Katyar Kaljat Ghusli: A Musical milestone in Indian Cinema
By Kartik Lokhande
A classic survives the tides of time, and storms of commercialisation. And, the latest Marathi movie ‘Katyar Kaljat Ghusli’ has proven this. Based on the musical drama of the same name, which is a milestone in Indian theatre, the movie has been made so finely that it also is set to become a milestone in Indian Cinema.
Already, the movie has been showcased in International Film Festival, and is in the race for UNESCO’s coveted Fellini medal. Talking of commerce, this celluloid masterpiece with opulent sets and musical extravaganza has forced even the multiplexes to increase number of shows and days. In fact, in Nagpur, on Monday afternoon too, there was a long queue at a multiplex to buy tickets for the show of ‘Katyar Kaljat Ghusli’. This speaks of how well a quality cinema is received by audiences.
The movie has a special connection with Nagpur. For, it is associated with two legends -- Purushottam Darwhekar aka ‘Master’, an acclaimed playwright-lyricist-director known for perfection; and Classical vocalist Pt Vasantrao Deshpande, after whom Nagpur’s famous auditorium is named. The original drama of the 1960s had performances of Pt Vasantrao Deshpande, Pt Jitendra Abhisheki and had raised the bar for Indian theatre, with magical touch of Prabhakar Panshikar, pioneer of revolving sets. After several years, noted Marathi actor Subodh Bhave revived the drama, and now he has brought it to the silver screen in an accomplished manner.
‘Katyar...’ is the story revolving around
rivalry of ‘Gharanas’ in the world of music. Vishnuraj, the King of
Vishrampur in Central India, gets made a beautifully carved ‘Katyar’
(dagger) to be given as an award to the winner of a music competition.
Pt Bhanushankar Shastri (Shankar Mahadevan) is a royal singer revered
for his sheer devotion to music. He floats the idea of competition to
bring out the best in music. He meets Aftab Hussain Bareliwale (Sachin
Pilgaonkar) at Miraj, and impressed with the latter’s Classical vocal
performance, brings him to Vishrampur. Panditji fondly calls this new
friend Khan Sahab, and gets his child admitted to a Sanskrit school,
gets him a home, and sends pleasantries on festive occasions. Nabila
(Sakshi Tanwar) passes acidic remarks at her husband Khan Sahab, for
accepting ‘crumbs’ from royal singer.
As a result, Khan Sahab enters into competition. He sings aggressively while Pt Shastri focusses on pure and soulful rendition. Khan Sahab gets loud applause but Panditji gets soothing silence and tears in eyes of audience as appreciation. In the contest between rhythm and soul, soul prevails. Khan Sahab tries to defeat Panditji for 13 years, but fails and turns acerbic. He wants to win by hook or by crook. In 14th attempt, Khan Sahab wins as Panditji chooses to remain silent -- not to sing or say a word in the royal court. Khan Sahab becomes royal singer, a dream come true. Khan Sahab wins the coveted dagger. With the ‘Katyar’, he earns the right to use it to kill a man in self-defence, with total pardon from the King.
Years pass by, Panditji leaves Vishrampur with his daughter Uma (Mrunmayee Deshpande). Khan Sahab gets mansion of royal singer and lives there with his daughter Zareena (Amruta Khanvilkar). Khan Sahab divorces his wife, earns accolades but loses his daughter’s respect for him, gets gifts but loses blessings of good relations, reaches height of fame but loses something deep within. And, then comes Sadashiv Gurav (Subodh Bhave), a sincere disciple of Panditji. He has only one wish -- masters appreciating him with words, “Jeete Raho, Gaate Raho (live long, keep singing).”
What happens then? Does Sadashiv avenge the insult of his ‘guru’ by defeating mighty Khan Sahab? Why does Khan Sahab divorce his wife? Does Khan Sahab use the ‘Katyar’? Is there a defeat of ego and triumph of art? For this to unfold beautifully on silver screen, you must watch the wonder of a movie.
‘Katyar Kaljat Ghusli’ is about every aspect of human emotions -- honesty, pursuit of excellence, devotion, purity of soul, aberration, betrayal, travails, struggle, defeat, triumph, relations. And, it is also about the philosophy of art summed up beautifully in popular song ‘Sur Niragas Ho...’ (Let music be pure). The directorial debut of Subodh Bhave, and acting debut of highly acclaimed versatile singer Shankar Mahadevan is packed with 21 renditions of 17 songs. And, what a masterpiece has Bhave given to the world of cinema in his debut directorial venture!
Subodh Bhave is excellent in his effort and has proven that a committed actor could be a very fine director. He has captured the richness of sets, beauty of designs, aesthetics of frames, expressions of actors, and ‘something extra’ conveyed by the music so well. Kudos to Shankar Mahadevan for not only a divine voice, but also superb acting for portraying various nuances of the character of Panditji. Shankar-Ehsaan-Loy have made wonderful additions to the original music score by legendary Pt Jitendra Abhisheki. And, Sachin Pilgaonkar has delivered the finest performance of his long-spanning career while portraying the character of Urdu-speaking Khan Sahab. Sakshi Tanwar, Amruta Khanvilkar, Mrunmayee Deshpande, Pushkar Shrotri also deserve appreciation for playing their parts very well.
Prakash Kapadia has written the screenplay, and has transformed the drama into the movie quite wonderfully. There are some dialogues that make their mark viz. Art comes from within, learning is acquired from outside; (Musical) notes are tender as well as piercing.
Though all have delivered splendid performances, the real hero of the movie is music. It grows on you beyond the cinema hall. Sur Niragas Ho..., Dil ki Tapish..., Ghei Chhand Makarand..., Surat Piya Ki..., Tejonidhi Lohgol... are exceptional. Also melodious are fast numbers like Yaar Ilahi... (qawwali) and Bhola Bhandari... The voices of Shankar Mahadevan, Rahul Deshpande, Mahesh Kale, Arijit Singh cannot be forgotten.
Thank you late Purushottam Darwhekar and late Pt Jitendra Abhisheki for leaving us the heritage of ‘Katyar Kaljat Ghusli’. And, thank you, Subodh Bhave and Shankar Mahadevan for delivering a masterpiece and proving that a Classic is immortal.
As a result, Khan Sahab enters into competition. He sings aggressively while Pt Shastri focusses on pure and soulful rendition. Khan Sahab gets loud applause but Panditji gets soothing silence and tears in eyes of audience as appreciation. In the contest between rhythm and soul, soul prevails. Khan Sahab tries to defeat Panditji for 13 years, but fails and turns acerbic. He wants to win by hook or by crook. In 14th attempt, Khan Sahab wins as Panditji chooses to remain silent -- not to sing or say a word in the royal court. Khan Sahab becomes royal singer, a dream come true. Khan Sahab wins the coveted dagger. With the ‘Katyar’, he earns the right to use it to kill a man in self-defence, with total pardon from the King.
Years pass by, Panditji leaves Vishrampur with his daughter Uma (Mrunmayee Deshpande). Khan Sahab gets mansion of royal singer and lives there with his daughter Zareena (Amruta Khanvilkar). Khan Sahab divorces his wife, earns accolades but loses his daughter’s respect for him, gets gifts but loses blessings of good relations, reaches height of fame but loses something deep within. And, then comes Sadashiv Gurav (Subodh Bhave), a sincere disciple of Panditji. He has only one wish -- masters appreciating him with words, “Jeete Raho, Gaate Raho (live long, keep singing).”
What happens then? Does Sadashiv avenge the insult of his ‘guru’ by defeating mighty Khan Sahab? Why does Khan Sahab divorce his wife? Does Khan Sahab use the ‘Katyar’? Is there a defeat of ego and triumph of art? For this to unfold beautifully on silver screen, you must watch the wonder of a movie.
‘Katyar Kaljat Ghusli’ is about every aspect of human emotions -- honesty, pursuit of excellence, devotion, purity of soul, aberration, betrayal, travails, struggle, defeat, triumph, relations. And, it is also about the philosophy of art summed up beautifully in popular song ‘Sur Niragas Ho...’ (Let music be pure). The directorial debut of Subodh Bhave, and acting debut of highly acclaimed versatile singer Shankar Mahadevan is packed with 21 renditions of 17 songs. And, what a masterpiece has Bhave given to the world of cinema in his debut directorial venture!
Subodh Bhave is excellent in his effort and has proven that a committed actor could be a very fine director. He has captured the richness of sets, beauty of designs, aesthetics of frames, expressions of actors, and ‘something extra’ conveyed by the music so well. Kudos to Shankar Mahadevan for not only a divine voice, but also superb acting for portraying various nuances of the character of Panditji. Shankar-Ehsaan-Loy have made wonderful additions to the original music score by legendary Pt Jitendra Abhisheki. And, Sachin Pilgaonkar has delivered the finest performance of his long-spanning career while portraying the character of Urdu-speaking Khan Sahab. Sakshi Tanwar, Amruta Khanvilkar, Mrunmayee Deshpande, Pushkar Shrotri also deserve appreciation for playing their parts very well.
Prakash Kapadia has written the screenplay, and has transformed the drama into the movie quite wonderfully. There are some dialogues that make their mark viz. Art comes from within, learning is acquired from outside; (Musical) notes are tender as well as piercing.
Though all have delivered splendid performances, the real hero of the movie is music. It grows on you beyond the cinema hall. Sur Niragas Ho..., Dil ki Tapish..., Ghei Chhand Makarand..., Surat Piya Ki..., Tejonidhi Lohgol... are exceptional. Also melodious are fast numbers like Yaar Ilahi... (qawwali) and Bhola Bhandari... The voices of Shankar Mahadevan, Rahul Deshpande, Mahesh Kale, Arijit Singh cannot be forgotten.
Thank you late Purushottam Darwhekar and late Pt Jitendra Abhisheki for leaving us the heritage of ‘Katyar Kaljat Ghusli’. And, thank you, Subodh Bhave and Shankar Mahadevan for delivering a masterpiece and proving that a Classic is immortal.
(03-12-15)
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