I leave you this gem of a song- It’s one of those rare times when a poet in our country has composed an ode to the beauty of a dark-skinned woman. Music used to be the asset for his films. Sandhya tries hard but lacks the natural talent in both acting and dancing and one cannot help thinking what wonders a seasoned actress-dancer like Vyjayanthimala would have done with a role like this. Nobody made movies quite the way he did, they are a language unto themselves. The acting in Navrang or Jhanak Jhanak… is very gestural, theatrical almost, I wonder if it was in some way an ode to VS’s early grazing grounds in the Tamasha brand of theatre. And when Jumna finally does appear, Divakar confesses his love in open court declaring,Right off the bat from the austere, much fêted Do Ankhen Barah Haath, a story of reformative justice that was ahead of its time for a country that 60 years later still routinely awards punitive, capital punishment, V Shantaram directed in 1959, the lurid candy-coloured confection of a Navrang.
Her guilelessness is adorable.Fill in your details below or click an icon to log in:Enter your email address to follow this blog and receive notifications of new posts by email.You are a nothing, my daughter accused me at age 4, when she found out at school that all her classmates’ mother’s had jobs that gave them important titles like banker, doctor, teacher. Then when Alaknanda is performing, she meets with an accident, is hospitalized with a fractured leg that may never heal. Now with only a year left for the Utsav, he chances upon talented dancer and singer, Neeladevi, and recruits her. The lead dancer of the group, Chandrakala (Sandhya Shantaram) steals the heart of every man in the village. Jalaado ye itihaas jhoote tumhare…!’ I don’t know why Bharat Vyas’s brilliant Yeh Maati Sabhi Ki Kahani Kahegi is not sung or remembered more often, it would give one a welcome break from the purgatory of Ae Mere Watan Ke Logon that one has been subjected to every August/ January for the past 71 years.VS’s movies were always grand, with larger than life themes.
He married three times and Sandhya was his third wife. It’s a huge canvas for what is essentially a commentary on modern marriage (in 1959! But I don’t think anyone remembers that long before Sridevi, there was Sandhya. Every word in every song he ever wrote makes me pause in wonder and in yearning. Once the cool-as-ice teenage daughter to came to sit next to me while I watched for the 100th time, Gopi Krishna and Sandhya dance to the most romantic song ever written, ‘Nain So Nain Nahi Mila’, in Jhanak Jhanak… As Sandhya lovingly urges Gopikrishna , ‘Kheencho kaman, maroji baan’, the daughter asks me why they are dressed in ‘god-type’ costumes, I explain that they are playing the roles of Kamdev and Rati. V. SHANTARAM used to be pride. She is best known for her appearances in various Hindi and Marathi films directed by her husband V. Shantaram, in 1950s-1960s, most notably Jhanak Jhanak Payal Baaje (1955), … The quality of the songs and music for V. Shantaram film's used to be unique and special. Shantaram Rajaram Vankudre (18 November 1901 – 30 October 1990), referred to as V. Shantaram or Shantaram Bapu, was an Indian Marathi filmmaker, film producer, and actor. The rigorous dance movements in the movie and Shantaram’s penchant for perfection did her in. While this film is based on a short story by G D Madgulkar, I suspect VS’s own experiments with conjugal bliss had something to do with it.
A Tamasha group comes to the village. The audiences loved the song-a-minute treatise on marriage set against a backdrop of a post 1857 Revolution India. Mangal Maharaj would like Roopkala to be his partner, but ends up being disappointed with her. [4] The film was remade by Shantaram in Hindi with same cast and title, and even the songs like "Mala Lagali Kunachi Uchaki", which were a big hit in the Marathi version, were re-recorded in the Hindi version.
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