मेघदूत: "नीचैर्गच्छत्युपरि च दशा चक्रनेमिक्रमेण"

समर्थ शिष्या अक्का : "स्वामीच्या कृपाप्रसादे हे सर्व नश्वर आहे असे समजले. पण या नश्वरात तमाशा बहुत आहे."

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.”

C. P. Cavafy: "I’d rather look at things than speak about them."

Martin Amis: “Gogol is funny, Tolstoy in his merciless clarity is funny, and Dostoyevsky, funnily enough, is very funny indeed; moreover, the final generation of Russian literature, before it was destroyed by Lenin and Stalin, remained emphatically comic — Bunin, Bely, Bulgakov, Zamyatin. The novel is comic because life is comic (until the inevitable tragedy of the fifth act);...”

सदानंद रेगे: "... पण तुकारामाची गाथा ज्या धुंदीनं आजपर्यंत वाचली जात होती ती धुंदी माझ्याकडे नाहीय. ती मला येऊच शकत नाही याचं कारण स्वभावतःच मी नास्तिक आहे."

".. त्यामुळं आपण त्या दारिद्र्याच्या अनुभवापलीकडे जाऊच शकत नाही. तुम्ही जर अलीकडची सगळी पुस्तके पाहिलीत...तर त्यांच्यामध्ये त्याच्याखेरीज दुसरं काही नाहीच आहे. म्हणजे माणसांच्या नात्यानात्यांतील जी सूक्ष्मता आहे ती क्वचित चितारलेली तुम्हाला दिसेल. कारण हा जो अनुभव आहे... आपले जे अनुभव आहेत ते ढोबळ प्रकारचे आहेत....."

Kenneth Goldsmith: "In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.”1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours."

Tom Wolfe: "The first line of the doctors’ Hippocratic oath is ‘First, do no harm.’ And I think for the writers it would be: ‘First, entertain.’"

विलास सारंग: "… इ. स. 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Thursday, December 14, 2017

जपानी जोडे- ठाणे ते उटी....Raj Kapoor@93



Today December 14 2017 is 93rd birth anniversary of Raj Kapoor

Rishi  Kapoor, ‘Khullam Khulla: Rishi Kapoor Uncensored’, 2017:
“...Once, when he (Raj Kapoor) was making Shree 420, Papa told my mother that he’d be away for two nights to Thane and Lonavala to picturize the song ‘Mera joota hai Japani’. He was the only actor required for the sequence and since he was also the director, he took off with his cameraman, Radhu Karmakar, with a studio van and a hired truck. But when he arrived there, he didn’t like the visuals. He couldn’t see the clouds in the black-and-white frame. He began to chase the clouds and reached Kolhapur. From there he landed in Belgaum and finally found himself in Ooty. So what was to be two days of shooting in Thane ended several days later in Ooty, all in search of the perfect shot...”

मी कै.  कपूर यांना खालील कारणांसाठी मोठे मानतो :

१. जागते रहो
२. श्री ४२०
३. २/३ मेरा नाम जोकर
 ४. आवारा
५. बूट पॉलिश
६. तीसरी कसम
७. बॉबी

यातील पहिल्या दोन सिनेमातील तर प्रत्येक क्षण बघण्यासारखा आहे. 'श्री ४२०' चा शेवट सुद्धा लक्षात राहण्यासारखा आहे कारण तो बनवण्यामागची सौन्दर्य दृष्टी, अपार कष्ट... जे वरील अवतरणात शब्दबद्ध झाले आहेत.

I guess it is Ooty and Not Thane or Lonavala 

courtesy: Shemaroo and Other Copyright Holders
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