Latest news with #HumLog
Mint
2 days ago
- Entertainment
- Mint
‘Ghich Pich' review: A modest, diverting coming-of-age film
It's rare to see architecturally attuned Hindi films. Basu Chatterjee in the '70s had an eye for it. Last year, Atul Sabharwal's Berlin used Brutalist buildings to suggest forbidding bureaucracy. I wouldn't go as far as to say architecture informs Ankur Singla's Ghich Pich, but the film is alive to it. Every now and then, a deliberate framing will dwarf the characters and call attention to the building in the back. It's a welcome strategy. Why set your film in Chandigarh if you're not going to use Le Corbusier's creations? You can tell Singla grew up in the city. His vision of Chandigarh in 2001 feels unforced but specific, a series of quick, confident sketches rather than a laboured recreation. The central trio, fast friends and classmates in high school, are deftly drawn too. Anurag (Aryan Singh Rana) is a promising student, the one likeliest to make the jump to a metro like Delhi. Gurpreet (Kabir Nanda) is a sad sack who spends all his time thinking of ways to impress classmate Ashima. Gaurav (Shhivam Kakar) mostly gets in trouble at school, content with a future working in his doting father's eyewear store. Ghich Pich soon presents a dilemma for each boy involving their fathers (it would pair nicely with Varun Grover's 2023 film, All India Rank, about a student in coaching and his parents back home). Gurpreet, desperate to make an impression on Ashima, wants to cut his hair, something his mild, religious father can't come to terms with. Anurag's father has no problem saying no, as he alternately berates and exhorts the boy to 'jump an orbit', study hard enough that he qualifies for Delhi university (it feels like an unnecessary detail that there's always an alcohol bottle around during his lectures). Gaurav's relationship with his dad is a more delicate situation, a glimpse of something the simple-minded kid just can't process. 'Ghich pich' is a colloquial Hindi term which could translate as 'confused' or 'illegible'. But while there might be some ghich pich in the minds of the three boys, the film is clear-cut. Running an almost unheard-of 92 minutes, it moves methodically from one boys' story to the next. This somewhat episodic approach, paired with colour grading that's occasionally an approximation of late '80s-early '90s parallel films, made me think of old shows like Hum Log and Nukkad, which had stories like Gurpreet's and Anurag's, if not Gaurav's. In his first film as director, Singla seems happy to try and make something uncomplicated and resonant. I think he recognises he isn't technically proficient yet, and accordingly opts for a linear structure and simple, efficient shot-making and assembly. There's the occasional flourish—an impromptu dhol session for three that turns into a roadside rave—but nothing that sticks in the mind. This plain, almost drab, style offers plenty of room for the actors to shine. Of the three boys, I particularly liked Rana's watchful turn as Anurag, who comes alive with his friends but is walking on eggshells at home. As the fascist father, Satyajit Sharma is almost too harsh for this gentle film; Nishan Cheema's hurt Sikh patriarch is more its tempo. But the sweetest work comes from the late Nitesh Pandey and Geeta Agrawal Sharma as Gaurav's parents. You can sense from their scenes together and with their confused son how these two have managed to hold onto a loving relationship despite all the challenges. Monsoon Wedding (2001), a big influence on the Hindie film till this day, is referenced by Singla. Ghich Pich might aspire to be like Mira Nair's film (it ends similarly, various conflicts resolved or faced up to before a climatic Punjabi dance number). But this is a much more modest undertaking—and is all the better for it. Ghich Pich makes no great demands on the viewer, and no great claims for itself. Like the gedis the boys love to go out on, it's unrehearsed, diverting and over before you know it.
Time of India
19-07-2025
- Entertainment
- Time of India
'Dadi' of Indian screens: Sushma Seth reflects on a career playing the matriarch in shows and movies
It almost felt like a prophecy for a 13-something Sushma Seth to essay the role of a "Haryanvi old biddy" in a play written by her uncle, Maheshwar Dayal as the role would foreshadow her future as one of the most beloved Dadis of Indian screens, in both television and cinema. Seth, who has been a regular on TV screens, theatre, and cinema - mostly in a matronly role since her debut in "Junoon" (1978) as Shashi Kapoor's aunt, remembered playing a 75-year-old nawab in another production by Dayal. "In one of the plays, I played a Haryanvi old biddy, and she ruled her household and was called Tai. It was very similar to what I did in 'Hum Log'. That was my first play. "In another one, I played a 75 year old Nawab sahab. There was no beard but I wore a topee and an achkan and churidar and I spoke like an old nawab sahab," the 89-year-old said at a session at India Habitat Centre on Friday. As she acted professionally in plays after growing up, it became destiny for her to play roles of elderly women, something that she took in her stride by adding her "own shades" to the characters. By the end of the shoot of "Junoon", which was directed by late filmmaker Shyam Benegal, Seth received offers from Raj Kapoor for "Prem Rog", Yash Chopra for "Silsila", and Benegal for "Kalyug", all the roles of women in their senior years. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Villas Prices In Dubai Might Be More Affordable Than You Think Villas In Dubai | Search Ads Get Quote Undo "So for my own self I would give them a couple of shades depending on how their children behaved. If it were an indulgent mother or a mother who had a wayward son like Sanjay Dutt in his first film ('Rocky'). "He was a spoiled brat and I felt he was spoiled because his mother didn't take care of him and put him on the right path. So I had to be a little uncertain of how I should treat the child or be indulgent or overpampering him or overlooking all his faults," the veteran actor said. Seth added that the shades made her characters feel different, even when they looked similar in the script. "That way for my own self I would give different shades to the character depending on the children whose parent I played. And hoped to god that audience also saw that little bit of difference," she said. Even though Seth first appeared on the silver screen, it was her role as "Dadi" in family drama "Hum Log" (1984) on Doordarshan that immortalised her. Directed by P Kumar Vasudev, "Hum Log" followed the struggles and aspirations of a middle-class family. In her late 40s at the time, Seth was not an ideal candidate to play the role of the matriarch but the "spoiled brat" of a character felt too irresistible to her. "Kumar told me I was too young to play dadi. I said, just give me the script and we will see. When I read the script, I felt this is the only character I want to do. I just loved the dadi of 'Hum Log'. She was a spoiled brat, indulgent by her husband and her son, and she ill treated her daughter in law and pampered one daughter and didn't pamper the uglier one. "She was a typical character and I loved doing that character that one could go to town with such a character which you can't do otherwise," she said. With limited resources in makeup and dresses, Seth improvised using her mother's old clothes, a wig from Mumbai and an inimitable accent. 62-year-old actress Rita Bhaduri is no more "I ordered a wig from Bombay, I pulled out old jumpers from my mother's trunk that they used to wear in the 1920s and for wedding scenes I pulled out those old sarees of that time. And for the first day's shoot I did my own makeup, I put the dress with that seedha palla and I said, 'Ab batao, kahan baithna hai, ka karna hai?'" she recalled with an accent that became unique to her role. Seth, whose last commercial role was in "Kal Ho Na Ho" as Preity Zinta's grandmother, currently works with NGO Arpana, directing plays and dance dramas with children.
New Indian Express
18-07-2025
- Entertainment
- New Indian Express
Sushma Seth: Never the Garden Variety
Long before she became a household name with India's first soap opera, Hum Log, Sushma Seth was a young girl staging plays in her garden, casting her siblings, directing them, and performing for family and neighbours. Having grown up in a joint family in the capital city, the veteran actor remembers collecting props from home, and staging small plays with the assistance of older family members. 'I always loved acting and music,' Seth adds. Soon enough, the young girl's talent was noticed—her uncle, Maheshwar Dayal, wrote two plays for her. One of them was performed on the Regal cinema's stage. A scholarship eventually took Seth to Briarcliffe College in New York, where she studied drama. Seth was ecstatic that the course included acting, direction, stagecraft, voice training, set and costume design. She was cast in all the important roles, was president of the student council, and crowned May Queen. The Dean raised a scholarship for Sushma to transfer to Carnegie Mellon University, one of the top drama schools in the US, where she also performed and toured with a children's theatre company. 'After four years, I returned to India. And within a fortnight, I was offered a play,' she tells TMS. That first play was Rustom Sohrab, directed by the renowned theatre exponent Habib Tanvir. 'The production was excellent with stylised costumes, music, and powerful performances,' she says. After that, she was offered roles in plays directed by other stalwarts such as Joy Michael, Inderlal Dass, Sai Paranjpye, and Rajindernath, in English, Hindi and Urdu.
Time of India
16-07-2025
- Entertainment
- Time of India
Tata Play Binge expands OTT offerings with Prasar Bharati's WAVES platform
Tata Play Binge has expanded its content portfolio by onboarding WAVES, the OTT platform launched by public broadcaster Prasar Bharati . This strategic collaboration enhances the platform's appeal among diverse Indian audiences by integrating culturally rich, family-oriented programming into its digital entertainment ecosystem. WAVES brings to Tata Play Binge a vast library of more than 20,000 hours of content across 12 Indian languages, featuring a mix of classic and contemporary shows. The addition strengthens Tata Play Binge's position as a comprehensive OTT aggregator with over 30 platforms under one subscription. Through this partnership, viewers will now have seamless access to iconic shows like Byomkesh Bakshi, Fauji, and Hum Log, alongside newer titles such as Sarpanch Sahab, Jaiye Aap Kahan Jayenge, and Della Bella. WAVES also offers live streaming of national events and spiritual programming, including Prabhu Shriram Lalla Aarti from Ayodhya and Mann Ki Baat, Prime Minister Narendra Modi 's monthly radio address. Sports fans can enjoy live coverage of events such as the Kabbadi World Cup, German Football Cup (Pokal), and the Hockey India League. Additionally, the platform provides access to over 35 live TV channels, merging the traditional broadcast experience with the flexibility of on-demand viewing. 'Tata Play Binge was created to make OTT content more accessible to every Indian, and our partnership with Prasar Bharti is a meaningful step in that direction,' said Pallavi Puri, Chief Commercial and Content Officer, Tata Play. 'WAVES brings a rich archive of culturally rooted, inclusive, and diverse programming, much of it is timeless content that deserves a renewed audience. We're proud to be the first platform bringing this treasure trove of stories into Indian homes, reinforcing the power of streaming to connect, entertain, and empower communities across the country.' Echoing this sentiment, Gaurav Dwivedi, CEO of Prasar Bharati, said, 'WAVES was created to bring public service content into the digital age, to make it accessible and engaging for today's audiences. This partnership with Tata Play Binge strengthens that vision. It brings together the credibility of Doordarshan with the reach and convenience of a modern streaming platform . Families, young viewers, and audiences across the country can now experience content that reflects our cultural depth and storytelling legacy, all in one place.' The addition of WAVES aligns with Tata Play Binge's vision to offer a unified platform for varied entertainment needs, combining legacy programming with new-age convenience. With this move, the service continues to bridge generational and regional content preferences, reaffirming its commitment to inclusivity in digital entertainment.
Time Business News
05-07-2025
- Entertainment
- Time Business News
Indian Serials That Changed the Television Industry
Indian television has come a long way from its humble beginnings with Doordarshan to becoming a vibrant industry filled with diverse content. Over the years, many Indian serials have not just entertained millions but also reshaped the way audiences consume content. These iconic shows broke boundaries, challenged social norms, and redefined storytelling, ultimately changing the face of the Indian television industry. In this article, we explore Indian serials that left a lasting impact, not only due to their popularity but also because of their role in revolutionizing Indian TV content. 'Hum Log' holds the distinction of being India's first television soap opera. Broadcast on Doordarshan in 1984, this serial was more than just entertainment it was a mirror to the average Indian middle-class family. Created by Manohar Shyam Joshi, the show dealt with everyday struggles, aspirations, and societal issues, such as unemployment, dowry, and gender inequality. Impact: Introduced the concept of a serial with an ongoing storyline. Created emotional connections with characters. Set the stage for narrative storytelling in Indian TV. Directed by Ramanand Sagar, 'Ramayan' became a cultural phenomenon. With millions tuning in weekly, the streets would go empty during its telecast. Based on the Hindu epic, it became a nationwide spiritual experience, uniting people of different backgrounds and other showpm show. Impact: Proved the massive potential of mythological content. Garnered record-breaking TRP ratings. Established television as a powerful cultural tool. Following the success of 'Ramayan,' B.R. Chopra's 'Mahabharat' took Indian mythological storytelling to the next level. With a massive ensemble cast and high production values for its time, the show became a weekly ritual for millions. Impact: Set a new standard for epic TV productions. Influenced later generations of mythological shows. Demonstrated the value of serialized storytelling from Indian epics. 'Shanti,' starring Mandira Bedi, was a game changer as India's first daily soap. It followed the journey of a strong, independent woman uncovering dark secrets of a powerful family. Impact: Highlighted strong female protagonists. Popularized the daily soap format in India. Tackled serious social issues and empowered female voices. Produced by Ekta Kapoor's Balaji Telefilms, this show redefined Indian family dramas. With Tulsi Virani as its central character, it became a household name and ran for over 1,800 episodes. Impact: Established the 'saas-bahu' genre as a television staple. Made Ekta Kapoor a dominant force in the TV industry. Opened doors for a flood of similar family centric shows. Launched around the same time as 'Kyunki Saas Bhi Kabhi Bahu Thi,' this serial focused on Parvati, a devoted daughter in law navigating family conflicts with grace and strength. The emotional connect and relatable content made it a massive hit. Impact: Reinforced family values and traditions. Inspired hundreds of serials with similar formats. Became a cultural reference point for Indian families. With ACP Pradyuman, Daya, and Abhijeet, 'CID' offered a refreshing break from family dramas. The show's unique crime-investigation format, along with its catchphrases like 'Daya, darwaza tod do,' became iconic. Impact: Popularized the crime-thriller genre on Indian TV. Inspired spin-offs and parodies. Maintained fan loyalty for two decades. Hosted by Bollywood megastar Amitabh Bachchan, 'KBC' brought the quiz show format to India in an emotionally engaging way. It offered not just money but a dream for millions across the country. Impact: Blended entertainment with education. Brought real-life stories of hope and struggle into the spotlight. Elevated the standard of Indian reality shows. 'Balika Vadhu' tackled the issue of child marriage head-on, making it one of the most socially relevant shows in Indian television history. It followed the life of Anandi, a child bride, and how she grew into a strong, independent woman. Impact: Addressed deep-rooted societal issues. Encouraged public discussions and debate. Influenced government campaigns on child marriage. A more recent example, 'Anupamaa' presents the story of a middle aged homemaker who reclaims her identity after years of being taken for granted. It reflects the modern Indian woman's journey of self discovery and empowerment. Impact: Broke stereotypes about age and gender roles. Gained massive popularity across age groups. Showcased the evolving mindset of Indian audiences. These trailblazing Indian serials did more than just entertain they transformed television into a powerful medium for social change, cultural expression, and emotional connection. Whether it was mythological epics like 'Ramayan' or progressive dramas like 'Anupamaa,' each show contributed to shaping the Indian television landscape. As OTT platforms and streaming services rise, the legacy of these legendary shows continues to inspire modern content creators. Their stories, characters, and themes remind us of how impactful well-crafted television can be. TIME BUSINESS NEWS
