score of this World Cup.

Given the daunting target, Afghanistan crumbled under pressure. Fittingly, it was Shami who got India its first breakthrough and as Bumrah picked up the second wicket, Afghanistan was decisively pegged back. Ashwin, who was playing in the shorter format after a long gap, tightened the noose and picked up 2 for 14 in his 4 overs and showed exactly what India had been missing. By bringing in Ashwin, an acknowledgement was made that the think-tank is open to rectifying its faults. It’s the flexibility of mind that is much needed in the dynamic T20 format.

Why Ash was kept out on wickets where all quality spinners were succeeding is a million-dollar question. Was the blunder based on any cricketing logic? Was it Kohli-Shastri bias that kept India’s top spinner out as in the England trip? These questions will continue to haunt India as the fear of elimination before the semi-finals still loom large.

While Bumrah’s bowling was penetrative even in the 2 matches India lost, it was most heartening to see Shami’s return to form. As he picked three wickets, he seemed to be getting back into rhythm, something that was missing especially after the Pakistan batsmen tore his bowling apart. As that was followed by a psychological battering which he suffered through the shameful, hate-filled trolling on social media, Shami looked shaky against the Kiwis. But before Afghanistan, his spell was sharp and incisive and is likely to do wonders for his confidence.

It was a comprehensive victory in the end and there is now a chance to sneak past both Afghanistan and New Zealand on net run rate. But India leaked runs at the end to shorten their winning margin which still points to the need for further balancing the playing 11. With Hardik back to bowling, Shardul can be axed to make way for a spinner – either Varun Chakravarthy or Rahul Chahar. Given that most wickets are playing low and slow aiding spinners, it’s time to have 3 spinners.

Despite the big win, India may still not be able to get to the semi-finals. Ironically, they need a miracle from the team they have just beaten. If Afghanistan can surprise New Zealand only then can India squeeze through. But that is a long shot. However, India’s class is obvious in the one-sided way they crushed Afghanistan – a team that ran table-toppers Pakistan quite close in their game.

For the moment, Team India has given something for the nation to cheer on Diwali. Had they sparkled a little earlier, the road to glory in the World Cup would have been easily lit up. As things stand, Cricket lovers in India will be praying overtime on Diwali for a miracle to keep their team alive in the competition.

ভারতীয় সিনেমা কেন অস্কার মিস করে?

কলকাতা: ভারত থেকে অস্কারের জন্য সেরা বিদেশী ভাষার চলচ্চিত্রের সর্বশেষ এন্ট্রি হল পিএস বিনোফরাজ পরিচালিত কুজহাঙ্গাল। কলকাতার বিজলি সিনেমায় বেশ কয়েকটি ছবি দেখার পর বিশিষ্ট চলচ্চিত্র নির্মাতা শাহজি প্রিরাভি করুণের সভাপতিত্বে জুরি সর্বসম্মতিক্রমে এই সিদ্ধান্ত নেন। কুজাঙ্গাল নিয়ে উচ্চ আশা জাগানো হয়েছে। তবুও অস্কার জিতবে কি না তা নিয়ে গভীর সন্দেহ রয়েছে।

সন্দীপ রায় বলেছেন, “আমি পিএস বিনোফরাজকে অভিনন্দন জানাই। তার চলচ্চিত্রটি অস্কারের জন্য ভারতের প্রবেশ। যাইহোক, অস্কারে পুরস্কারের বিচারের পদ্ধতি ভারতীয় মানদণ্ডের তুলনায় খুব আলাদা। বিষয়বস্তু, সিনেমার ভাষা এবং উপস্থাপনার বোঝাপড়া অস্কারে উচ্চতর এবং উচ্চতর কারণ তাদের আন্তর্জাতিকভাবে প্রশংসিত আইনবিদ রয়েছে।”

মাত্র দুটি ভারতীয় ছবি মাদার ইন্ডিয়া এবং লাগান অস্কার জয়ের কাছাকাছি এসেছিল। তারা মাত্র কয়েক পয়েন্টের ব্যবধানে কাঙ্ক্ষিত পুরস্কার মিস করেছে। দুটি ছবিই বিষয়বস্তু, সিনেমাটিক এবং নির্মাণ মূল্যে সমৃদ্ধ ছিল। তাহলে ভারতীয় চলচ্চিত্রগুলিকে অস্কার জিততে বাধা দেয় কী? আদুর গোপালকৃষ্ণ মন্তব্য করেছেন, “সাধারণত, ভারতীয় সিনেমা বক্স অফিসের উপাদান দিয়ে বিনোদনের ব্যবস্থা করে। চলচ্চিত্রে এই ধরনের ইনপুট আন্তর্জাতিক পরিস্থিতিতে অবাঞ্ছিত। এটা আমার কাছে আশ্চর্যজনক মনে হচ্ছে যে সত্যজিৎ রায় পরিচালিত একটি সিনেমাও অস্কার জিততে পারেনি।”

ভারতীয় সিনেমার তিনটি শ্রেণীবিভাগ আছে। শিল্প, মধ্যম এবং মূলধারা বা বাণিজ্যিক সিনেমা। অস্কারে সিনেমার জন্য এই ধরনের কোনো শ্রেণীবিভাগ নেই। এক দশক আগে সোফিয়া লরেন একটি সাক্ষাত্কারের সময় আমাকে স্বীকার করেছিলেন, “আমি অপু ট্রিলজি, দেবী এবং চারুলতার মতো ভারতীয় চলচ্চিত্রগুলি দেখে অবাক হয়েছি যা আমি আন্তর্জাতিক চলচ্চিত্র উত্সবে দেখেছি। হলিউড বা ইউরোপীয় ক্লাসিকের তুলনায় তারা কম চমৎকার নয়।

অস্কারের মনোনয়ন পেতে বিদেশী চলচ্চিত্রের জন্য প্রচুর লবিং, জনসংযোগ অনুশীলন এবং প্রচারমূলক কার্যকলাপের প্রয়োজন হয়। গাইড এবং আখেরি খাটের মতো উজ্জ্বল চলচ্চিত্রগুলি অস্কারে জায়গা করে নিতে পারেনি কারণ তাদের অস্কারে প্রচারের জন্য প্রয়োজনীয় আর্থিক সহায়তার অভাব ছিল। চেতন আনন্দ 1996 সালে আমার কাছে দুঃখ প্রকাশ করেছিলেন, “আখেরি খাতের পরে আমি ভারত সরকারের কাছ থেকে কোনও সমর্থন পাইনি এবং অস্কারে প্রতিযোগিতার জন্য চলচ্চিত্রটি বিচার করার জন্যও সময়মতো পৌঁছায়নি। আমরা হাউ গ্রিন ওয়াজ মাই ভ্যালি বা বেন হুরের মতো মাস্টারপিস তৈরি করি না তবে আমাদের কিছু চলচ্চিত্র সত্যিই স্মরণীয়।”

সমস্ত ন্যায্যতার দিক থেকে, লাগান মাদার ইন্ডিয়া, কাগজ কে ফুল বা গাইডের কাছাকাছি কোথাও সিনেমাটিক উজ্জ্বলতার পরিপ্রেক্ষিতে আসে না। তবুও, অনেক প্রচারমূলক কার্যকলাপ লাগানকে অস্কার জয়ের কাছাকাছি আসতে সাহায্য করেছিল। এটা শেষ পর্যন্ত ষাঁড়ের চোখ মিস. গুলজার একবার বলেছিলেন, “ইউরোপীয় এবং আমেরিকান সিনেমার অনুভূতি এবং যুক্তি আমাদের থেকে আলাদা এবং সংযমের মূল্যবোধের উপর ভিত্তি করে। আমাদের অনেক ছবিতে, আমরা খুব নাটকীয় হয়ে উঠি। এটি সিনেমাগতভাবে সঠিক নয়।” অস্কার জেতার দিক থেকে ভারতীয় সিনেমা অনেকটাই পিছিয়ে। তবুও আশা হারানো উচিত নয়।

বিনোদন সেক্টর থেকে আসা ভারতীয় চলচ্চিত্রগুলির লোভনীয় আন্তর্জাতিক পুরস্কার জেতার সম্ভাবনা কমই থাকে। তারা প্রধানত এমন একটি শ্রোতাকে পূরণ করে যা চিন্তার বিভাগগুলির মোটেই নয়। ভারতীয় আর্ট হাউস সিনেমা ব্যাপকভাবে অসুস্থ। বুদ্ধিমত্তা এবং গতিশক্তির মিশ্রণ ভারতীয় চলচ্চিত্রে বড় আকারে দেখা যায় না। যখন এটি সঠিক মাত্রায় করা হয় তখন ভারতীয় সিনেমা আন্তর্জাতিক অঙ্গনে আরও ভাল সুযোগ দাঁড়ায়। সত্যজিৎ রায় যথার্থই উল্লেখ করেছেন, “মডার্ন টাইমসের সামাজিক উদ্বেগ এবং যুক্তি সহ লরেন্স অফ অ্যারাবিয়া-এর দর্শন ভারতীয় চলচ্চিত্রে আবদ্ধ হওয়া উচিত।”

Why Indian Cinema Misses Oscars

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Kolkata: The latest entry for Best Foreign Language Film for Oscars from India is Koozhangal directed by PS Vinophraj. The jury chaired by eminent filmmaker Shahji Priravi Karun unanimously decided on this after viewing several films at Bijoli Cinema, Kolkata. High hopes have been pinned on Koozhangal. Yet there is a grave doubt whether it will win an Oscar.

Says Sandip Ray, “I congratulate PS Vinophraj. His film is India’s entry for the Oscars. However, the procedure of judgment for awards at the Oscars is very different compared to Indian standards. The understanding of content, cinematic language and presentation are higher and superior at the Oscars as they have internationally acclaimed jurists.”

Only two Indian films Mother India and Lagaan came close to winning Oscars. They missed the coveted award by just a few points. Both the films were rich in content, cinematic and production values. Then what’s it that prevents Indian films from winning Oscars? Adur Gopalkrishan comments, “In general, Indian cinema caters to entertainment with box office ingredients. Such inputs in films are unwanted in the international scenario. It appears strange to me that not even a single movie directed by Satyajit Ray ever won an Oscar.”

Indian cinema has three classifications. Art, middle and mainstream or commercial cinema. There are no such categorizations for cinema at the Oscars. A decade ago Sophia Loren confessed to me during an interview, “I marveled at Indian films like Apu Trilogy, Devi and Charulata which I viewed at international film festivals. They are no less excellent, compared to Hollywood or European classics.”

A lot of lobbying, public relations exercises and promotional activities are required for foreign films to receive Oscar nominations. Brilliant films like Guide and Aakhri Khat could not make it to the Oscars as they lacked the financial support required for promotions at the Oscars. Chetan Anand lamented to me in 1996, ”I did not receive any support from the Indian Government after Aakhri Khat and the film did not even reach in time to be judged for competitions at the Oscars. We do not make masterpieces like How Green Was My Valley or Ben Hur but some of our films are truly memorable.”

In all fairness, Lagaan does not come anywhere near Mother India, Kagaz Ke Phool or Guide in terms of cinematic brilliance. Still, a lot of promotional activities helped Lagaan to come near winning an Oscar. It eventually missed the bull’s eye. Gulzar once stated, “The sentiments and reasoning in European and American cinema are different to ours and are based on values of restraint. In many of our films, we tend to become too dramatic. It is not cinematically correct.” Indian cinema is way behind from winning an Oscar. Yet one should never lose hope.

Indian films which are from the entertainment sector hardly have any chances of winning coveted international awards. They mainly cater to an audience that is not at all of the thinking categories. Indian art house cinema is morbid at large. The mingling of intelligence and kinetic force are not visualized at large in Indian films. When this is done with proper doses Indian cinema stands a better chance in the international arena. As Satyajit Ray rightly pointed out, “The social concern of Modern Times and the spectacle of Lawrence of Arabia with reason should be imbibed in Indian films.”

Cluttered mindset brings Team India’s downfall again, Kiwis crush Men in Blue

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Mumbai: “It’s a lack of clarity that creates chaos and frustration. Those emotions are poison to any living goal,” says Steve Maraboli, the well-known Behavioural Scientist. The insipid approach by India against New Zealand reflected the truth of Maraboli’s thought as one of the cricket world’s top teams betrayed signs of a huge dent in confidence and psychological scarring from the Pakistan loss. The shadow of that crushing defeat hung heavy over India’s entire performance against the Kiwis as they looked shaky from the very start. The way India went about their game showed little planning or imagination and even Virat was compelled to term the day’s performance as “bizarre” and admit that his batsmen were in two minds while looking to accelerate and post a decent total.

The unlucky streak with tosses continued for Kohli but while that is beyond anyone’s control, the team selection seemed strange, to say the least. Inexplicably, Ashwin was left out once again as Shardul Thakur came in place of Bhuvaneshwar Kumar. The other change was a forced one, that of Ishan Kishan in place of Suryakumar who was out with a back spasm. India was put in to bat by New Zealand captain Kane Williamson. But it wasn’t the usual duo of Rohit and Rahul but Rahul-Kishan who came in to open the batting. This was the first sign that India was playing with a defensive mindset and looking to protect their premier batsman from the left-arm swing of Trent Boult.

India needed a strong performance from their top order but this is where it all looked so unplanned as each of the batters went out trying to hit big shots on a slow wicket where the ball was hardly coming on for free stroke-play. What was needed was a careful approach, a willingness to graft for singles and twos – not big shots. In the latter part of the match, Kane Williamson demonstrated just that and calmly took his side to a win. In stark contrast, all Indian batsmen – from Ishan Kishan to KL Rahul and from Rohit Sharma to Virat Kohli – fell in going for big, blazing shots as each one was caught on the boundary.  

With a paltry 111 as a target, India needed to be bold and brave. If New Zealand were to bat 20 overs, it was game over. Getting a few quick wickets at the start was the only way of pulling off a miracle win. For that setting aggressive fields in search of early wickets were needed but Kohli & Co. seemed unimaginative. There were no slips and even at the end when India should have at least tried to slow the Kiwis down to keep their net run rate in check, the field was wide open for them to pick easy runs.

While the terrible flop in the batting department has been heavily criticised, the bowling has largely attracted less blame. For sure, the Indian bowlers haven’t had big targets to defend but the way they have bowled, even a bigger target wouldn’t have helped their cause. Both against Pakistan and New Zealand, barring Jasprit Bumrah, all bowlers were out of sorts and none were penetrative in their spells.

This is precisely why questions need to be raised over poor team selection. Keeping Ashwin out, India’s best spinner is a big mystery. Especially when all quality spinners, from Rashid Khan of Afghanistan to Adil Rashid for England, have shown that these pitches aid spin bowling in multiple ways. Having Ashwin benched shows an indecisiveness in the think tank – first picking him in the squad and now not playing him! This muddled thinking has reared itself at many stages in the last two matches. The batting roles are not clearly defined and have now left fans wondering about India’s fate in this tournament. Just like the batsmen haven’t been clear whether to attack or consolidate, the bowlers have not been flexible with their lengths nor clever in crafting their overs to deceive opposition batters at any stage.

The pathetic show in the first two matches also reflects possible fatigue with bio bubbles for Indian players. There is little doubt about the talent and potential this team possesses but the hunger has been glaringly missing. BCCI needs to look at schedules more carefully and selectors need to be aware of workload issues. It is not physical fitness alone but mental fitness too that is getting tested the most in these vulnerable times.

Another important factor that has pushed the Indian team close to the bottom of their group table has been their overconfidence. India had an easier group to contend with and since the team has been performing well over the last few months, it was a given that they would be able to qualify easily for the semis. Hardik Pandya before the Pakistan game had even said that he will save his bowling till the deep end of the tournament. The statement reflected the mood in the Indian camp that qualifying in the top two from the group was a given for them. Now, that overconfidence has come to bite them as they were swatted by Pakistan and shoved away by New Zealand. The team has been shaken by their performance and as such looks cluttered in its mindset.

Unfortunately, they now have to hope for other teams to come to their rescue and give them any hope of going further in this edition of World T20. This was a crucial clash as both sides were playing after losing to Pakistan in their earlier matches. While New Zealand has rapidly recovered from the defeat in their encounter with Pakistan, the Indians seem to have been shell-shocked by their first-ever loss to their traditional rivals in a World Cup. Given the psychological blow that India received at the hands of Pakistan, the Kiwis have now delivered a virtual knock-out punch that may send India packing out of a tournament which many tipped them to win.

Facebook must stop facilitating India’s genocidal rhetoric against minorities: Indian Americans

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Washington, DC/Kolkata: Whistleblower Frances Haugen, a former Facebook product manager, has exposed the company’s failure to curb hate speech, which has led to societal division and violence against vulnerable populations in multiple countries, including India. Within Facebook groups and WhatsApp chats, most instances of fake news, fear-mongering propaganda, lynching videos, gory images, and hateful content are freely circulated with no pushback.

The Indian American Muslim Council issued a press communique and called on Facebook to take immediate action against India’s hate speech epidemic, which has directly led to violence in the past and will continue to have deadly consequences if left unchecked.

India is Facebook’s largest market, with 340 million active users, and yet the company allocates only scant time and resources towards monitoring India-specific hate speech and fake news. As a result, such content has resulted in real-life consequences for minorities in India, especially Muslims.

The Wall Street Journal reports that “inflammatory content on Facebook spiked 300% above previous levels at times during the months following December 2019, a period in which religious protests swept India.”

The statement further said that the sheer volume of anti-Muslim hate speech culminated in the 2020 Delhi pogroms, according to a report reviewed by the Wall Street Journal. “Rumors and calls to violence” were spread widely in the lead up to the clashes, which left 53 dead. The majority of the victims were Muslims, beaten and lynched at the hands of Hindu supremacist mobs.

According to Haugen, Indian Facebook is awash with “dehumanizing posts comparing Muslims to ‘pigs’ and ‘dogs’ and misinformation claiming the Quran calls for men to rape their female family members.” Rumors that “Hindus are in danger” are common, padded by unfounded claims that Muslims were responsible for the spread of Covid-19, that Muslim men have an agenda to seduce and convert Hindu women to Islam, and that Muslims are generally anti-nationals who hate all Hindus.

“Facebook’s continued dereliction of duty in the face of mounting evidence of how its platform is enabling violence and genocide, is an alarm bell for all who care about human rights and democracy,” said Rasheed Ahmed, Executive Editor of IAMC. “As Facebook has failed to clean house despite multiple exposes, it is time for regulators to step in.”

This report is consistent with criticisms human rights organizations have made of India since the election of Prime Minister Narendra Modi in 2014.

John Sifton, Asia Advocacy Director for Human Rights Watch, writes: “This divisive political discourse has served to normalize violence against minorities, especially Muslims, in India. Prejudices embedded in the government have infiltrated independent institutions, such as the police, empowering nationalist groups to threaten, harass, and attack religious minorities with impunity.”

This rhetoric trickles down from some of the most powerful figureheads of the Indian government, which in turn normalizes extremism among the general population. A leaked document shows that the Bharatiya Janata Party (BJP), the ideological offspring of the RSS and the party of Narendra Modi, encourages the use of multiple accounts under a single user, which aids in the spread of propaganda.

The Bajrang Dal, a Hindu extremist group with links to the BJP, frequently posts anti-Muslim hate speech on the platform. The Rashtriya Swayamsevak Sangh (RSS), the umbrella organization of the Hindu supremacist movement, was specifically called out by Hagen for promoting “fear mongering” and “anti-Muslim narratives,” and targeting propaganda towards “pro-Hindu populations with V&I (violent and incendiary) intent.”

Facebook’s failures in India mirror its deadly role in the ethnic cleansing of Rohingya Muslims in Myanmar. If left unchecked, India’s hate speech problem could likely culminate in a similar genocide, read the press statement.

অসিত সেন জন্মশতবর্ষ: একটি অলক্ষিত এক

কলকাতা: ভারতীয় চলচ্চিত্রের আন্তর্জাতিকভাবে বিখ্যাত ত্রয়ী, রায়, ঘটক এবং সেনের পরে, তপন সিনহা, অজয় ​​কর এবং অসিত সেন ছিলেন পরিচালক যারা বাংলা চলচ্চিত্রের বিকাশে উল্লেখযোগ্য অবদান রেখেছিলেন। অসিত সেন হলিউড এবং ব্রিটিশ সিনেমা দ্বারা প্রভাবিত ছিলেন। তিনি অবশ্যই শব্দটির প্রকৃত অর্থে আর্ট-হাউস চলচ্চিত্র নির্মাতা ছিলেন না। তবুও তার পরিচালনামূলক উদ্যোগ যেমন চালচলন, আগুন, দীপ জ্বলে যায়, উত্তর ফাল্গুনী এবং জীবন তৃষ্ণা চিরসবুজ চলচ্চিত্র।

90-এর দশকের মাঝামাঝি, অসিতদা আমাকে একটি সাক্ষাত্কারের সময় বলেছিলেন, “আমি সাহিত্য-ভিত্তিক থিম বেছে নিয়েছিলাম কারণ সেলুলয়েডে সাহিত্য অনুবাদ করা আমার জন্য একটি চ্যালেঞ্জ ছিল। আমার প্রিয় সৃষ্টি চলচল এবং দীপ জুয়েলে যাই। অভিনেতাদের হাতে তুলে দিয়ে আমি আবিষ্কার করলাম পাহাড়ি সান্যালের প্রশ্নাতীত তরলতা, উত্তম কুমারের বহুমুখিতা এবং বিকাশ রায়ের দক্ষতা। অরুন্ধতী দেবীকে তার লো-প্রোফাইল শেল থেকে বের করে আনা দরকার। সুচিত্রা সেনের সঠিক সন্ধিক্ষণে নিয়ন্ত্রণ প্রয়োজন।”

অসিত সেন একটি ভাল লেখা স্ক্রিপ্ট নিয়ে সেটে গিয়েছিলেন। তিনি কর্মক্ষেত্রে উন্নতি করেছেন কিন্তু কখনোই অপ্রয়োজনীয় বাণিজ্যিক সমঝোতার জন্য যাননি। অসিত সেনের সঙ্গীত বোধ ছিল অসাধারণ। হেমন্ত মুখোপাধ্যায়ের জাঁকজমকপূর্ণ বাঁশির মাধ্যমে দীপ জুয়েলে জয়ের সম্পূর্ণ থিমটি টাইটেল সিকোয়েন্সটিকে চমৎকার করে তুলেছে। শত লেন্সের প্রভাবে সুচিত্রা সেনের কাব্যিক ক্লোজ-আপগুলি ছিল দুর্দান্ত। গানের সিকোয়েন্সের সময় অসিত ক্যামেরার পিছনে চেয়ারে বসেছিলেন।

তার সম্পাদনার বোধও ছিল চটকদার। চালচলের ক্লাইম্যাক্স যেখানে অরুন্ধুতি দেবী একজন নার্স হিসাবে আত্মবিশ্বাসের সাথে চলাফেরা করেন সেটি ছিল সত্যিকারের সিনেমাটিক এডিটিং। বিকাশ রায় উত্তর ফাল্গুনীর কোর্টের দৃশ্যে দুটি মড্যুলেশনের সাথে সংলাপ দেওয়ার সাথে সাথে অসিত প্রমাণ করেছিলেন যে তিনি অভিনেতাদের কতটা ভাল সামলাতে পারেন। প্রবীণ পরিচালক তরুণ মজুমদার বলেছেন, “অসিতদা তাঁর চলচ্চিত্র দিয়ে দর্শকদের তাদের আসনে আটকে রাখার বিরল ক্ষমতার অধিকারী ছিলেন। তিনি দর্শকদের মতামতকে সম্মান করতেন এবং গঠনমূলক সমালোচনার যত্ন নিতেন।

ভূপেন হাজারিকা অসিত সেন পরিচালিত জীবন তৃষ্ণা দিয়ে বাংলা চলচ্চিত্রে সুরকার হিসেবে আত্মপ্রকাশ করেন। হেমন্ত মুখোপাধ্যায়, অসিত সেনের প্রিয় সঙ্গীত পরিচালক ভূপেন হাজারিকার জন্য স্নেহের সাথে জায়গা তৈরি করেছিলেন। জীবন তৃষ্ণার গানগুলো স্মরণীয়। অসিত সেন ভূপেন হাজারিকাকে জীবন তৃষ্ণার সঙ্গীত স্কোরের জন্য বাঁশের বাঁশি এবং বেহালার প্রতিরূপ ব্যবহার করার জন্য অনুরোধ করেছিলেন। একটি দৃশ্যের জন্য অসিত সেন উত্তম কুমারকে জীবন তৃষ্ণায় সুচিত্রা সেনকে একটি রোমান্টিক অভিব্যক্তি জানাতে তার নীচের ঠোঁটকে হালকাভাবে কামড়াতে অনুরোধ করেছিলেন। সুচিত্রা সেন একটি কৌণিক চেহারা দিয়ে প্রতিক্রিয়া জানিয়েছিলেন এবং শটটি এক টেকেই ক্যানড হয়ে গিয়েছিল।

অসিত সেন ষাটের দশকের মাঝামাঝি মুম্বাইয়ে চলে যান। তিনি উত্তর ফাল্গুনীকে মমতার চরিত্রে পুনঃনির্মাণ করেছিলেন কিন্তু এতে মূল বাংলা সংস্করণের সোনালী ছোঁয়া ছিল না। দীপ জুয়েলে জয়ের হিন্দি রিমেক খামোশি আরও দরিদ্র ছিল। ভি.শান্তরাম, হৃষিকেশ মুখার্জি এমনকি ধর্মেন্দ্র বারবার অসিত সেনকে বাংলায় তার শিকড়ে ফিরে আসার জন্য অনুরোধ করেছিলেন। তিনি কর্ণপাত করেননি, জাগতিক হিন্দি বাণিজ্যিক সিনেমায় হারিয়ে গিয়েছিলেন এবং প্রচুর মদ্যপান করেছিলেন। মুম্বাই ফিল্ম দুনিয়া ছিল অসিত সেনের ওয়াটারলু।

তিনি 1972 সালে শুধুমাত্র অন্নদাতায় উজ্জ্বলতার ঝলক দেখিয়েছিলেন। জয়া বচ্চন মনে করেন, “অসিতদা রাতন কা সায়ো ঘানে গানটির কোলাজ আকারে আমার ক্লোজ-আপগুলির দুর্দান্ত ব্যবহার করেছিলেন। তিনি আবেগকে ভালভাবে পরিচালনা করেছেন।”

বৈরাগের শুটিংয়ের সময়, অসিত সেন সম্পূর্ণরূপে ফর্ম হারিয়ে ফেলেন এবং এটি একটি স্মরণীয় ক্যারিয়ারের জন্য পর্দা ছিল।

অসিতদা বাংলায় ফিরে আসেন কিন্তু তার মিডাস স্পর্শকে পুনরুজ্জীবিত করতে পারেননি। তাঁর মৃত্যুর পর তাঁকে গভীর শ্রদ্ধা জানাতে গিয়ে মৃণাল সেন ভেঙে পড়েন এবং বলেছিলেন, “কোনও দ্বিতীয় অসিত সেন হবে না।”

Asit Sen birth centenary: An unnoticed one

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Kolkata: After the internationally famous trio of Indian cinema, Ray, Ghatak and Sen, Tapan Sinha, Ajay Kar and Asit Sen were directors who contributed significantly to the development of Bengali Cinema. Asit Sen was influenced by Hollywood and British cinema. He surely was not an art-house filmmaker in the true sense of the term. Yet his directional ventures like Chalachal, Agun, Deep Jwele Jai, Uttar Phalguni and Jiban Trishna are evergreen films.

In the mid-’90s, Asitda told me during an interview, ”I opted for literary-based themes as translating literature on celluloid was a challenge for me. My favorite creations remain Chalchal and Deep Jwele Jai. Handing actors, I discovered the unquestionable fluidity of Pahari Sanyal, the versatility of Uttam Kumar and the skill of Bikash Roy. Arundhati Devi needed to be brought out of her low-profile shell. Suchitra Sen needed control at right junctures.”

Asit Sen went on the sets with a well-written script. He improvised at work but never went for unnecessary commercial compromises. Asit Sen’s sense of music was superb. The entire theme of Deep Jwele Jai musically presented by the majestic whistling of Hemanta Mukherjee made the title sequence sublime. Suchitra Sen’s poetic close-ups in hundred lens effects were brilliant. Asit Sen with his back to the camera sat on the chair during the song sequence.

His sense of editing was also crisp. The climax of Chalachal where Arundhuti Devi walks with confidence as a nurse was a piece of true cinematic editing. As Bikash Roy delivers dialogue with two modulations in the court scene of Uttar Phalguni, Asit Sen proved how well he could handle actors. Says veteran director Tarun Majumdar, ”Asitda possessed the rare ability to keep the audience glued to their seats with his films. He respected the viewer’s opinions and cared for constructive criticism.”

Bhupen Hazarika made his debut as a composer in Bengali films with Jiban Trishna directed by Asit Sen. Hemanta Mukherjee, Asit Sen’s beloved music director fondly made space for Bhupen Hazarika. The songs of Jiban Trishna are memorable. Asit Sen requested Bhupen Hazarika to use the bamboo flute and violin counterparts for Jiban Trishna’s music scores. For one scene Asit Sen requested Uttam Kumar to lightly bite his lower lip to convey a romantic expression to Suchitra Sen in Jiban Trishna. Suchitra Sen reacted with an angular look and the shot was canned in one take.

Asit Sen shifted to Mumbai in the mid-’60s. He remade Uttar Phalguni as Mamata but it lacked the golden touches of the original Bengali version. Khamoshi the Hindi remake of Deep Jwele Jai was even poorer. V.Shantaram, Hrishikesh Mukherjee and even Dharmendra repeatedly requested Asit Sen to return to his roots in Bengal. He did not pay heed, got lost in mundane Hindi commercial cinema and took to drinking heavily. Mumbai film world was Asit Sen’s Waterloo.

He showed flashes of brilliance only in Annadata in 1972. Remembers Jaya Bachhan, ”Asitda made superb use of my close-ups in collage form picturising the sang Raton Ka Sayo Ghane. He handled emotions well.”

During the shooting of Bairaag, Asit Sen completely lost form and it was curtains for a memorable career.

Asitda returned to Bengal but could never revive his Midas touch. Paying him a rich tribute after his death, Mrinal Sen broke down and said, ”There will never be a second Asit Sen.”

The eerie silence of Mamata Banerjee on the arrest of Shahrukh Khan’s son

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Kolkata: Bollywood superstar Shahrukh Khan is the brand ambassador of West Bengal for almost a decade now. Shahrukh Khan is also one of the owners of Kolkata Knight Riders.

Chief Minister Mamata Banerjee has publicly called Shahrukh Khan her younger brother. She even goes to drop her ‘younger brother’ at the airport.

Pictures of Bengal CM and Bollywood superstar are being shared with their ‘closeness’ being stated as a reason behind the ‘framing’ of Shahrukh Khan’s son by the agencies.

It’s almost 21 days since the Bollywood superstar’s son was arrested by the Narcotics Control Bureau (NCB). The way Aryan was arrested is itself controversial as at the site of arresting a BJP cadre and a private detective were also present; NCB has also not denied it. Also, the bail being denied to the 23-year-old lad who has no history of any offence has been questioned by many experts.

However, Mamata Banerjee, who is also known as a firebrand leader for her speeches and remained vocal in politics has maintained a silence on the issue.

shahrukh khan aryan arrest mamata banerjee NCB West Bengal
A tweet by social activist Shabnam Hashmi

Significantly, on October 3, the day, people of Bhawanipore had ensured that Mamata would continue her third term as the chief minister of Bengal, Aryan Khan was detained for participating in a rave party.

The win at 2021 assembly polls and later in Bhawanipore has made Banerjee the strongest leader ever. But neither she, nor the two other leaders of Trinamool Congress, Derek O’Brien and Mahua Moitra who tweet on national issues have tweeted so far on the arrest of Aryan Khan.

CM of Maharashtra Udhav Thackrey has openly criticized NCB for portraying Maharashtra as the hub of narcotics. Thackrey also requested Chief Justice of India NV Ramana to take suo-moto cognizance of the arrest. A Shiv Sena leader has moved a plea in Supreme Court for the protection of the fundamental rights of Aryan.

Nationalist Congress Party leader and a minister in Maharashtra government, Nawab Malik has been regularly holding press conferences to highlight the major loopholes in the NCB raid, which led to the arrest of Aryan Khan.

shahrukh khan aryan arrest mamata banerjee NCB West Bengal

For the past few days, social media has been buzzing with common people showing their love for Shahrukh Khan and expressing how injustice is being done to him, as a father.

Social organizations, All India Progressive Women Association (AIPWA), All India Student Association (AISA) and Inquilabi Naujawan Sabha (RYA) jointly issued a statement and highlighted how the court denied bail based on ‘Guilt of Association’ which is a kind of mockery of justice.

“I will not say whether Bengal CM chief minister Mamata Banerjee should comment on it or not. But what is happening with Aryan Khan is like justice delayed is justice denied,” reacted Ujjaini Halim, a social activist based out of Kolkata.

Mohammed Reyaz, assistant professor at Aliah University thinks, “It is a matter of choice for a politician whether to speak or not. But, the kind of bond Didi and SRK shares, even matter being sub-judice, she can at least stand with SRK as a sister, publicly.”

Role reversal in Tripura, watch now how BJP will defend itself from an aggressive TMC

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Kolkata: With All India Trinamool Congress (AITC) announcing the formation of Tripura Trinamool Congress state steering committee and the state youth committee recently, there is a fresh buzz in the hill state.

Regular joining-ins in the AITC or TMC to make its organizational base strong the battle for the northeastern state is truly on.

With state elections still one-and-a-half year away, the bugle of its arrival in Tripura has been sounded by the Trinamool Congress.

The flashpoint over the denial of a permit to hold a rally by TMC’s All India General Secretary Abhishek Banerjee has set the tone for a political and tactical clash between the ruling Bharatiya Janata Party (BJP) and the TMC.

TMC leaders allege that in order to avoid Abhishek Banerjee from holding his rally inAgartala, the state-imposed Section 144, which means a ban on public gatherings by anyone.

But, Tripura TMC through its recent Twitter posts has been quick in pointing out various violations against Section 144 by the ruling BJP government.

On October 6, one of the tweets by the party read: “Tripura CM Biplab Deb violates Section 144 again!”

The same day, BJP got a setback and TMC a boost when Tripura MLA Ashish Das joined Mamata’s party in Kolkata.

Ashish Das had made headlines as he had shaved his head claiming, it was an act of penance before joining TMC. Several Tripura Congress leaders have also joined TMC. Some reports also suggest that since TMC’s mammoth win Bengal Assembly Polls 2021, more than 60,000 workers from different political parties including BJP, joined the party so far.

tmc in tripura bjp mamata banerjee aitc
Ashish Das | Courtesy: Elizabeth Thapa/ Twitter

While the political pundits are diligently observing the happenings in Tripura, one question which is popping up in everyone’s mind is: Will an aggressive TMC be able to dislodge BJP in 2023?

Manas Pal, the executive editor of Tripura Times, has been reading the pulse from ‘Ground Zero’. He feels that the ruling party in Bengal will have to tread cautiously to gain acceptance in the hill state. Anti-incumbency, which the TMC leaders are trying to harp on right now cannot be a major factor for their win.

“There is an anti-incumbency drive, but that is on a superficial level. Tripura has always been seen as a place of bipolar politics. Earlier, it was the Congress and Left. It gave way to Left-BJP. TMC is now trying to find a base. Unlike in Bengal, ‘Bangla’ sentiment will not work much in Tripura, which has seen Bengali-tribal riots in the ’80s,” says Pal.

He says that the tribal population will play a big role in the formation of any government. “With 30% of the tribal population, slogans like ‘Didi Ke Chai’ will not cut much ice. In Bengal, there is 37% of the minority population, of which the majority voted for the TMC. Here in Tripura, Muslims constitute only 7% of the population,” said Pal.

He also points out that building acceptance will be a big challenge for Mamata in Tripura.

Senior journalist and an expert on the northeast, a son of the soil, Subir Bhaumik says TMC is trying to draw in former Congressmen, who joined the BJP and are unhappy with the Biplab Deb-run government.

“With the advent of the TMC, the BJP now is an on unstable ground as the Congress turncoats in the BJP now has a natural affiliation to move towards the TMC as it shares a similar ideology. If TMC can project itself as a viable option, then the BJP should feel threatened,” said Bhaumik.

The veteran BBC journalist says that there are many ex-Congressmen, who feel that though they have helped the BJP form the government, they have not been given enough powers in the party set-up. “These people would naturally want to side with the TMC. Also, after the big Trinamool win in Bengal, they have managed to secure the confidence of people not only amongst the Bengali-speaking people but in other places too. All this is the reason for the BJP to feel threatened. And precisely, that is the reason why the Tripura administration is being used by the government to scuttle any chances of TMC setting up base in Tripura,” he said.

Bhaumik concurs with Pal that the success of the BJP will depend on how they handle the tribal situation. “If the BJP manages to arrive at an understanding with the tribal people, then the TMC will find it tough to make a mark.”

The Rajbanshis, the Gorkhas and many other tribal people were also given to understand that BJP is more sympathetic to them being a non-Bengali party in Bengal. They will play that card in Tripura too,” he said. 

Newly-elected Rajya Sabha TMC MP Sushmita Dev, who is one of the key leaders in the party’s new steering committee for Tripura said, “In the past seven years of governance at the Centre and three-and-a-half-year rule in Tripura, the BJP has done little and the people of the state know this well enough. Many burning problems have not been fulfilled. Hemanta Biswa Sarma in 2018 had told the people of Tripura to give him a missed call and that one person from every household will get a job. Now the jobs have vanished and so has Biswa Sarma. The kind of response we are getting from people from all areas, rural as well as urban, we are confident that we will be able to form a strong party organization here.”

In response, Subrata Chakraborty, BJP Tripura spokesperson says BJP is not worried about the drama TMC is enacting in the state. “The leaders from Bengal are coming here with a dramatic script prepared to humiliate people of the state and how to cause disturbance here. People are not taking it well. They have thrice been defeated in Tripura. They are trying to get votes by confusing people.”

भाजपा नेता पर डायन कह कर प्रताड़ित करने का आरोप, दूसरी बार विधवा के साथ ये संगीन हरकत

गिरिडीह: भारतीय जनता पार्टी नेता सह ज़िला परिषद उपाध्यक्ष कामेश्वर पासवान के ऊपर डायन-बिसाही कह कर प्रताड़ित करने का संगीन आरोप लगा है।

भाजपा नेता कामेश्वर के साथ चार और लोग जिनमे उनकी पत्नी निर्जला देवी और भाई मुकेश पासवान शामिल हैं को भी एफ़आईआर में आरोपी बयाना गया है। पुलिस ने तीन दिनों के बाद मामले में प्राथमिकी दर्ज़ किया।

मालूम हो की, झारखंड में हर साल डायन-बिसाही के नाम पर 50 महिलाओ की जान जाती है और 17 अक्टूबर को केंद्र सरकार ने झारखंड सरकार से इस मामले में रिपोर्ट मांगी है।

वही 15 अक्टूबर को दिये अपने आवेदन में एक 42 वर्षीय महिला जो भाजपा नेता के घर के पास रहती है ने लिखा, “कामेश्वर पासवान और उनके परिवार के लोग, मेरे घर घुस आए और मुझे डायन बिसाही कह कर गाली गलोज़ करने लगे। फिर पासवान ने मुझे पकड़ा और अपने भाइयों को बोला में डायन हूँ मेरा बाल काट दो। इतने में निर्जला देवी और देव्यंती देवी ने केची से मेरा बाल काटने का प्रयास किया”।

महिला ने आगे लिखा, “परंतु मेरे द्वारा विरोध करने पर और हल्ला सुन मेरा पुत्र अमित कुमार पासवान आया और बीच बचाओ करने लगा। पर वो लोग मेरे पुत्र के साथ भी बेरहमी के साथ मार-पीट की। और मुझे घसीटे हुए घर के समीप काली मंडप पे ले गए। वहाँ जब आस-पास के लोग जमा होने लगे तो मुझे छोड़ा।”

डायन-बिसाही भाजपा नेता और डायन गिरिडीह झारखंड
प्रथिमिकी की कॉपी

पीड़ित महिला ने ईन्यूज़रूम को ये भी बताया, “मेरे साथ ये हरकत विजयादशमी के दिन किया गया था और मेरे बाल काटने के एलावा, मेरी जुबान को काटने की भी बात वो लोग बोल रहे थे। कामेश्वर के भाई ने कहा के मेरी जुबान काट कर काली मंडा में चड़ा दो तो उनके घर के लोगों की तबीयत ठीक हो जाएगी।”

विधवा महिला जिसके सास-ससुर भी अब नहीं है ये जानकारी भी दी, “दो महीने पहले भी मेरे साथ डायन-बिसाही करके मार-पीट की गयी थी, तब भी मेंने एफ़आईआर के लिए आवेदन दिया था पर पुलिस ने दर्ज़ नहीं किया। जब से मेरे पति की मौत हुई है तब से ऐसा कर रहें हैं।”

मुफ़स्सिल थाना प्रभारी विनय कुमार राम से दो बार कॉल लगाने पे जब बात नहीं हुई तो गिरिडीह पुलिस कप्तान अमित रेणु से ईन्यूज़रूम ने जब बात कर ये जानने की कोशिश की के प्राथमिकी में देर और मामले में अब तक क्या कारवाई हुई, तो उनका जवाब था, “आपको इस मामले से किया वास्ता है?” फिर जब इस संवाददाता ने कहा के रिपोर्ट लिखना मेरा काम है और मैं रिपोर्ट बना रहा हूँ तो अमित रेणु ने फोन काट दिया।

जब भाजपा नेता कामेश्वर से ईन्यूज़रूम की बात हुई तो उनका कहना था, “ये मामला हमारे एक पुश्तैनी मंडप से जुड़ा है जिसमे वो एकाधिकार चाहती है और हम लोगों को न कोई नया काम न पुजा करने देना चाहती है। मैं एक जागरूक आदमी हूँ और न मैं किसी को डायन कह सकता हूँ न अपने घर के लोगों को ये बोलने दूंगा।”