7 Khoon Maaf

12-03-10
7 Khoon Maaf

Release Date: February 18, 2011
Genre: Action/Thriller
Director, Music Director & Background Music: Vishal Bhardwaj
Producers: Vishal Bhardwaj & Ronnie Screwvala
Star CastPriyanka Chopra...... Susanna Anna-Marie JohannesJohn Abraham...... Jimmy StetsonNeil Nitin Mukesh...... Edwin RodriquesNaseruddin Shah...... Modhusudhon TarafdarIrrfan Khan...... Wasiullah KhanAnu Kapoor...... Keemat LalUsha Uthup...... MaidAleksandr Dyachenko...... Nicolai Vronsky
Lyricist: Gulzar & Ajinkya Iyer

Review:
After adapting Shakespeare in ‘Omkara’ and ‘Maqbool’¸ Vishal Bhardwaj has come up with another metamorphosis from text to tinsel. This time it’s ‘Susanna’s Seven Husbands’ by Ruskin Bond turned into ‘7 Khoon Maaf’. Vishal’s ‘Blue Umbrella’ is also an adaptation of a story by Bond. Bond also makes a guest appearance in teh film. ‘7 Khoon Maaf’ pertains to the mysterious lady called Susanna who ties the wedlock for as many as 07 times and each husband faces an untimely, unresolved death. The film is a sinister comedy depicting the same.
The movie opens with a couple of Buddha idols beside which lies a jet black revolver (Paradox!). Susanna places it on her temple. She slowly begins to squeeze the trigger, each micro-second tormenting her.
Suddenly BANG!!!
We see blood spatter on a wall. It slowly begins to flow downwards as music creeps in. (Courtesy: Screenplay of the film.)

Such a precise commencement raises the expectations of the spectators to the optimum. The film sustains this ambiance throughout, (sadly) even to the extent of obscurity. Let’s have a cursory glance at some of its pertinent aspects.
The story is narrated by Arun Kumar (addressed by Susanna as ‘sugar’ or her ‘chhota khargosh’) who is now Dr. Kumar, handling the case of Susanna’s (supposed) suicide. Arun opens up an album and identifies the photographs to satiate the curiosity of his wife (played by Vishal’s mascot: Konkana Sen). It is thorough this that the whole story is unfolded. It is a third person, omniscient, omnipresent narration but not an objective one.
One of the few most eye-catching traits of the film is its gripping cinematography. For instance, in the very first scene, the camera angles pinpoint the crestfallen expressions of Susanna, on the brink of suicide. Add to that, the duel between Goonga (a dumb servant) and Susanna’s first husband Rodriquez is powerfully shot. The scene in which Susanna strikes the huge bell, points towards her husband ‘for whom the bell tolls’. When her Russian hubby climbs down the well, it is shot in a way suggestive of fatality. In the second half, when Susanna’s house catches fire and the maid (interestingly, played by Usha Uthup) collapses on the floor, a huge portion of the ceiling falls on her. This scene is breathtakingly shot. However, cinematography fails to convince the death of a husband falling prey to a man eater.
The setting is understandably Gothic in style. For example, dark rooms, night scenes, bizarre deaths, barking dogs, crumbling houses etc. Watch ‘7 Khoon Maaf’ and you will realize why Bhardwaj is called the ‘Hitchcock of Hindi Films’. Unfortunately, this makes his dark film even confusingly darker.
The music is not as enchanting as has been the case with ‘Ishqiya’, ‘Kamineyy’ or ‘Omkara’. Excluding ‘Darling’ and ‘Bekaraa’, there is nothing worth-mentioning in the music section. However, the background score, at times, contributes to the mystery of the deaths. Apart from the cinematography and performances, the thing that appealed me the most in the film is the dialogues loaded with wit, black humor, repartee and profundity. For instance,
“Buraai zyada me hai. Aur zyada kabhi zyada nahi hota. … never… Hamesha kam hi hota hai. Jisne kam me jina sikh liya uske liye kuchh kam nahi hai.”
When Susanna is tracing a grey hair in her head and Arun asks what she is up to, she replies:
“Ek hai chhupa hua, jab bhi dhundhne ki koshish karti hun, kho jata hai kambakht.”
Isn’t it a metaphor for her fruitless husband-hunting? There is wordplay on ‘Beshkimati’ and ‘Kimat’ in the conversation with Inspector Kimat Lal. Read this universal truth:
“Unke nazariye se insaan saap se zyada zehrile aur khatarnak hote hai.”
When it comes to performances, I can’t help mentioning that Piggy Chops is THE perfect cast for the role of Susanna. Her scintillating performance is a benefit of doubt for this otherwise ambiguous film.
She convincingly portrays the transformation from Susanna Anna Johannes to Sultana to Sunaina and finally to Sister Susanna. In case of her husbands, there is a polar opposite range of performances in ascending order: from Neil Nitin Mukesh and John Abraham to Naseeruddin Shah. Neil makes a sincere effort. John is a dwarf among such giant performers as Naseer and Irrfan. Anu Kapur is interesting as a silly, fumbling inspector, smitten by ‘Maadaam’ Susanna.
How about the treatment of the theme? Well. It goes without saying that Vishal’s movies are dark, sinister and always intriguing. In other words, they are cryptographic. The deaths of the husbands are rapidly wrapped up. Interestingly, I had read the short story and novella by Ruskin Bond and also the screenplay of the film before watching it. Then even I got baffled especially in the second half. Just imagine the condition of those who went for it with zero background information. No wonder the film couldn’t attract the first week crowds! This reminds me of the words of my favorite film critic Rajiv Masand:
“Boring isn’t a word you’d normally associate with a Vishal Bhardwaj film, but Saat Khoon Maaf seriously tests your patience.”
My final word: ‘7Khoon Maaf’ is exclusively for serious moviegoers; who have the patience and interest to demystify the film. For those who believe in ‘Entertainment for entertainment’s sake’, this film will prove to be a litmus test of human endurance.
- Jay Mehta

09th of August 2010
Astitva

Story, Screenplay and Directed by: Mahesh Manjarekar
Lyrics and Music: Sukhvinder singh
Cast: Tabu
Sachin Khedekar
Mohnish Behl
Namrata Shirodkar

As per the usual categorization, a Hindi film has generally been either a typical masala entertainer or a bit hatke, ‘meaningful cinema’. I have always preferred the latter. ‘Astitva’ is one such thought-provoking work. Roughly speaking, it pertains to the oft-treated concept of illicit union or ex-marital affair. It highlights the subject of female adultery. However, the film does not confine itself to this. The maker of a realistic film like ‘Vastav’, Mahesh Manjarekar has raised an irrepressible voice to the age-old double standards of morality in male-female relationship.


Aditi (Tabu) was newly wedded to Shri (Sachin Khedekar) and wanted to spend more time with him but Shri’s new work required him to travel places. Completely lonely Aditi started learning music from Malhar Kamath (Mohnish Behl), but ended up having an affair with him and got pregnant. When she disclosed her pregnancy to Shri, he rejoiced and does not listen to the rest. Twenty five years later, an accident compels Shri to revisit his past. When Shri confronts truth to Aditi… Well, I must not reveal everything, right?

Let’s have a cursory glance at the constituent parts of the film. The crafty direction undoubtedly makes it an interesting watch. Considering the gravity of the theme, the dialogues are aptly striking. The two songs: ‘Chal, chal, mere sang chal’ and the ending piece ‘Main thi, main hun, main rahungi’ (How significant!), particularly add to the charm of the film.

Add to that, the performances by Namrata Shirodkar, Mohnish Behl, Smita Jaykar etc are commendable. Even Sachin Khedekar convincingly plays an archetypal chauvinist hubby. However, my ultimate temptation was the performer of The Namesake, Chandni Bar, and Maqbool, to name a few. Tabu is a perfect cast for such a challenging role. She virtually eclipses the rest of the performances. She is at her zenith, when she cries with an apologetic tone. For instance, she had one such cameo in ‘Saathia’. Some of the most appealing scenes of this film are the ones in which Aditi weeps and wails. She is tormented by her superego after being driven away by her id. However, the character displays a paradigm shift at the end when she takes the bull by the horns. Performing a mouthpiece of the filmmaker, Tabu points out the duality in the patriarchal Indian society and the resultant pangs and anguish faced by women.


A husband can easily forgive his own lechery as his birthright but what about his wife? No way, man! She’s a woman, after all! A man may have as many affairs as he wishes. He would enjoy the tag of being a Casanova or a playboy of the eastern world. A woman, on the other hand, would be considered as made up of a loose moral fabric or even a nymphomaniac. A husband can demand to satiate his carnal desires regardless of wife’s wish. A wife cannot expect the same if her husband is reluctant. So, what is the existence of a woman in an Indian marriage? The film is a female’s search for her Astitva (identity). Let me sum up with thematically significant words. In the end, Aditi retorts her husband:

“Shrimati Aditi Shrikant Pandit. Is naam me Aditi kahi kho gayi thi. Aaj khula aasman use bula raha hai. Main besabar hun apna astitva dhundhne ke liye.”

- Jay Mehta.
Feedback: jaysmehtas@gmail.com

05-11-‘09

Antagonism to English is groundless.

This refers to the editorial “No Angrezi, Please” (Nov 5). The very idea of one language damaging the other sounds ridiculous. Basically, language is a living entity which thrives and throbs with the culture. In the present globalization, linguistic chauvinism is as anomalous as the insistence to wear a dhoti in a corporate meeting. English, though some may call it a British legacy, is an indispensable aspect of present life. Starting with a toothpaste wrapper to multi-crore business deals, the language has become ubiquitous. Sadly, language policy is now another tool of mass manipulation for the politicians marked with duplicity. How can India, a super power in waiting, afford the aversion to English?

Don’t make a mountain out of molehill.

This refers to the Second Opinion ‘Anthem of anger’ (May 13) by Jug Suraiya. It has become a national phenomenon that in the name of “patriotism”, any trivial issue is turned into a vehement debate. The dust of controversy raised for the song of ‘Rann’ is nearly illogical. The lyrics are poignantly realistic. Current socio-political situation is far more insulting than that song. Thanks to the legal red taps, Ajmal Kasab will be provided with story books! In fact, the terror strike of 26/11 is an epitome of insult to the national honors. The line of demarcation between jingoism and patriotism ought not to be blurred. Jug truly observes that A. R. Rahman created a tidal wave of patriotism with ‘Maa Tujhe Salaam’. Rahman’s dazzling achievements manifest his Indian ness. Cynics opposing Rann’s song must take this into consideration. Such protests are not just needless but ironical.

04 July 2009
Gays Deserve Equal Status

With reference to the editorial ‘Victory for Choice’ (July 30), Delhi high court’s path breaking verdict legalizing homosexuality deserves to be applauded with full vigor. A large section of the society still suffers from myriad illusions about homosexuality. Actually, such an act is neither a sin nor a perversion but just a sexual orientation. The guards of “Indian Culture” must realize that being a gay is not an influence of “Western life style”. It need not be associated with religious sentiments. The verdict stringently prohibits child abuse and rape, which indicates that there is no scope of anarchy. Though the scientific fact has got a legal sanction, the wheel of discrimination still revolves in the society. The scorn and ridicule for gays still prevail due to the social stigma. To eradicate homophobia, which is a mammoth task, the government should follow the court by implementing the verdict on a national scale.

09-11-2009
Let’s not make it a land of fatwas.

With reference to ‘Let Vande Mataram bridge the differences’ (Swapan Dasgupta, Nov 8), the hullabaloo over the Vande Mataram issue is not only futile but also ridicules Indian ethnicity. Honoring one’s nation can, by no means, be a violation of any religion. Both the Darul Ulum and the R.S.S. must realize that a song cannot be the sole parameter to one’s patriotism or religious preference. One may sing the national song & then indulge in corruption; similarly a forthright person may avoid singing it. Both spirituality and nationalism are rooted in humanity and righteousness. In a country where a Prasoon Joshi pens a suffi song and a Rahman composes a bhajan for the same album, such a controversy is a national shame. The energy wasted on the issue of the national song could have been utilized for some constructive purpose. We have no dearth of burning issues. It is a paradox that we have included the virtues of ‘Unity in Diversity’ and religious tolerance in the school curriculum; concurrently such fatwas dominate the headlines.

Say No to Anti-progress Policies

This refers to ‘Progress Hatao’ by Jug Suraiya (April 15). The declaration of the Samajwadi party manifesto demonstrates a steady decline in the Indian politics. Where the world is progresses every nanosecond, such politicians head the country towards the Stone Age. By no means, it sounds rational that promoting English and computer literacy is ‘anti-people’. Suraiya aptly identifies the tricks of the trade. Our leaders deliberately keep the mass in oblivion because it is easy to enslave the deprived. It is not enough to sing the glory of ‘young India’. India needs to be freed from the myopic old leaders like Mulayam and others. The voters ought to say ‘No’ to anti-progress policies.

Supreme Court Practices ‘Art for Art’s Sake’

This is with reference to the news "SC: Hussain’s ‘Bharat Mata’ is a work of art" (Sept.09). This elaborate verdict of the Supreme Court is a rude awakening to the opponents of genuine art. I see eye to eye with the court’s logic that the erotic sculptures – indispensable aspects of Indian culture - don’t scandalize people. How can those self-appointed guards of morality overlook that the world’s first scientific tome on human eroticism viz. Vatsayana’s Kama Sutra belongs to the Indian treasure? The burning issues like terrorism, corruption, inflation etc don’t hurt the ‘patriotic’ sentiments of those who are up in arms with Hussain’s allegedly obnoxious painting. I am reminded of Shashi Tharoor’s article, published some time ago, in which he construes the judgment pertaining to Hussain’s creative art. It must be remembered that any branch of aesthetics, be it literature, sculpture or painting can not be denied of its deserved freedom of expression. Supreme Court’s verdict in Hussain’s case is an example of it.

Stop the Talibanization of India
(Published in the Times of India with minor modifications)
This refers to the news ‘Dating on V-Day? Rama Sene will get you married’ (Feb.06). It is ironic that in the largest democracy of the world, a handful of fundamentalists deprive youth from the deserved freedom. It is furthermore more ironic that for their unruly deeds, they misuse the name of Maryada Purushottam Lord Rama. The Mangalore assault, not unexpectedly, has become a ball for the dirty game of the politicians. The declaration of Sri Rama Sene for the V-Day is an insult added to injury. It manifests the attention seeking tendency of this self-styled moral police. If this persists, the day is not so far when a young couple would be stoned to death in the Taliban style. It’s high time now to stop the goondaism under the sophisticated term of ‘culture’.

Stop Haunting Sania
(Sent to the Times of India)
With reference to Sania Mirza’s decision to pull out from the Bangalore Open, I think it is now time to stop tormenting her. Be it the case of her candid remarks on virginity or her alleged insult to the flag, controversy has become her middle name. She falls prey to some fundamentalists day in and day out. The tennis sensation, however, should get attuned to all slanders and impediments on her way to triumph. She must realize that success and controversy, in each arena, always go hand in hand.

By turning Asia’s top tennis player, Sania has proved her mettle. Amidst the clarion calls of ‘Chak De India’, protest again Sania sound jarring. Cynics are kindly requested to spare this Hyderabadi achiever for her natural course of action.

The Feminine Frailty
(M.A. II)
All the views expressed here are entirely mine but they bear resemblance to the whole humankind in general.

Woman- what an ambiguous species gifted by the Omnipotent to the planet! From the times immemorial, ample intellectual giants have endeavored to analyze the female psyche without succeeding. I might be an inheritor to this fruitless striving.

I am cocksure that myriad honest individuals would nod their heads in consent (some inwardly) that the behavior of a woman is supremely unpredictable and out of human comprehension.

‘The Fairer, the Fouler’ has been the case be it the time of the Helen of Troy or the Prince of Denmark or that of Dr. Sigmund Freud or the time of Jay Mehta.

Dr. Sigmund Freud - a genius, who acutely construed each facet of human behavior, puts his pen down when someone shoots him a question on the issue under discussion.

Sometimes it is acknowledged that a female doesn’t know what she, in actuality, wants to do or get, or she may not be revealing it wholly.

A woman, never a ‘weaker sex’, possesses tremendous powers to ‘make or mar one’s life’. That’s why the clichéd expression that there is a woman behind every successful man.

A woman who conceives a man very well conceives that a man is a cripple to her –socially, emotionally and erotically as well. Many Lady Macbeths and Gertrudes exploit this trait for their mean and malign ends. They treat men as puppets to attain egotistic satisfaction.

Simultaneously, many other gentle ladies bring men on the right track. They become a power of success to their men by boosting their morale.

My ultimate point is that the enigma of female psychology is a whirlpool. The more you attempt to interpret it, the deeper you would be sucked.

I would put an end to this article by quoting a massive hit ‘Titanic’,
“The heart of a woman is like an ocean in which many treasures are hidden.”


• Dedicated to my Metaphysical Friend - BRIJESH PUROHIT.

EDUCATION: OF HEAD, HEART AND SOUL
(Elocution Speech - M.A.II - 1st Prize)

First let’s clarify what does education mean? IS it the process of cramming digest answers and vomiting them in three hours? Is it all about passing traditional board and university exams and getting degrees? No way.

I personally believe that education is a process of grooming genuine understanding of life. It aims at preparing a person to face the hard and harsh realities at the crossroads of life. Education must realize one that life is not all about rosy dreams but one has to come across ample troubles and traumas, too.

Education should be equally imparted at three levels:-

HEAD

HEART

SOUL

Or let me categorize it as:-

I.Q.
E.Q.
S.Q. respectively

Unfortunately education has now bee restricted only to the training of the intellect and education of ethical values has become subservient. The focus of education has shifted from human virtues to the ipods and nano technology.

Youngsters rush in flocks to become master of engineering or computer or business administration but none wishes to be a master of kindness and honesty.

Many meritorious people like J. Krishnamurthy, Swami Vivekananda, Mahatma Gandhi etc have observed that the contemporary education system only produces a mass of dumb-founded degree-holders awaiting in ques for the jobs.

Gandhiji refused to walk on the beaten track of school-education for his son Harilal as he believed in the all-inclusive training for life he defines education as an attempt of self-realization.

Let me give you an acute example of the failure of our academic process. The number of educated intelligentsia has increased two-fold but the crime rate zooms four-fold. It is an irony of education that female feticide is a crucial problem of the same state from where Sunita Williams soared to the universe.

My point is that the goal of education must be the culmination of an individual in all spheres of life. That’s what I had to say. Thanks a lot.

Child-Marriage: - A Pathetic Tradition:

(Written in the T.Y.B.A.)

News:-

On the auspicious occasion of AkhaTrij many children were happily united in the villages of Madhya-Pradesh. Moreover, the D.D.O. of the area was brutally assaulted because of her movement against the child-marriages in her area. The only crime (?) of the lady was that she strongly resisted this non-sense action.

Views:-
What a shocking news! Unfortunately India still lives in a period of cultural decline and stagnation. At one side we have recently launched world’s first education –based satellite and on the other side thousands of children have entered that marriage-life about which they know nothing. The so-called Patriots attacking western-culture every now and then are mute in this case.

Since the time of Raja Ram Mohan Roy, many efforts were put to curb this idiotic system, but all in vain. Even Mahatma Gandhiji wrote in his autobiography,

“I get perplexed when I notice that I was married at the age of thirteen!”

People have knowingly confined themselves into a small circle of rigid and orthodox traditions. To improve the society we have sent many representatives in the parliament. But, alas! They can’t do this because by that, they don’t get the bundles of notes!

For this conduct, everyone who is in powers is responsible starting from the collector to C.M. But we can’t blame only them because they have come from the same Indian people. It is furthermore shocking that the N.G.O.s, political or semi-political parties do not utter a word. They behave like three monkeys of Gandhiji! Such incidents give deep shock to the efforts and vision of Dr. Kalam to behold a developed India in 2020 A.D.

At last, I want to ask one ‘Yaksha-Prashna’ to all:-
Should India be proud of the N.R.I.s working in NASA or of these mindless and sheep-like Indians still actively performing child-marriages? Can anyone answer?