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, May 07, 2009

Feel like Going Back to School

As I have said earlier the late P L Deshpande, wrote about other entertainers- Bal Gandharva (legendary large-hearted Marathi stage artist), masters of Hindustani classical such as Kumar Gandharva; Bhimsen Joshi; Mallikarjun Mansur; Vasantrao Deshpande among others. But he never wrote about Hindi films and their music.

What a loss. Of Pu La and his fans!

Looks like NCERT has learnt from this.

Outlook magazine April 27 2009 reports:

"...The ncert is now trying to bring in mainstream Indian films with political and social themes to enable students to have a wider understanding of political history and emerging socio-economic scenarios...

...Of the nine chapters in the class XII political science text book, eight have a movie suggestion. The 1973 Garam Hawa is featured in the chapter on ‘Challenges of Nation Building’. The Balraj Sahni-starrer Haqeeqat (1964) based on the 1962 Sino-Indian war, which portrays the struggle of a small group of Indian soldiers, is part of ‘India’s External Relations’. The Amitabh Bachchan-blockbuster Zanjeer that depicts the struggle of an innocent police officer against the system is included in ‘Challenges of Restoration of the System’...

...The Om Puri and Naseeruddin-starrer Aakrosh, a powerful tale of exploitation and miscarriage of justice, and the Satyajit Ray classic Pather Panchali, a portrait of life rich in experience, but lived amid poverty, are under ‘Politics of Planned Development’..."

Students indeed should learn how bad any war is and I think there is no better place to start the process than watching Haqeeqat. Similarly, Aakrosh (1980) will tell them more about fairness of Indian judicial system than any thing else...

Many aspects of good Hindi cinema are highly under appreciated.

अशोक शहाणे Ashok Shahane writes



(नपेक्षा, Napeksha 2005)



Aakrosh 1980
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