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.”

W H Auden: "But in my arms till break of day / Let the living creature lie. / Mortal, guilty, but to me/ The entirely beautiful."

Will Self: “To attempt to write seriously is always, I feel, to fail – the disjunction between my beautifully sonorous, accurate and painfully affecting mental content, and the leaden, halting sentences on the page always seems a dreadful falling short. It is this failure – a ceaseless threnody keening through the writing mind – that dominates my working life, just as an overweening sense of not having loved with enough depth or recklessness or tenderness dominates my personal one.”

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."

Saturday, February 23, 2013

Setsuko Hara 原 節子: A Japanese Nutan नूतन... Touch of Melancholy...Sigh

Today February 23 2013 is 22nd Death Anniversary of Nutan

After seeing a Setsuko Hara film, the novelist Endo Shusaku wrote "We would sigh or let out a great breath from the depths of our hearts, for what we felt was precisely this: Can it be possible that there is such a woman in this world?"

In year 2012, I saw two Japanese films  'Late Spring', 1949 and 'Tokyo Story', 1954. Both masterpieces by Yasujiro Ozu, both starring Setsuko Hara.

Watching them was like reading G A Kulkarni's (जी ए कुलकर्णी) 'Kairi' ( कैरी)  one more time. Such tenderness, such lyricality, such beauty, such simplicity and yet very little sentimentality...While I have known GA's story for more than thirty years, where was 'Tokyo Story'?

I am glad I did not 'meet' Ms. Hara at a more impressionable age unlike Ms. Nutan. If I had, I would have madly fallen in love with her, would have lost the sleep for a few days.

Ms. Hara's partnership with  Mr. Ozu reminds me of Nutan's partnership with Bimal Roy.



Setsuko Hara, in Yasujiro Ozu's masterpiece 'Tokyo Story'

Photograph courtesy: the distributor of the film or  the publisher of the film.




In Hrishikesh Mukherjee's Anari, 1959

Image courtesy: Wikipedia

Ms. Hara foreswore the acting profession in 1963 and became a Greta Garbo-like figure. Nutan never did anything like that but she too remained an enigma for me.

They both- June borne- look stunning on B&W screen. While they are there, I look at nothing else. I also notice  a touch of melancholy that goes with an incredible amount of beauty. 

That's what makes them special.