Click on pic for enlarge view
ENYA: YEAR ONE
medium: oil on canvasNo manipulation done afterward on taken digital camera shot, yet some original color , depth and brush strokes missed out here.
Thursday, April 30, 2009
Friday, April 24, 2009
Baanhor Chungat Maach (Fish in Bamboo Hollow): From the Assamese Kitchen
So now lots of variety cooking are happening in the Assamese kitchen, here are the list of some items below:
KHAR : A curry mixed with the juice of banana soots. (It is made by drying the trunk of banana plant or banana peels and setting it on fire. The ashes are kept soaked in a coconut shell and the juice that flows out is known as kalakhar.)This dish can be prepared with vegetables, dried night jasmine flowers(Xewali Fhul), fish and dals.
TENGA : A sour dish made either with leafy vegetables like fern-shoots, Taro leaves, fish or dal vadas ,the sourness being produced by the addition of lime juice, elephant apples and tomatoes.
BHAPOT DIYA : Fish or vegetables steamed with oil and spices. A classic steaming technique is to wrap the fish in banana leaf to give it a faint musky, smoky scent.
PITIKA : Any vegetable, such as potatoes, beans, Taro, pumpkins or Brinjal, first boiled whole and then mashed and seasoned with mustard oil or ghee and spices.
PURA : Literally, burnt over charcoal. Vegetables are wrapped in banana leaves and roasted over a wood or charcoal fire. Some, like eggplants (brinjals/aubergines), are put directly over the flames. Before eating the roasted vegetable is mixed with mustard oil and spices.
PITHA : Typical Assamese snack, prepared from powdered sticky rice called Bora Saul. This snack is sweet as various sweetners like sugar, jaggery, crated coconuts are added. This snack is well accompanied with a cup of refreshing Assam tea. There are different varieties of pithas like Til(Black sesame) Pitha, Ketlir mukhot diya pitha (steamed using a kettle with full of boiling water),Sunga pitha (It is cooked by stuffing the bora saul or sticky rice, whether ground or whole, into bamboo cylinders, and placing the cylinder on fire. It can be had with gur (jaggery) alone, or with doi (curd) and komal saul, another typically Assamese ready-to-eat rice; which can be soaked in water and it's ready to eat) etc. This a common snack during the Bihu time (Assamese newyear).
One of those items is Baanhor Chungat Maach (Fish in Bamboo Hollow):
KHAR : A curry mixed with the juice of banana soots. (It is made by drying the trunk of banana plant or banana peels and setting it on fire. The ashes are kept soaked in a coconut shell and the juice that flows out is known as kalakhar.)This dish can be prepared with vegetables, dried night jasmine flowers(Xewali Fhul), fish and dals.
TENGA : A sour dish made either with leafy vegetables like fern-shoots, Taro leaves, fish or dal vadas ,the sourness being produced by the addition of lime juice, elephant apples and tomatoes.
BHAPOT DIYA : Fish or vegetables steamed with oil and spices. A classic steaming technique is to wrap the fish in banana leaf to give it a faint musky, smoky scent.
PITIKA : Any vegetable, such as potatoes, beans, Taro, pumpkins or Brinjal, first boiled whole and then mashed and seasoned with mustard oil or ghee and spices.
PURA : Literally, burnt over charcoal. Vegetables are wrapped in banana leaves and roasted over a wood or charcoal fire. Some, like eggplants (brinjals/aubergines), are put directly over the flames. Before eating the roasted vegetable is mixed with mustard oil and spices.
PITHA : Typical Assamese snack, prepared from powdered sticky rice called Bora Saul. This snack is sweet as various sweetners like sugar, jaggery, crated coconuts are added. This snack is well accompanied with a cup of refreshing Assam tea. There are different varieties of pithas like Til(Black sesame) Pitha, Ketlir mukhot diya pitha (steamed using a kettle with full of boiling water),Sunga pitha (It is cooked by stuffing the bora saul or sticky rice, whether ground or whole, into bamboo cylinders, and placing the cylinder on fire. It can be had with gur (jaggery) alone, or with doi (curd) and komal saul, another typically Assamese ready-to-eat rice; which can be soaked in water and it's ready to eat) etc. This a common snack during the Bihu time (Assamese newyear).
One of those items is Baanhor Chungat Maach (Fish in Bamboo Hollow):
Ingredients:
# Boneless fish: 6 pieces
# Crushed garlic: ½ tbsp
# Slit green chillies: 2
# Mustard oil: 1 tbsp
# Sliced onions: 2 small sized
# Grated ginger: 1 level tsp
# Salt: to taste
# Tender bamboo hollow: 1 (this one is important, you must required this)
# Banana leaf: 1
# To garnish: coriander leaves, mustard oil – 1 ½ tbsps
Method:
# Clean, wash and drain the fish.
# Clean the banana leaf. Dry it and pass over low fire to make the leaf pliable.
# In a small bowl mix together crushed garlic, slit green chillies, mustard oil and salt.
# Add the mixture to the fish and mix well.
# Fill the bamboo hollow with the fish and seal with soften banana leaf.
# Place the hollows over charcoal fire.
# Rotate the bamboo hollows from time to time till it is evenly burnt.
# Leave it to cool. Slit open the bamboo hollows.
# Add sliced onions, grated ginger and mustard oil to the fish and mix well.
# Serve Baanhor Chungat Mach as a side dish.
Notes: Assamese people prefer green chillies to the dry red chillies.
# Boneless fish: 6 pieces
# Crushed garlic: ½ tbsp
# Slit green chillies: 2
# Mustard oil: 1 tbsp
# Sliced onions: 2 small sized
# Grated ginger: 1 level tsp
# Salt: to taste
# Tender bamboo hollow: 1 (this one is important, you must required this)
# Banana leaf: 1
# To garnish: coriander leaves, mustard oil – 1 ½ tbsps
Method:
# Clean, wash and drain the fish.
# Clean the banana leaf. Dry it and pass over low fire to make the leaf pliable.
# In a small bowl mix together crushed garlic, slit green chillies, mustard oil and salt.
# Add the mixture to the fish and mix well.
# Fill the bamboo hollow with the fish and seal with soften banana leaf.
# Place the hollows over charcoal fire.
# Rotate the bamboo hollows from time to time till it is evenly burnt.
# Leave it to cool. Slit open the bamboo hollows.
# Add sliced onions, grated ginger and mustard oil to the fish and mix well.
# Serve Baanhor Chungat Mach as a side dish.
Notes: Assamese people prefer green chillies to the dry red chillies.
For knowing more what is happening inside an Assamese Kitchen plz visit assamese cuisine, you will be not disappointed.
Friday, April 17, 2009
Salam Bombay, Slum dog millionaire and Slum Trade
Long ago a book is written by one of the influential filmmaker, composer, and artist, author Satyajit Ray. The book made it clear and point out about duel position of Indian cinema. “Our Films, Their Films” is a collection of insightful, contemplative, and revealing critical essays and personal memoirs by Satyajit Ray. Ray's concise, candid, and often thematically overlapping expositions on Indian and international cinema reveal original sensibilities in his own evolving creative process, also a refined, accessible approach towards the aesthetic appreciation of all forms of art - that shape the logical arguments of his film criticism.
Despite a deep admiration for several key works of international cinema, Ray offers an instructive analysis on the pitfalls of blindly imitating contextualized, foreign aesthetic conventions in the creation of an indigenous cinema.
"The present blind worship of technique emphasizes the poverty of genuine inspiration among our directors. For a popular medium, the best kind of inspiration should derive from life and have its roots in it. No amount of technical polish can make up for artificiality of theme and dishonesty of treatment. The Indian filmmaker must turn to life, to reality. De Sica, and not De Mille, should be his ideal."
Amitabh Bachchan, a famous Bollywood actor said in his blog, “If Slumdog Millionaire projects India as a third-world, dirty, underbelly developing nation and causes pain and disgust among nationalists and patriots, let it be known that a murky underbelly exists and thrives even in the most developed nations.” Mr Bachhan’s statements are absolutely right and raise the question why they (west audience) don’t love to watch their existing murky underbelly.
Other way, as we can see now more of Bolliwood film are made on foreign location, exotic foreign location such as New York, Switzerland, newzeland, Australia etc. Those stories of the Bolliwood films are painful irony of Indian realities. More blonde haired ladies are required or used in song-dance scene to entertain Indian audience. More melodrama, more circuses are used in these lollipop/popcorn entertainment. So what are the Bolliwood’s realities? Bunch of some illogical but slick, glossy extravaganzas, those are mostly imposed to audience in the name of films.
Ray suggest in that book: "What our cinema needs above everything else is a style, an idiom, a sort of iconography of cinema, which would be uniquely and recognizably Indian."
So, are Indians simply so hung up about a 'phoren' (Foreign) degree, blind influence, copying films, they want one even though they have no claim to it? Is this proof Indian love all things 'phoren'? Or do we have a talent and aptitude for deception and fakery? "Foreign things have a status value which the swadeshi doesn't," says social scientist Shiv Vishwanathan. In other words, it is another instance of our love of the foreign tag, a colonial hangover. And "It just shows their hypocrisy.”
"The present blind worship of technique emphasizes the poverty of genuine inspiration among our directors. For a popular medium, the best kind of inspiration should derive from life and have its roots in it. No amount of technical polish can make up for artificiality of theme and dishonesty of treatment. The Indian filmmaker must turn to life, to reality. De Sica, and not De Mille, should be his ideal."
Amitabh Bachchan, a famous Bollywood actor said in his blog, “If Slumdog Millionaire projects India as a third-world, dirty, underbelly developing nation and causes pain and disgust among nationalists and patriots, let it be known that a murky underbelly exists and thrives even in the most developed nations.” Mr Bachhan’s statements are absolutely right and raise the question why they (west audience) don’t love to watch their existing murky underbelly.
Other way, as we can see now more of Bolliwood film are made on foreign location, exotic foreign location such as New York, Switzerland, newzeland, Australia etc. Those stories of the Bolliwood films are painful irony of Indian realities. More blonde haired ladies are required or used in song-dance scene to entertain Indian audience. More melodrama, more circuses are used in these lollipop/popcorn entertainment. So what are the Bolliwood’s realities? Bunch of some illogical but slick, glossy extravaganzas, those are mostly imposed to audience in the name of films.
Ray suggest in that book: "What our cinema needs above everything else is a style, an idiom, a sort of iconography of cinema, which would be uniquely and recognizably Indian."
So, are Indians simply so hung up about a 'phoren' (Foreign) degree, blind influence, copying films, they want one even though they have no claim to it? Is this proof Indian love all things 'phoren'? Or do we have a talent and aptitude for deception and fakery? "Foreign things have a status value which the swadeshi doesn't," says social scientist Shiv Vishwanathan. In other words, it is another instance of our love of the foreign tag, a colonial hangover. And "It just shows their hypocrisy.”
It is very nice to see porn movies of others but dirt start hitting the roof when you got to see some one you know. The Times rightly reported in one of the articles written by famous columnist Alice Milles, Slumdog Millionaire is poverty porn. Same way most Bolliwood movies are rich porn. A world placed beyond the realities and very much rich in vision with total escapism.
For the majority of western audiences who are writhing under the excruciating weight of a global meltdown, a fairy tale about the ugly side of India should certainly come as an orgiastic catharsis! “Slumdog Millionaire” seems considered as one of the most superfluous fantasies to be created about India in the 21st century. So it should only be expected that American audiences would love to see films about India which conform to their image of the third world familiarize. The real ‘American’ films would make no sense to Indian viewers while the typical Bollywood melodrama would make no sense to the west. So while “SM” granted big hit in the U.S. today and the venerable Oscar committee is worshiping this movie. Then what is it? Effect of recession, Obama effect!! Change in attitude/perspective.
Again as a cinema SM failed at first term, as the Hindi-speaking kids fall off a train in front of the Taj and, they start speaking English! They are speaking good English. A wrong grammar used in this film. This question would not even come up if the film was a pure caricature but unfortunately the film also seems to have fallen prey to the dictates of psychoanalytical “western realism”. Western realism with more sophistication, so while watching it someone is gets easily fooled by its vision. Big fat pathetic irony is here that western audience also trapped in sophisticated vision, subjective outlook. They fall in subjective treatment of life and melodramas as Indian audience already swim on it.
The Beach by Danny Boyle, Controversy arose during the making of the film due to 20th Century Fox's bulldozing and landscaping of the natural beach setting of Ko Phi Phi Lee to make it more "paradise-like". The production altered some sand dunes and cleared some coconut trees and grass to widen the beach. Fox set aside a fund to reconstruct and return the beach to its natural state, however lawsuits were filed by environmentalists who believed the damage to the ecosystem was permanent and restoration attempts had failed.
28 Days Later, Set in Great Britain, just after the turn of the 21st century, the story depicts the breakdown of society following the accidental release of a highly contagious virus and focuses upon the struggle of four survivors to cope with the ruination of the life they once knew.
In Sunshine, the script was based on a scientific back-story that took the characters on a psychological journey. The director cast a group of international actors for the film, and had the actors live together and learn about topics related to their roles, as a form of method acting.
So Danny Boyle has his approach while making a film. And all of them flourished with under influence British romantic colonialism. Of course those are good movie, sophisticated, and made with professional approach, made in hand of fantastic professional crew. But SM still loses its authentication in terms of real motif. Resonance of real motif reflected here as, In the film City of Joy, on the other end of Calcutta, disillusioned Texas doctor Max Lowe (Patrick Swayze) has arrived in search of some spiritual enlightenment after the loss of a patient, Max begins to fit in with his fellow slum-dwellers. And he begins to see that his life isn't half bad. There are many around him whose lives are much worse, but they look on each day with a hope that gives new strength to the depressed physician. While Bolliwood movies continue living with lot different kind of cliché, these India oriented Holliwood movies are also deployed some kind of cliché. Which are so called "enlightenment", "learning life from poor", "spiritualism" etc. etc.
Even one of the great film makers of Iran, Mahsin Makhmalbaf failed to make his command over his India oriented movie “scream of ant”. He falls to same kind of cliché; his movie may be not much in to sophistication or professionalism but to the exclusionary reality and hallucinationary vision.
Years ago another SM kind of movie, Salam bombay, The film chronicles the day-to-day life of children living on the streets of Mumbai (formerly known as Bombay). Salaam Bombay is the story of Krishna, Manju and other children living hand-to-mouth on the streets of Bombay. Sometimes they can get temporary jobs, but mostly they have to beg for money and keep out of the way of the police. Slums as a lucrative target as always, fit for depicting exclusionary reality and slums is only one side of vivid, layered Indian society. Comparatively easy to tackle it in any medium then faces a multilayered complex Indian society. So approach/perspective toward slums definitely is a big trade or big fry for international market. Cliché about India, more about slums as slums still rule as an easy goal and any art house camp make something out of it. May be a film, may be a painting, may be photography etc.
Again if we recall Ray, it’s all about perspective, "our perspective" and "their perspective". But both dwell with same mind-set, upper layered fantasy, market, profit etc.
For the majority of western audiences who are writhing under the excruciating weight of a global meltdown, a fairy tale about the ugly side of India should certainly come as an orgiastic catharsis! “Slumdog Millionaire” seems considered as one of the most superfluous fantasies to be created about India in the 21st century. So it should only be expected that American audiences would love to see films about India which conform to their image of the third world familiarize. The real ‘American’ films would make no sense to Indian viewers while the typical Bollywood melodrama would make no sense to the west. So while “SM” granted big hit in the U.S. today and the venerable Oscar committee is worshiping this movie. Then what is it? Effect of recession, Obama effect!! Change in attitude/perspective.
Again as a cinema SM failed at first term, as the Hindi-speaking kids fall off a train in front of the Taj and, they start speaking English! They are speaking good English. A wrong grammar used in this film. This question would not even come up if the film was a pure caricature but unfortunately the film also seems to have fallen prey to the dictates of psychoanalytical “western realism”. Western realism with more sophistication, so while watching it someone is gets easily fooled by its vision. Big fat pathetic irony is here that western audience also trapped in sophisticated vision, subjective outlook. They fall in subjective treatment of life and melodramas as Indian audience already swim on it.
The Beach by Danny Boyle, Controversy arose during the making of the film due to 20th Century Fox's bulldozing and landscaping of the natural beach setting of Ko Phi Phi Lee to make it more "paradise-like". The production altered some sand dunes and cleared some coconut trees and grass to widen the beach. Fox set aside a fund to reconstruct and return the beach to its natural state, however lawsuits were filed by environmentalists who believed the damage to the ecosystem was permanent and restoration attempts had failed.
28 Days Later, Set in Great Britain, just after the turn of the 21st century, the story depicts the breakdown of society following the accidental release of a highly contagious virus and focuses upon the struggle of four survivors to cope with the ruination of the life they once knew.
In Sunshine, the script was based on a scientific back-story that took the characters on a psychological journey. The director cast a group of international actors for the film, and had the actors live together and learn about topics related to their roles, as a form of method acting.
So Danny Boyle has his approach while making a film. And all of them flourished with under influence British romantic colonialism. Of course those are good movie, sophisticated, and made with professional approach, made in hand of fantastic professional crew. But SM still loses its authentication in terms of real motif. Resonance of real motif reflected here as, In the film City of Joy, on the other end of Calcutta, disillusioned Texas doctor Max Lowe (Patrick Swayze) has arrived in search of some spiritual enlightenment after the loss of a patient, Max begins to fit in with his fellow slum-dwellers. And he begins to see that his life isn't half bad. There are many around him whose lives are much worse, but they look on each day with a hope that gives new strength to the depressed physician. While Bolliwood movies continue living with lot different kind of cliché, these India oriented Holliwood movies are also deployed some kind of cliché. Which are so called "enlightenment", "learning life from poor", "spiritualism" etc. etc.
Even one of the great film makers of Iran, Mahsin Makhmalbaf failed to make his command over his India oriented movie “scream of ant”. He falls to same kind of cliché; his movie may be not much in to sophistication or professionalism but to the exclusionary reality and hallucinationary vision.
Years ago another SM kind of movie, Salam bombay, The film chronicles the day-to-day life of children living on the streets of Mumbai (formerly known as Bombay). Salaam Bombay is the story of Krishna, Manju and other children living hand-to-mouth on the streets of Bombay. Sometimes they can get temporary jobs, but mostly they have to beg for money and keep out of the way of the police. Slums as a lucrative target as always, fit for depicting exclusionary reality and slums is only one side of vivid, layered Indian society. Comparatively easy to tackle it in any medium then faces a multilayered complex Indian society. So approach/perspective toward slums definitely is a big trade or big fry for international market. Cliché about India, more about slums as slums still rule as an easy goal and any art house camp make something out of it. May be a film, may be a painting, may be photography etc.
Again if we recall Ray, it’s all about perspective, "our perspective" and "their perspective". But both dwell with same mind-set, upper layered fantasy, market, profit etc.
Friday, April 10, 2009
Saramati tears by ABIOGENESIS
In Nagaland Saramati hill range is the biggest in the mountain range of Nagaland and is situated on the extreme south east of the state. At 3841 mt , Saramati Peak is highest in Nagaland and it remains snow covered during winter. The mountain range is covered with rich , natural and diverse forests , visible at various altitudes , ranging from sub-tropical ever green and semi ever green to temperate broad leaved and Alpine vegetation. It also has good bio-diversity with natural flora and fauna and various kinds of orchids.
"Saramati tears" This track describes the anquished of Mt Saramati, the tallest peak in Nagaland, India caused by the fratricide state Nagaland is in. It appeals for peace love and harmony.
"Abiogenesis" is into experimental music and their tireless effort has resulted in developing a new genre which they have named it Howey Music. It's a fusion of Naga Folk tunes with modern rock. Another outstanding feature is that they play a new wind musical instrument made of bamboo which was invented by a band member- Moa Subong . Bamhum was unveiled by the Governor of Meghalaya during the International Bamboo festival on 3rd May 05 at Shillong. Meghalaya. Abiogenesis is the only band in the world that palys Howey music and the Bamhum.
Their album "Rustic Relish" was listed in the 51st Grammy Awards in 4 categories. And "Aeon Spell" was listed for the 50th Grammy Awards in two categories for the Best Contemporary World Music Album and as Best Rock Performance by a duo or group with vocals.
This Band has an extra ordinaire female vocalist Moa Subong who can Rock like the legendary Janis Joplin and at the same time melt your heart with her sweet voice resulting in songs never heard before.In addition, there are some harmonica instrumental tracks to sooth every mood. Howey Rock, a new form of music developed by Abiogenesis. It is unique and melodic. Not satisfied with just playing mainstream music and their hunger to take music to a higher level, the band went further into exploration & experimentation which resulted in a new form of world music which they have named `Howey`. Howey is a sound developed by Moa & Arenla of Abiogenesis and it is a fusion of Naga (Tribe in India) Folk and modern music.Most of the tracks have the Bamhum as the leading instrument.Ofcourse the band plays other genres too.
Their album "Rustic Relish" was listed in the 51st Grammy Awards in 4 categories. And "Aeon Spell" was listed for the 50th Grammy Awards in two categories for the Best Contemporary World Music Album and as Best Rock Performance by a duo or group with vocals.
This Band has an extra ordinaire female vocalist Moa Subong who can Rock like the legendary Janis Joplin and at the same time melt your heart with her sweet voice resulting in songs never heard before.In addition, there are some harmonica instrumental tracks to sooth every mood. Howey Rock, a new form of music developed by Abiogenesis. It is unique and melodic. Not satisfied with just playing mainstream music and their hunger to take music to a higher level, the band went further into exploration & experimentation which resulted in a new form of world music which they have named `Howey`. Howey is a sound developed by Moa & Arenla of Abiogenesis and it is a fusion of Naga (Tribe in India) Folk and modern music.Most of the tracks have the Bamhum as the leading instrument.Ofcourse the band plays other genres too.
Band members:
Arenla: Vocals / Lead Bamhum. Only female member.
Moa : Guitar/Bamhum/Harmonica and main composer of the band.
Longden: Lead guitar An accomplish classical guitarist.
Kongdir: Bass. Also an accomplish classical guitarist too.
Imli: Drums/Percussions
Mao Subong said: "Music comes from the heart and can penetrate one's heart. So, through music we are trying to appeal for love, peace and harmony among various sections of the people. And I am sure, music can move the mountain, a small child to even the elderly. It can shed tears. It can make you laugh. So, I am very certain that with music the band can reach out to each and everyone's heart."
Arenla, his co musician, said: "We have made a space on the cultural thing, so that our culture is also not lost. So, we have picked something from our folk tunes to incorporate it with modern tune, thus making our culture to live again."
Arenla, his co musician, said: "We have made a space on the cultural thing, so that our culture is also not lost. So, we have picked something from our folk tunes to incorporate it with modern tune, thus making our culture to live again."
Abiogenesis site
Thursday, April 2, 2009
Ritwik Ghatak on Ritwik Ghatak: Interviews
It’s very important to understand Ritwik Ghatak to understand Indian film with Indian ethos. He is very much like Ozu to Japan, Bresson to France or Parazanov to Georgia.Ritwik Ghatak is only Indian film director among very few with genuine originality and survived the influences of others. His films are very much Indian (as Ozu’s films are very much Japanese ) and which are mean to be Indian with Indian layers of life and culture, uniqueness.
According to another master of Indian film Satyajit Ray “One doesn't notice any influence of other schools of filmmaking on his work. For him Hollywood might not have existed at all. The occasional echo of classical Soviet school is there, but this does not prevent him from being in a class by himself”.
According to another master of Indian film Satyajit Ray “One doesn't notice any influence of other schools of filmmaking on his work. For him Hollywood might not have existed at all. The occasional echo of classical Soviet school is there, but this does not prevent him from being in a class by himself”.
Here is an interview with Ritwik Ghatak and recent indian auteur issue on him.
Q. You obviously feel that film-making for pecuniary gin or powerful mass medium should be used instead for reformist propaganda and active proselytizing, in the way some of our rather well known well known film makers have done-often at the cost of art?
R.G. I am quite old-fashioned about this. Tagore once said, art has to be beautiful. But before that, it has to be truthful.
Now what is truth? There is no eternal truth. Every artist has to learn his own private truth through a painful personal process. And this is what he has to convey. There is no such thing as yet in the world called a class-less art. The reason: there is no class-less society. Every work of art is relative, and it is no class-less society. Every work of art is relative, and it is in relation to man. All art worth its name must work for the betterment of man.
I do not believe in any rigid theory, but at the same time I am quite amazed at those so-called ‘great’ film makers, who are fundamentally nothing but dilettantes who clamour about the art of human relationships. It is a very clever way of evading one’s social reposnibility. What they practice only goes to serve the purpose of their establishment. They are as partisan as can be, but wear a mask of nonpartisanship. I detest this kind of slogan.
R.G. I am quite old-fashioned about this. Tagore once said, art has to be beautiful. But before that, it has to be truthful.
Now what is truth? There is no eternal truth. Every artist has to learn his own private truth through a painful personal process. And this is what he has to convey. There is no such thing as yet in the world called a class-less art. The reason: there is no class-less society. Every work of art is relative, and it is no class-less society. Every work of art is relative, and it is in relation to man. All art worth its name must work for the betterment of man.
I do not believe in any rigid theory, but at the same time I am quite amazed at those so-called ‘great’ film makers, who are fundamentally nothing but dilettantes who clamour about the art of human relationships. It is a very clever way of evading one’s social reposnibility. What they practice only goes to serve the purpose of their establishment. They are as partisan as can be, but wear a mask of nonpartisanship. I detest this kind of slogan.
To download full interview visit here
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