Download Emotion Pictures: Cinematic Journeys into the Indian Self by Narendra Panjwani PDF

By Narendra Panjwani

Cinema isn't just a visible medium; it's also an emotional medium. This emotional measurement is what makes a few films-like Kismet, Aawara, Baiju Baawra, Pyaasa, mom India, Mughal-e-Azam, Mere Mehboob, Sholay, Amar Akbar Anthony DDLJ-our motion pictures. every year a number of movies develop into mega-hits in India (and Pakistan) simply because all of us decide to see them, and a few folks greater than as soon as. M F Husain the painter was once famously quoted as having obvious Hum Aapke Hain Kaun sixty two instances in 1994-95, yet 1000000 different audience (in Mumbai, Chennai, Calcutta, Lucknow, Lahore, London & manhattan) are available every year who too have identified this insanity for the photographs at one time or one other of their lives-especially of their teenage years. This booklet of essays explores the event of Hindi movei-goers, specially that of small city little ones in north-central India. the movies exposed listed below are these published within the interval 1951-81. We fall in love with a few motion pictures simply because they converse to us, in phrases and pictures that appear to return from deep down within the nationwide psyche. we do not be aware of that they stay in that underground sector, until eventually they've been dropped at existence on monitor, after which we fall in love with them, specially their songs. Cinema is a People's artwork, within which either impact each one other-making it a grand cultural dialog, within which filmmakers and audience even come to blows occasionally. Love and Rejection, existence and dying are all a part of this passionate courting. Emotion images reviews in this nice nationwide dialogue-cum-pastime, which has now turn into a world one, with movies like Gandhi, Salaam Bombay, Bend It Like Beckham, and Lagaan.

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It permits him to observe at intimate range the play of facial and bodily gesture. My belief is that the close-up inevitably induces a sense of intimacy and privileged familiarity. Thornton Wilder informs me that the fanmail of movie stars appears to be much more intimate in tone than that received by theatrical or opera stars. In the latter the adoration is distant, seemingly conforming to the physical separation set by the theatre ... (Blumer 1971: 131-2) In the film Barsaat Ki Raat (1960), for instance, you see the Indian screen's Marilyn Monroe, Madhubala, after her brief and accidental encounter with Amaan Saheb (played by Bharat Bhushan), a poet she loves without ever having met, snuggling up very close to the radio in her bedroom, just listening to him singing.

HU11l tllm- 11l1ll11l ... (Wbat if tbe two of liS a1'e locked ;11 a mom (md tbe key gets lost. ) [OPe1lillg line of fl pop ula1' song from tbe fil1ll _aboll t teellage love Cfllled Bobby (1973)]. out, Ravan saw a houri, an apsara, a celestial creature in black and white of incredible beauty and vivacity. He was hard put to understand how such a rarefied and refined aesthetic experience could induce such painful tightness and tension in his groin. He would have been horrified if anyone had opined that her thick lips gave the impression that they were just a trace out of sync with the words she spoke or that the slacks she wore only helped to emphasise the magnificence of her hips.

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