Tuesday, January 25, 2011

# एक डायरेक्टर की मौत!

दोस्तों मौत दो तरह की होती है,एक जिस्म की और दूसरी कला की.जिस्म की मौत के बाद भी इन्सान अपनी कला के ज़रिये हमेशा जी सकता है लेकिन कला की मौत के बाद वो सिर्फ सांस लेता हुआ मामूली इन्सान की तरह जीता रह जाता है.
इस श्रृंखला की पहली पोस्ट में हम बात करेंगे कुछ ऐसे निर्देशकों की जिनका शरीर तो जिंदा है लेकिन उनकी कला पता नहीं कहाँ खो गई है,वो ज़िंदा भी है या नहीं इसकी भी अब तक कोई ख़बर नहीं.
इस चर्चा में पहला नाम है मशहूर लेखक-निर्देशक गुलज़ार के सहायक रह चुके चंद्रशेखर नार्वेकर उर्फ़ 'एन.चन्द्रा' का जिन्होंने सिल्वर स्क्रीन पर अपनी धमाकेदार उपस्थिति का ऐलान किया था 1986 में फिल्म 'अंकुश' के द्वारा जिसमे उन्होंने लेखक,संपादक और सह-निर्माता की तिहरी भूमिका निभाई थी.


























यही वो फिल्म थी जिसने नाना पाटेकर जैसे तेज़ाबी अभिनेता की असली प्रतिभा से दर्शकों का परिचय कराया.इस फिल्म में बेरोज़गारी,गुंडागर्दी और कमज़ोर न्याय व्यवस्था जैसे ज्वलंत सामाजिक मुद्दों को बड़ी ईमानदारी के साथ बखूबी उठाया गया था.
 

























चुस्त संपादन,कुशल निर्देशन और कसी हुई स्क्रिप्ट से सुसज्जित छोटे बजट की इस फिल्म कोई भी समकालीन बड़ा नाम नहीं था पर उसके बावजूद इसने दर्शकों के बीच अपनी जगह बनायीं और सिने पंडितों को एन.चन्द्रा और नाना पाटेकर जैसे नामों की तरफ तवज्जो देने पर मजबूर किया.
चन्द्रा साहब की इसी कड़ी की दूसरी फिल्म थी 'प्रतिघात'(1987) जिसमे भी कोई बड़ा नाम नहीं था,राजनीति और गुंडागर्दी के नाजायज़ मिलन को सामने लाती यह भी एक प्रभावपूर्ण और सौद्देश्य फिल्म थी जिसने मोहन भंडारी,सुजाता मेहता और चरणराज जैसे कलाकारों को सामने लाने का काम किया,यह अलग बात है की सुजाता मेहता इसके बाद कोई कमाल दिखा नहीं पाई और चरणराज को हिंदी फिल्म इंडस्ट्री ज़्यादा वक़्त तक नहीं भायी लेकिन इस फिल्म की सफलता के साथ ही एन.चन्द्रा ने यह साबित कर दिया की अंकुश की सफलता कोई तुक्का नहीं थी.
अब तक मेरे ज़हन में एन चन्द्रा की छाप लग चुकी थी और मैं इस लेखक-निर्देशक से,जो सामाजिक मुद्दों को ईमानदारी और तीक्षणता के साथ सेल्युलाइड पर पेश करने की हिम्मत रखता था,से बड़ा मुतास्सिर(प्रभावित) था.
अब तक एन.चन्द्रा साहब फ़िल्मी हलकों में काफ़ी बड़ा नाम बन चुका थे और उनके साथ काम करने को कई समकालीन बड़े सितारे मरे जा रहे थे,कई सारी आफर्स उनके पास आ रही थी,कई नामी-गिरामी सितारों के सैक्रेटरी उनके गिर्द चक्कर लगाने लगे थे.
ऐसे में उनकी अब तक के सबसे बड़े बजट की तीसरी फिल्म आती है 'तेज़ाब'(१९८८) जिसमे अनिल कपूर,अनुपम खेर,किरण कुमार जैसे बड़े नाम थे,लक्ष्मीकांत-प्यारेलाल जैसे नामी-गिरामी संगीतकार का संगीत था.फिल्म अब तक की सबसे बड़ी हिट साबित हुई और और एन.चन्द्रा ने सफ़लता की हैटट्रिक लगायी पर मुझे बहुत सी बातों की कमी खली जैसे की चन्द्रा साहब सफ़लता की रौ में बहते दिखे,उन्होंने बड़े कलाकारों का दामन थाम लिया और अपनी सामाजिक ज़िम्मेदारी से दामन छुड़ा लिया क्योंकि इस फिल्म में ऐसा कुछ नयापन नहीं था जो दर्शकों को 'अंकुश' और 'प्रतिघात' के तरह सोचने पर मजबूर करता,इसमें कोई भी ऐसा सामाजिक प्रश्न या मुद्दा नहीं था बल्कि यह तो एक हिंसात्मक प्रेम कहानी थी.  


















कहानी का ढर्रा भले ही घिसा-पिटा था पर चूँकि इसे पेश करने का ढंग अलग और धारदार था इसलिए फ़िल्म अच्छी ही लगी लेकिन अगर इज्ज़त के नज़रिए से देखा जाये तो 'अंकुश' और 'प्रतिघात' के निर्देशक के लिए 'तेज़ाब' दोयम ही थी.
मैं तेजाब के बाद यह उम्मीद कर रहा था की शायद अब अगली फ़िल्म से चन्द्रा साहब अपनी ताक़त और जड़ों की तरफ वापसी करेंगे.

 

















एक बार फिर चन्द्रा साहब लोकप्रिय सितारों का ही साथ पकड़ते हैं और नज़र आते हैं 'नरसिम्हा'(१९९१) से जिसमे सनी देओल,डिम्पल कपाडिया,उर्मिला मातोंडकर,ओम पुरी जैसे सितारे होते हैं लेकिन इस बार चन्द्रा साहब का जादू सिर्फ परछाईं के तौर पर नज़र आता है,एन.चन्द्रा की सबसे बड़ी ताक़त,उनकी स्क्रिप्ट,ही उनकी सबसे बड़ी कमज़ोरी साबित हुई.
मैं समझ गया की चन्द्रा साहब कमर्शियल सिनेमा के फेर में उलझे अपनी जड़ों को भुला बैठे हैं,निर्देशक चन्द्रा तो नज़र आ रहे थे पर लेखक और संपादक चन्द्रा नदारद थे.
























'नरसिम्हा' के बाद भी मैं इस उम्मीद में था की जल्द ही चन्द्रा साहब अपनी गलती को पहचान कर दोबारा अपने अंदाज़ में वापसी करेंगे पर 'हमला,युगांधर,तेजस्विनी,बेकाबू और वजूद' जैसी फिल्मों ने मेरी उम्मीद का बारीक धागा भी तोड़ दिया,उसके बाद जब 'Style'(2001) और 'Xuse'(2003) जैसी द्विअर्थी और अर्ध-अश्लील फिल्मों के ज़रिये सफ़लता की तलाश में चन्द्रा साहब को डेविड धवन का चोला ओड़े भागते देखा तो उनसे रही-सही उमीदें भी जाती रही और उनकी कला पर मर्सिया पढ़ने को जी चाहा.
 


















एक कहावत सुनी थी की नासमझ वह नहीं है जो गिर जाये बल्कि वो है जो गिर कर उठने के बाद भी दोबारा उसी तरह गिरता रहे.
आखिर ऐसा क्या हुआ जो एन.चन्द्रा जैसा प्रतिभाशाली लेखक अपनी धार कुंद कर बैठा,क्या एन.चन्द्रा की कला की ज़िन्दगी क्या सिर्फ तीन फिल्मों की ही थी,कलाकार की कला आखिर कैसे चूक जाती है,आखिर ऐसा क्या होता है किसी कलाकार के साथ जो वो अपना 'टच' खो बैठता है!
दोस्तों,यही वो सवाल हैं जो अब तक मुझे परेशान करते रहते हैं,यदि किसी के पास इनका जवाब हो तो बताने की ज़हमत ज़रूर फरमायें.आगामी पोस्ट में हम तब्सिरा करेंगे ऐसे और कलाकारों की असामयिक मौत पर.


14 comments:

Venkitachalam Subramanian said...

I do not usually watch Hindi movies (but let me confess I was a die-hard Amitabh fan in his and my younger days!). I always thought that N.Chandra was one director who did not live up to his capabilities.Ankush was definitely his best movie to date. I still relish watching that movie, which like Ardh Satya really caused you to get mad over the injustice in society. (ofcourse many of Amitabh's movies did the same thing but in a different manner). I have not watched very many Hindi movies since 2000 and so I have not seen most of the movies you have mentioned.
I watched Tejaab, because of Ankush, the music and to see the new girl who would be the next HemaMalini and/or Sridevi. And she did not disappoint!

Comic World said...

Venkit: Well,me too was a avid fan of young Amitabh and his movies till late 80's were really the best and on this common topic i think we can share/discuss much.
Yeah,no doubt Ankush was the best creation of N.Chandra and i still love to watch it whenever i can but i was much disappointed by his sub standard performances later on as after Ankush and Pratighat Chandra did made a solid impact on me regarding his writing and scripting abilities which i was not able to found in his subsequent movies.

kuldeepjain said...

Hi Jaheer

yesterday i started writing my comment in hindi and if i type the thoughts which were in my mind then it will take atleast a month and by that time the post will be in archive.

so sorry about that..

a wonderful post showing your in depth knowledge in movies world as well .

It was my place Raigarh MP where in Ramnivas or Shyam takiz this movie got released and till that time i was fan of movies of mar-dhad or comedy ( mithun, danny). if you remember that was time of mithun, sridevi, jitendra , kadar khan . jackie shrof was emerging and sadly amitabh was declining.

that time this movies has 'A' certification and for me any movie which has an 'A' was an absolute no-no.infact i watched Ankush quite late and Pratighat I have not watched yet.I liked Ankush very much and that was the time when we have a mindset to get influenced by social justice type of movies.

no argument here but as you said that Tezab didinot have any message but it was a violent love story (why my mind is saying that a movie name was promoted with this tag .. cannot recall now ) and it was a commercial success and any movie maker makes a movie only with this goal. social justice message, masala and all other ingredient were just used to achieve this goal. i have seen movie director saying that i want to make good movie for people but no one says that my movie will be meant only to give social message..


movie maker compromises with changing times ..take example of Narsimha..by that time Sunny deol was rising by his action oriented movies and it was safe commercial bet and N chandra took it but again movie was not bad ( my engineering college days) because N chandra used his old skills atleast..

other movies you mentioned i can recall that i have watched Bekabu ( Ranchi days), Tejaswani ( acted vijashanti) and rest i have not watched ..Tejaswani was the biggest disaster movie i have seen and Bekabu was bad not because of N chandra but sanjay Kapur who was pathetic .. as such i like the movie ( again because my mind was still in mar-dhad)

coming to style and Xcuse me..Jaheer bhai i liked this movies and enjoyed as pure comdey point of view rather than N chandra creation..

and why to mention N chandra only ? take subhash ghai known as show king..take rakesh roshan ...take yash chopra.

kuldeepjain said...

all have given us some of the finest movies and with time they have produced movies like kahno na pyar hai, youvaraj, kites, neel and nikki and people got tortured just because they were living with good memories of this directors.


recently i got a bug in my mind and started collecting those movies which i watched as kid and re-watched them .. and when i was questioning myself what was so good in this movies and listening my wife taunting voice about my taste i realized that time makes a lot of difference.

earlier movie the word was 'rishwat' and today it is 'ghotala'. earlier movie it was mithun style judo karate now it is Rambo style blood bath.

not talking on this changing time as it is not related to this post but old director who are using new hero heroine cannot crate magic like the old times.. reason people got the awareness to filter out the reality..

I would like to quote example of movie Ishaq.. kajol was suppose to be a poor girl from poor area but her dresses and style ? now if some director takes mallika sherawat as rape victim and makes a movie do you think people will accept it ? people already have a image about this lady and whatever promotion or marketing gimmick the director makes it is not going to change the people mind.

one thing i donot understand that why to promote the move i with controversy or staging media shows. if the movie is good people coming out of theater true reaction will be spread to say movie is good or bad.

i can remember one movie "army" starring sharukh and Sridevi. this movie was promoted by media , and every one like movie of the decade etc etc but this movie was a disaster. I was watching the movie review by Zee channel and it was showing people reaction.. all the clips where people were saying 'good' excellent was getting shown again and again.. only one negative reaction ( true one indeed ) was shown ..

kuldeepjain said...

so now a days it is like pay the media and promote the movie..

people realized the cheating once they visit and come out..

It is long that i have not watched hindi movies because I have realized that it is not good story or direction but media marketing . hardly few good movies comes and i read through reviews and then watch them with care.

more on this later..



PS: currenty i am watching some good Tamil movies ( english subtitles )

Comic World said...

Kuldeep Bhai: Kuldeep bhai i would have loved that detailed comment of yours which would have taken a month as thoughts from avid readers like you is a joy to read and like taking bath in a pool of warm and nostalgic memories.Well,truly said mid 80's was the time when i also was getting influenced with the social movies rather than only nonsense action which i use to enjoy before 1985,i remember very well at those times the dubbed action flicks of Rajnikant were a huge success in Hindi belt and i use to enjoy very much of his movies of the likes of 'Fauladi Mukka' where there was only mechanized and acrobatic action blended with popular Rajni gimmicks.
I came across to N.Chandra in 1987 accidentally through 'Pratighat',i remember that was a EID day when we kids of 13-14 were having a pocketful of money and freedom to enjoy the whole day according to our wish and as usual i along with my cousin brothers was out to enjoy a movie,our first choice was 'Imandaar'(Sanjay Dutt,Farha,Rohan Kapoor) which was being shown in Kamal Talkies of Bareilly but it was a houseful there and we preferred to watch 'Pratighat',rather than returning back,which was being shown in nearby Imperial Talkies,so with zero expectation i went for Pratighat but in the first 10-15 minutes of the movie my whole perception was changed 180 degree,i was spellbound during the whole movie and was hugely impressed by the man N.Chandra who was the writer-director of the movie.
continued

Comic World said...

Till that time i gained that maturity to take interest and recognizing the creative personalities behind the screen and was rather picking up the movies by the name of directors rather than stars.After Pratighat i came to now about Ankush which eventually i watched in early 1988 and naturally became a fan of Chandra because of his midas touch scripting abilities.
'Tezaab' was his next release and i remember watching this film in its very first week of release,though i liked the film but somehow i wasn't able to find that Chandra in Tezaab who use to cast lesser known but powerful actors like Nana Patekar,Madan Jain,Arjun Chakravorty,Gyan Shivpuri,Mohan Bhandari rather than commercial stars,i was not able to find that Chandra whose script till now use to talk mainly about social injustice in intense and thought provoking manner rather than diluting it with a love story and item songs(1,2,3,4,...aath nau das gyarah) to lure front bencher.
In 1991 my expectations were again raised with Narsimha as this time my one of the favorite hero of those times,Sunny Deol,was coming in a N.Chandra movie and i expected a creative explosion with this combo but the film didn't met the expectation though it was above average and i liked it in parts.
I was wondering till now that which track actually Chandra wish to follow and why he is not coming up with his strength rather than being lost in commercial cinema,i followed Chandra in 'Hamla,Beqabu,Tejaswini and Wajood' in a hope to see him returning back to his USP but each time i was disappointed more than before and it was Wajood which convinced me finally that Chandra has actually 'burnt out' prematurely and may be its now a full-stop for him.Alike you i also liked 'Style' but for such kind of movie there were already many David Dhawans and Dada Kondkes in the Industry so it was a huge loss for meaningful cinema to see Chandra morphing into Dhawans and Kondkes.
.
continued...

Comic World said...

Kuldeep bhai you have talked about Subhash Ghai,Yash Chopra and Rakesh Roshan,yes,Subhash Ghai can be a good next choice for this series,more about them i would discuss later but at the moment i will like to talk something about the false promotion and propaganda about the quality of a movie using media in modern time.
Well,till last century the media was basically the print media having quite good ethics in majority and journalism was treated as a responsible and tough profession.If we talk about Indian film media then i remember right from the talky movie era the film journalist were used to be honest and tough in their profession with Baburao Patel,editor of Film-India magazine,being the main protagonist behind this thought.Such was the talent and fierce reputation of Baburao Patel that his words were taken as the final authoritative say about quality of a movie or actor/actress and no body in the whole industry dares to challenge his verdict.Well,quite naturally this reputation was based on his impartial behavior and analysis about the movies where he use to go with his talent without any prejudice and biasing towards anybody.
This 'Baburaon' trend did lived with film journalism in a healthy manner till late 70's and 80's but afterwards because of advent of corporate companies in film making the profit making aspect became more thoughtful for these corporate giants for whom the financial part of film production was more important than the creative part,hence the then marketing strategists got up with the idea to use the most powerful medium of perception floating(read enforcing) i.e.the electronic media in order to milk out the profit by false reporting and promotion and its that fake and pseudo tactics of film promotion which we common cine lovers are suffering of.

aditya M said...

behad dilchasp lekh hai

style chandra ji ke naam se chal gayi magar sach kaha kahani men vo dum nahi tha

Comic World said...

Aditya M: Thanks and welcome Aditya bhai.

अभिषेक मिश्र said...

स्टाईल देखने के लिए मैं जबरन अपने दोस्तों को ले गया था कि निर्देशक अपने मौलिक अंदाज को तमाम कॉम्प्रोमाइज के बावजूद बचाए रख पाया होगा. सफलता को दोहराने का दबाव सृजनात्मकता को कुचल देता है जैसा आजकल प्रियदर्शन के साथ हो रहा है, एक हिट सीन को हर फिल्म में शामिल करने का नाटकीय दबाव दिखता है अब इनकी फिल्मों में भी.

Comic World said...

अभिषेक मिश्र: जी हाँ,बिलकुल सही कहा आपने.सफ़लता को बनाये रखने के दबाव से सभी सृजक निर्देशक गुज़रते हैं और बहुत कम ही इस दबाव के आगे बिखरते नहीं.'प्रियदर्शन' एक निहायत ही संवेदनशील निर्देशक रहे हैं जिसका परिचय 'गर्दिश,विरासत,सज़ाए काला पानी,मुस्कराहट' आदि से क्या बखूब मिलता है.मैं आज भी प्रियदर्शन जी से उस दौर की गंभीर फिल्मों की आशा लगाये बैठा हूँ.

जितेन्द्र माथुर said...

हसन भाई, अपनी इस पुरानी पोस्ट को हमारे साथ बांटने के लिए शुक्रिया । मैंने अभी तक अंकुश नहीं देखी है मगर इसके बारे में सुना बहुत कुछ है । इतनी शक्ति हमें देना दाता गीत तो विद्यालयों में प्रार्थना का स्थान ग्रहण कर चुका है । अब मैं इस फिल्म को जल्द-अज-जल्द देखूंगा । मैंने प्रतिघात, तेज़ाब, नरसिम्हा, वजूद, स्टाइल, एक्सक्यूज मी, कगार वग़ैरह देखीं हैं । मैं प्रतिघात से बहुत प्रभावित हुआ था । लेकिन मुझे वजूद भी एक हटके और बेहतर फिल्म लगी । जहां तक स्टाइल और एक्स्क्यूज़ मी का सवाल है, मुझे इतना ही कहना है कि वे हल्की-फुलकी कॉमेडी फिल्में थीं और उन पर उसी नुक़्तानिगाह से बात की जा सकती है । उनमें अश्लीलता नहीं थी इसलिए एन. चंद्रा की तुलना दादा कोंडके से करना उनके साथ न्याय नहीं होगा । मैं भी आप ही की तरह एन. चंद्रा को उसी पुराने रंग में देखना चाहता हूँ लेकिन शायद एक बिन्दु के बाद कलाकार चुकने लगता है । एन. चंद्रा ज़रा जल्दी चुक गए ।

Comic World said...

Thanks Jitendra Bhai for your thoughts,i had put up my answer at FB group.

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