Latest news with #ShatranjKeKhiladi
India.com
26-05-2025
- Entertainment
- India.com
Meet Amitabh Bachchan's heroine who collapsed on the set but still wanted to finish her work, had done over 250 films, her name is...
Meet Amitabh Bachchan's heroine who collapsed on the set but still wanted to finish her work, had done over 250 films, her name is In the world of showbiz, where most actors come with the dream of being the lead to attain stardom, there are a few artists at the back, not craving the spotlight, but are the ones who become irreplaceable. They might not be in the forefront, but they define the core of the film and tie the whole film together. Often seen in supporting characters of a mother, father, grandparents or friends, these characters are just as important as the lead. One such story is of a leading supporting actress, Leela Mishra. Etcged in the memory of the audience for her popular role of 'Mausi Ji' in Sholay. Leela Mishra had a huge career trajectory, she had done over 250 films in her career opposite some leading actors of Bollywood like Amitabh Bachchan. Besides her promising craft and dedication, what stood out was her strong principles. Filmmaker Sai Paranjpye shared about how Leela ji always stood firm on her payments. She had a flat ₹1000 rate per day, no matter how small. When Leela ji was approached about the shoot for Shatranj Ke Khiladi by the legendary Satyajit Ray, her confusion was evident. She did not even know who he was, and in typical Leela ji honesty, simply wanted to know first, 'Mujhe meri roz ki fees to milegi na?' Even from a young age when she acted as an elder , she was a popular figure across generations. She carved an inimitable niche for herself as a warm yet strong matriarch in various roles . From Hema Malini's Basanti ki Mausi , to innumerable roles as a mother, a variety of roles made her beloved by millions . At the age of seventy , she continued working with the same passion , and received awards and attained accolades for her efforts . Leela ji was inspiring on every level. When Leela ji was making her last film, Daata, co-starring with Mithun Chakraborty, Prem Chopra, and Padmini Kolhapure, there was an even greater tragedy on set. Leela ji had a paralytic stroke during production, and the entire crew, including our director, went into a panic. But later, even when she was taken to Mumbai to resume and assess the seriousness of the health issue, she was not worrying about her health. infact she was only worried about if she could finish her job. Unfortunately, Leela ji passed away soon thereafter, and as Paranjpye stated in her career, this was the one role she was not able to even finish her remaining scene. Leela Mishra lacked formal education and instead made do with it by sheer intuitive brilliance. Sai Paranjpye, who had the honour to direct her in Katha and Chashme Buddoor, always said she had played her position as a 'hidden gem'; she had unmatched understanding of emotion, timing, and character. Her discipline, timing, punctuality, and sincerity made her an all-time favourite to directors.
News18
19-05-2025
- Business
- News18
How Jaishankar's Book Foresaw Trump's Megalomacy, China And Pakistan's Psy War
Last Updated: The good news is that the chaos would not have caught the MEA and its boss by surprise. The better news is that much of what we see around us are signs of India's steady rise Prime Minister Narendra Modi's man steering India's relationship with the world, external affairs minister S Jaishankar, predicted the choppy seas the nation and his government are currently navigating in a book he wrote in 2020 and updated in 2022. His 'The India Way' is practically a premonition of the turbulence India faces after US President Donald Trump's whimsical retaliatory tariffs and India's military showdown with Pakistan after the Pahalgam terror attack. The good news is that the chaos would not have caught the Ministry of External Affairs and its boss by surprise. The better news is that much of what we see around us are signs of India's steady rise in the world order. The bad news is that in an increasingly multipolar world with two major powers, the US and China, fighting to retain their pre-eminence, India will face growing resistance as it grows. 'As a rising power, India will continuously rub against an international order, parts of which may not always be amenable to its rise. Indeed, Newton's third law of politics dictates that the process of emergence will get tougher with time," Jaishankar writes in his updated preface to the book. 'The challenge we face is not just from competing powers, but also a phenomenon of freezing advantageous moments by those dominant in an era. Even seventy-five years later, we are still operating in a 1945 framework from which India was excluded. It is manifested in multiple ways across broad domains. India is particularly disadvantaged in this regard vis-a-vis China." In the next chapter, he evokes the imagery from Satyajit Ray's iconic movie Shatranj Ke Khiladi of two nawabs engrossed in their chess game, oblivious to British takeover of their kingdoms. He compares it to India's slow start and frittering away advantage to China after 1947 which has come back to haunt us. 'An unintended consequence was to give China more strategic space in Asia. Another is the delayed economic reforms that were undertaken a decade and a half after this elf China. And far more ambivalently. The fifteen-year gap continues to put India at a great disadvantage," he writes. Jaishankar's book also pre-empts Trump's mercurial diplomacy. 'It would be a mistake to approach the Trump Administration using the logic of previous experience with predecessors," it states. He then places America's policy in context: 'The US is back to the strategic drawing board as it reinvents itself. Its interim approach is of greater individualism, more insularity and sharp retrenchment…So, we hear a potent narrative of unfair trade, excessive immigration and ungrateful allies. And market access, technology strengths, military dominance and the power of the dollar now seem to be the ingredients of an emerging solution." The US and the world's both denouement and predicament seem to arise from failed globalisation and resurgent nationalism. '…globalisation that elevated 'just in time' to a religion. Politically, it spawned a borderless with an entitlement to intervene. Socially, it encouraged a global elite who could comfortably sit in judgment over the world. Diplomatically, it enabled gaming the system and weaponising the normal. Technologically, we entered an existence of great promise and huge vulnerabilities. Never mind that each had a cost, until of course the aggregate risk made it hard to duck the difficult questions," Jaishankar argues. He prescribes a balance to deal with the new world: 'In a more nationalistic world, diplomacy will use competition to extract as much gains from as many ties as possible. But there is, nevertheless, a strong case for India also supporting a greater sense of order. Our own growth model and political outlook intrinsically favour rules-based behaviour. India must make a virtue of reconciling global good with national interest." Jaishankar's book also makes a case against the Nehruvian non-alignment. 'Strategic autonomy can no longer be visualised as keeping a safe distance from dominant players…It is instead a derivative of capabilities, allowing the fending off of pressures and the exercise of choices. Nor should it be seen as autarky, a national state that is unsustainable in reality," he writes. 'On the contrary, more vigorous participation in the world economy due to higher performance gives a country many more cards in the games that nations play. For India, that is summed up by 'Atmanirbhar Bharat', 'Make in India' and 'Make for the World'." Interestingly, writing at least five years ago, the external affairs minister spelt out how Bharat's enemies would exploit its vulnerabilities. 'Given the transformational impact of technology in our lives, it is also natural that it should have a deep impact on national security. In a globalised world, the flow of ideas and influences makes it difficult to limit security concerns to national borders. That is not to say that the orthodox challenges have gone away. A diverse and pluralistic society like India should never forget that its fault lines could be exploited by competitors," he writes. We are witnessing in real time the impact of a barrage of fake news and propaganda from across the border during the ongoing India-Pakistan skirmish. India may have hit targets at will deep inside Pakistan, but technology has made it possible for Pakistan to hit any place in India with misinformation, just to confuse and confound. Finally, the chapter 'Krishna's Choice' rings prophetic about how India has made dramatic departures from its wobbly policy against Pakistani aggression, called out its neighbour's nuclear blackmail, and raised the cost of its policy of terror in the past 11 years leading up to the current conflict. top videos View all 'The best known of the dilemmas in the Mahabharata relates to a determination to implement key policies without being discouraged by the collateral consequences of the action. The example, of course, is that of the most accomplished Pandava warrior, Arjuna, as he enters the battlefield. Undergoing a crisis of confidence, he is unable to summon up the determination to take on kinfolk ranged against his interests. While he is eventually persuaded by Lord Krishna to do his duty, there are underlying aspects of Arjuna's behaviour that apply to state players in international relations. This is not to suggest disregard of cost-benefit analysis. But sometimes, even when there is a pathway, it may not be taken due to lack of resolve or a fear of costs." Jaishankar uses the Mahabharata metaphor to suggest India is no longer a 'soft state'. It has overcome the lack of imagination and fear of risks. Like Arjuna, it is fully persuaded by Krishna about its dharma and unshakeable in its resolve against terrorism. First Published: May 19, 2025, 08:37 IST News opinion How Jaishankar's Book Foresaw Trump's Megalomacy, China And Pakistan's Psy War
Mint
02-05-2025
- Entertainment
- Mint
On Satyajit Ray's birthday, Sujoy Ghosh remembers getting rejected by the legend, ‘He replied to some random idiot'
On May 2, the birth anniversary of legendary filmmaker Satyajit Ray, Bollywood director Sujoy Ghosh shared a touching story on X (formerly Twitter) about his first-ever rejection. It is the one that remains closest to his heart. After finishing university in 1989, Ghosh, who was deeply inspired by Satyajit Ray's stories and illustrations, wrote to him from Manchester. Ghosh asked to work with him in any capacity just to learn how to draw. To Ghosh's surprise, Ray replied personally, politely explaining that he didn't own a company and couldn't offer him a role. The letter, dated 5 August 1989, is now a piece of cherished history that reflects both humility and respect. Ghosh shared the post on Ray's birth anniversary as a tribute to the timeless icon. 'I work for a fee as a director for other producers. Also, I write my own screenplays and have a regular editor. I regret, therefore, that I am not in a position to help you,' Ray wrote in his letter to young Ghosh. Despite the rejection, Ghosh treasures the typed letter to this day. The Kahaani director calls Ray his 'only teacher for storytelling' and one of his greatest cinematic heroes. 'It was my very first rejection letter ever and -- my most loved/cherished/prized one. And, the fact the he took time out to type and reply to some random idiot sitting in Manchester made him a gigantic hero in my eye,' Ghosh wrote. 'Till date, he remains one of my greatest heroes of cinema and my only teacher for story telling,' he added. Social media reactions Many social media users reacted to the post. 'He replied to my mother as well, when she wrote in 1977 asking why Shatranj Ke Khiladi was not releasing in Calcutta, after she had seen it while on holiday in Madras,' former KKR Team Director Joy Bhattacharjya wrote. 'Most busy people tend to respond if the ask is specific and the note is genuine and personalized. You might also want to share the letter you wrote. That way many would be able to learn "what does it take to get a response from a busy person?" entrepreneur Sumit Ramani wrote. Another reply came, 'Amazing. Even that refusal Letter is succinct, articulate and yet polite. That letter is a treasure.' Sujoy Ghosh inspired by Satyajit Ray Sujoy Ghosh has often called Satyajit Ray his filmmaking teacher. He praises Ray for showing human emotions and social issues with great depth. Deeply inspired by Ray's film techniques and writing style, Ghosh adapted Ray's short story 'Anukul' into a short film. It was well received by critics, who felt he stayed true to Ray's creative vision. While speaking to Film Companion, Ghosh once recommended Satyajit Ray's 1970 movie, Aranyer Din Ratri (Days and Nights in the Forest). He challenged viewers to recognise Simi Garewal in the film. She plays a tribal lady in it. 'Every time I make a film, I go back to Aranyer Din Ratri to learn the way Satyajit Ray has taught us to talk about things by not talking about it,' Ghosh said.
The Hindu
01-05-2025
- Entertainment
- The Hindu
Veteran writer Javed Siddiqui on Satyajit Ray's unique approach to filmmaking
'Kya shakhs tha Ray (What a man Ray was),' says Siddiqui sitting in the study of his house in Mumbai's Char Bangla area. Once a hub of activity, his study was where creative minds such as M.F. Husain and Yash Chopra met and spent hours. Siddiqui, who left journalism during the Emergency to follow his passion for creative writing, has seen 83 summers, but his eyes light up like a youngster at the mention of Satyajit Ray. The legendary filmmaker introduced Siddiqui to cinema with Shatranj Ke Khiladi in 1977. Ray had committed to producer Suresh Jindal to make a Hindi film. But he wanted a story that had its roots in the North, 'He didn't want to adapt a Bangla story as was the norm those days,' recalls Siddiqui. An admirer of Premchand's writing, initially, Ray wanted to adapt Kafan, but when he came to know that Mrinal Sen had already decided to turn the short story into a Telugu film, he turned his focus to Shatranj Ke Khiladi. 'After writing the screenplay, Manik da was looking for someone from a non-film background with an understanding of Lucknawi Urdu of the 1850s. Shama Zaidi, who was doing the costumes knew me because of our Rampur background and suggested my name to him. Ray was a towering figure, literally and metaphorically, for a newcomer it could be overwhelming, but my journalism background prepared me not to be overawed.' Siddiqui formed a formidable team with Zaidi. 'I verbalised the dialogues, and if she approved them, she would nod and type them in Roman on her Remington typewriter, as Manik da didn't know Hindi and Urdu.' Once Siddiqui asked Ray if he knew any Hindi words, he replied, 'Just one: bas (enough).' As Ray had created Lucknow in Kolkata, Siddiqui says, he needed someone to check the cultural authenticity. 'He wanted me to help his Bengali crew with the Urdu dialogues. That's how I became his special assistant.' 'I haven't seen a more meticulous director than Ray. He had a red book that he called khata, much like the logbook of a trader. Everyday, when he entered the set, he would sketch every shot in the Khata, accompanied by the Urdu dialogue written in Bengali and its English translation.' For the scene where the East India Company forces enter Lucknow, Siddiqui reveals Ray sketched on an art paper the order in which the cavalry, elephantry, and infantry would move. It became our guidebook at the location.' Siddiqui has preserved that paper as a memento, and it shines on the wall of his study. Siddiqui went on to pen the dialogues of Muzaffar Ali's Umrao Jaan. Comparing the Awadh of Ray with that of Ali, Siddiqui says that while the latter had an emotional connection with the city, Ray had an objective approach. 'He wanted to highlight how the upper middle class remained oblivious and indifferent to the British manoeuvres to seize control. The film remains relevant because the upper middle class' indifference to politics remains.' He mentions the scene where the chess players are told how the British have tinkered with the rules of the game such as Wazir being called the Queen'. 'Here, Ray used chess to underline the political context.' Belonging to the family of the Ali Brothers (Mohammad and Shaukat Ali), Siddiqui started writing at the age of 14 in Khilafat, the non-cooperation movement mouthpiece. From theatre and cinema to crime and politics, Siddiqui says there was a time when he was writing editorials as well. 'When I came to Bombay, Kaifi Azmi, Ismat Chughtai, and Ali Sardar Zafri blessed and guided me. I developed Leftist leanings. When I reviewed plays in Khilafat, I would carry an announcement of IPTA plays. Once Kaifi sahib encouraged me to write a play. I summoned the courage to translate Russian playwright Yevgeny Schwartz's The Dragon, a subversive satire on the totalitarian regime of Stalin. That's how I wrote Rakshas.' During the Emergency, Siddiqui says, being an independent journalist was humiliating. 'Every day, we had to take our stories to the Secretariat for clearance. Once, I was detained for 24 hours for a story where I linked the looting of a ration shop in Bihar to the export of rice to Russia.' Siddiqui sees dialogue as a need of the characters and doesn't write them to generate claps. 'I try to understand the character's psyche and the moment. When a film becomes a hit, even ordinary dialogue becomes popular. The one in Dilwale Dulhaniya Le Jayenge — 'Bade Bade Shehron Main' may be a cheesy line, but the situation demanded it. When former US President Barack Obama used it in his address (during his 2015 visit to India), I realised its popularity.' Siddiqui rates Yash Chopra as the best when it came to understanding the requirements of a dialogue writer. 'Having worked with stalwart writers such as Akhtar Ul Iman and Wajahat Mirza early in his career, Chopra understood the rhythm of the Urdu language.' A good dialogue writer, says Siddiqui, also needs to understand the weak points of an actor. 'For instance, Amrish Puri used to dramatise dialogues. In Dilwale...I deliberately wrote lines that didn't allow him to do so.' Turning the weakness of the actor into his strength is also something Siddiqui learnt while working with Ray on Shatranj Ke Khiladi. Some actors give a new dimension to the written word. 'As Shah Rukh did in Darr.' Siddiqui strongly feels cinema has a moral duty, and that there is no place for profanity in film writing. He calls for restraint. 'Realism doesn't come by adding cuss words to the dialogues. Dilip Kumar used kambakth (wretched) with such impact that it worked like an invective.' Be it Sohini Mahiwal, Chakra or Mammo on screen, or Tumhari Amrita, Salgirah, and Hum Safar on stage, Siddiqui is known for writing strong female characters. In plays like Hum Safar and Gudamba, which will be staged at the Prithvi Theatre in Mumbai next week, he talks of saving the institution of marriage without getting pedantic. Over the years, Siddiqui worked with a range of directors. From Shyam Benegal to Umesh Mehra and Yash Chopra to Rakesh Roshan, Siddiqui transcended genres without compromising on the emotional depth and cultural context.
