G C Lichtenberg: “It is as if our languages were confounded: when we want a thought, they bring us a word; when we ask for a word, they give us a dash; and when we expect a dash, there comes a piece of bawdy.”
H. P. Lovecraft: "What a man does for pay is of little significance. What he is, as a sensitive instrument responsive to the world's beauty, is everything!"
Werner Herzog: “We are surrounded by worn-out, banal, useless and exhausted images, limping and dragging themselves behind the rest of our cultural evolution.”
John Gray: "Unlike Schopenhauer, who lamented the human lot, Leopardi believed that the best response to life is laughter. What fascinated Schopenhauer, along with many later writers, was Leopardi’s insistence that illusion is necessary to human happiness."
Art Spiegelman: "You know words in a way are hitting you on the left side of your brain, music and visual arts hit on the right side of the brain, so the idea is to pummel you, to send you from left brain to right brain and back until you're as unbalanced as I am."
विलास सारंग: "संदर्भ कुठलेही असोत, संस्कृत, इंग्रजी, बुद्धिवादी, तांत्रिक, इतिहासाचे, खगोलशास्त्राचे, आधुनिक पदार्थविज्ञानाचे, शिवकालीन व पेशवाईतील बखरीचे, अगणित ज्ञानक्षेत्रांचे, अशा वैविध्यपूर्ण ज्ञानावर लेखन- विशेषत: कवितालेखन- उभं राहत."
Sunday, October 24, 2010
I had never seen Aakhri Dao (1958), an imminently forgettable film, until recently. I mention the film only because of two things- Madan Mohan's music and Nutan's acting. (A lot of Hindi films of 1950's were as lousy as most films of today. The only difference is the quality of music and a Nutan here and a Balraj Sahni there.)
Watch video of 'tujhe kya sunao main dilruba', a song from the film, on You Tube here.
I was stunned by the journey of Nutan's face in those 3 min 34 secs.
She goads her co-actor Shekhar into singing a song. He obliges. Now, although she is well aware of his feelings for her, she is balled over by the display of affection by him in front of all her friends.
Look at very awkward Nutan's fidgeting for first 1 min 45 secs or so. It's an absolute delight.
And then it all changes.
As the third stanza is about to begin, Shammi, quite wisely, troops out with all the girls. But it doesn't matter because Nutan doesn't even notice it. She now has gone into an acting trance where few can go.
Look at her eyes. Tears have welled up there. They don't look glycerine induced to me. I just drown in them.
All the superlative talent of Mohammed Rafi, Madan Mohan and Majrooh Sultanpuri combined is only second to the genius I see on the screen.
If I had a say, I would put a dot bindi, or no bindi at all, on her forehead instead of this elongated one.