Kaat Ke Rakh Dunga Joh Tune Chhune se Roka !

The intrinsic attribute of every animal is to dominate its counterpart; dominate by sounds (we speak words), dominate by muscle power or dominate by its utter charisma. Animal hates to loose, that’s not in its blood. It will take anyone by the scruff of the neck; bring out its nails and teeth to stamp its triumph and authority over the opponent. Dog does not want to loose against another; it will make sure that it barks louder in response. Human, being an animal; “a civilized animal” underneath alluring shirt and shoes; smelling branded perfume, does not want to loose either. Though we have no hassles to be tagged as “Party animal”, but we will not like to borrow the later part for us so easily. We confess or not, but still our hair grows, we cut our nails with nail cutter, we brush our teeth that took the chunk out a chicken’s leg yesterday night, we stink in hot weather, we love to get on top on bed.

Beauty regimes, Hair Dressing, nail cutting, brushing the teeth, taking bath; these are not luxuries; we the “species of Human” call them as our daily needs, things that we should do. But are they truths? I think they are pretentions of tampering and hiding our reality, our animalistic nature. We gave good name to it by the way. We call it Humanity. But often our truth comes out that; we are not only animals, we are BEASTS to be precise!

The most pompous thing that ever happened to our Humanity is politics. How would you like to define politics? Let me give my definition. Politics is nothing but the utilizations of our Human brain or brilliance over the weaker people to gain its dominance over the other. It’s as simple as that, since the day it was born and there again the cue “Dominance” comes out.

We gain the dominance by many ways and steps. We start it by words and speeches and posters and festoons. And if these things are not working properly we believe in Muscle power. The bottom line is we should rule. But there again the question arises, the person who voted, what’s his weakness?? Why he/she should elect, can’t we all contribute to the nation’s prosperity. What’s the need of a politician, a party or a ruler? Why we should follow, democracy or monarchy?? That’s the beauty of triumph. Once you convince others in the battle of dominance, that I am the BOSS, you will be the king for a time, until some one else convinces better than you to the lost out. The Reign changes, Chapters get added to the History.

Now read the bold lettered lines again please. It’s so amazing that you will find a striking similarity between politics and love. Wow! Even beasts fall in love. So should I call Love as the politics of two hearts?? Is women weakness for men? What’s love, if there exists Casanovas and libido? Love is trickier and complex than Politics! Even the best of the best “love gurus” will fall part to define it properly. I raised a concern few lines ago about the weakness of the person who votes or elects? Ironically in Love who votes and elects holds the upper hand in most of the cases, trick is you don’t make it loud and clear. And don’t forget to keep your dominance going over your partner parallely. The trick of the “Ustaad” does not lie in singing a song in studio, but in its “final touch” of mastering. The balance in dominance and care and keeping a fake identity of giving space to the partner will fetch you more “loves” in future. Why I say so, because it’s the person who accepted the proposal shares the best of libido, in most cases. He/she though categorized as the one who elected, rather than the one who got elected, has the tenacity of getting convinced. So more opposite gender in his/her life is always on the cards. Quite opposite of Politics I must say.

Don’t predict in love, don’t come to a conclusion on who should love whom. I often take instances from movies as I think they are mirror of what we are. Remember that scene in DCH near the beach where Akshay Khanna’s character (Sid) belts out gyan to that lovely girl Deepa who was desperate to the Aamir’s Character (Akash) in her life. Sid says “We should not expect some thing in life that is vague and unrealistic”. But, how ironically he commits the same mistake in his own life, when he falls in love for Tara Jaiswal (Dimple Kapadia); a lady who is much older than him. I also like to say that line from "Notting hill" where Julia Roberts playing, The quintessential actress of Hollywood says to Hugh Grant, a common man “I'm also just a girl, standing in front of a boy, asking him to love her”.

I have a stupid postulate to love. Love is like meandering with a brochure that we can’t see; an invisible brochure. It’s a brochure that will hold every statistics that we have lived and gained till date, It will carry how long our hair is, do we use specs, do we have chest hair, our height, our body structure, our vital statistics on our assets, our final exam results, what job we are doing, do we have a bike, at speed we drive, am I a rash driver or not, how many breaks we push while driving etc etc. Girls will also carry one, but obviously with different data. Now when both clashes head on in chat window or in a coffee shop, they share their brochures, both checks each others data. If both parties are happy with what they are getting at the cost of “love”, they will sanction a deal. Now while signing, some how some one between the two takes the onus of the dominator, and other one readily agrees. There are many signs of this agreement. One very obvious is that the one who agrees will response to a missed call by a full fledged call. The data sharing session is fun; it’s like the 3rd day of a test match that often decides which way the match is going. Data sharing may start from chat. Chat I must say is a very vulnerable data sharing session. One is circumspect and other one is desperate. Desperation can reach many levels. A guy who looks like Tinu Anand in reality can claim he looks like Hrittik Roshan! Girls can double up their vital statistics for counted assets in no time. Eventually who has the better knowledge of humor and wit and fastest skill of telling calculated lies will win the race. Chat often decides the dominator. Just somehow gain a kiss, on the chat window, you are through. Say what ever you want, ask what ever you like, ask what ever when you meet. Cross examine what ever statistics you want to check.

The last lair is obviously “Modhureno Somapoyet” marriage. Behind “Jodidong Hridoyong Tobo, Todidong Hridoyong Momo” Marriage is the politics of two families, where the winner is pre decided, and the one where the boy belongs, if not he is not henpecked. Come to a marriage, Son’s father and uncle will never find the meats dished out by girl’s family are boiled properly. The curry will taste too sweet or cooked with too much chili powder. The rule continues until the girl spins out yet out trick of dominance, and breaks the family in parts. Politics shouts its triumph of domestic dominance by generating thousands of nuclear families.

Nuclear families are settled until some one arrives as new comer. Nuclear fears of turning into join family again. Rattled by the arrival, it fights against impurity with whatever it has. The Hypocrisy of Nuclear Family comes out. Sudhindra Bose can’t take Moni Mohan Mitra lightly. He brings his relatives and friends to his home to check Mr.Mitra’s identity. In “Joy Baba FeluNath” The Master of the House makes it loud and clear who is the boss to Feluda even, an investigator who will come to his house for few days only for his job on hand. The battle of politics begins. Someone is desperate to prove, and other one is reluctant to believe. Nayak’s friend wants to have him saying something to his rebellious union members of the closed mill, in reply Nayak approaches money. Again Brochure’s are not shared. Brochures can’t be shared if it’s already shared. In love or friendship or whatever relationships we named, we don’t restructure our deals, or I should say we are reluctant to do so. Gandhi could not give Sardar Patel the nodd of first prime minister, could not keep Subhas Bose in party, because it was too late to refine faith, too tough to come out of Nehru’s threat to break congress in parts. INC meant Gandhi. Gandhi Meant INC. Neither Father of the nation could destroy himself nor could Nehru come out of Mrs. Mountbatten’s lust.
In the battle of politics, the only thing that matters is Me, Myself and I only. There’s no Irene, no tom, dick and harry, No trust and no previous promises. And we still see some female Indian delegate sharing important data of the country to Pakistani agencies, foxed by the conviction of “Love”. We still fall in Love.

Guzaarish : A Theatrical Lively Saga of Death

What makes an average actor different from a great actor? A third eye!! An eye which sees things that other earthly couple can’t see. Why?? Because they are as good as of an average actor. Then what makes a director different from the regulars? Just a third eye??

No, it’s not good enough. A great director needs hundreds like those to compel magic on sixteen reels. It’s unfortunate that over the years directors of that species have come few and far in between in bollywood, as most were eluded by the formula that was once famously declared to be honed by the king of Masala Movies Man Mohan Deshai.
Movies are no x plus y whole square equals to x’s square plus two x y plus y’s square. Sanjay Leela Bhansali, who has always been a very pretentious director over the years with his extraordinarily extravagant sets and plagiarized storylines, finally proves with his latest offering “Guzaarish” that there might be a formula to a hit movie, but there’s nothing of such for a good movie.

Guzaarish’s storyline is pretty demoralizing and shockingly different from the rest of recent movies which dealt with rare diseases of human being. Why I say different, because from the very beginning of “Guzaarish”, life is at scarcity, the protagonist Ethan Macarena’s (Hrittik Roshan) is pleading for euthanasia, a process of mercy killing that Indian pinal code does not support. A man, who was once anointed as the best magician, called as Merlin, is no more interested in living, because there’s hardly any magic left in his life. A magician who is left to live a life of a radio jockey after being sabotaged to commit a terrible accident, has changed the life of many listeners through his show “radio Zindegi”, is now asking for their support in his mercy killing. Ethan can’t move, can’t scratch his nose, and cant even a remove a fly of his nose.

Do you remember that famous dialogue in the movie “Jerry Maguire” where Jerry says to Dorothy “I love you, you complete me”. Whatever Ethan lacks, Sophie (Aishwariya???), the nurse of his master, completes him. On hindsight a love story is developing between master and his servant, though no one is daring to break the shackle. Ethan, loves to tease Sophie, Sophie dedicates her all for her master’s well being, though she herself knows death will soon knock the doors, she will loose. She is no nonsense lady, she is a true fighter. So when Divyani Dutt (Shernaz Patel), Ethan’s lawyer friend supports Ethan is his plead for mercy killing, Sophie comes down like a house on fire, though she does not forget to prepare a cup of coffee for Divyani too.

Sophie becomes a model of restrained love, who is as wild as it gets. A person who is ready to take on any one for her love, even the judge. A person who in spite of being so beautiful cleans stools and urine of a handicap, a person a who has not taken a single day break in last 12 long years of duty, a person who is so wild in her love that she petitioned a file for her divorce, a person who always cared, when everybody sleeps.

Guzaarish has one more unique character in it; Ethan’s huge bungalow. Though it’s huge, though it’s artistically and atheistically decorated, but it’s crumbling down day after day, same as it is happening to its master who lives in it. Among many photographs of Ethan of his hay days, the center stage is taken by his helpless present.

On a rainy day, raindrops trickle down on Ethan’s forehead; Ethan fights like a child. Against Chinese torture, often called as “third degree” in Indian police terminology, Ethan shouts to give it back to the opponent water drops, but soon succumbs down to asking help. No boby listens as there’s no Sophia. SLB brilliantly differentiates between a love of Sophia and respect of a disciple Omar (Aditya Kapoor) who came here to learn magic from Ethan.

Then there’s this scene where Ethan tries desperately to remove a fly of his nose. The more he tries the more fly disturbs him. Ultimately he stops, so does the fly. Ethan learns in helplessness only one thing he can do, he can only give back love to his enemies.

Before leaving this world, Ethan gives away all his tricks to Omar, though he knew Omar is actually the son of Yaseer, who betrayed with him, and the reason behind his accident. The scene where he gives the final present to Omar as a magic, Omar drags the white bed cover; and keeps on dragging for ever, symbolizes the ocean of knowledge Ethan had about magic, and how he is passing it to his disciple. The magic will continue.

Collage of love, love of different shades and emotions, where friend supports her best friends death appeal, mother agrees to kill her son, Sophia desperate to save her master, “Guzaarish” is a magnum Opus of life as it hugs death. What can I say about Hrittik as a performer. I have lost words and am afraid too whether I would do injustice in doing so. It was a movie of the blue eyed boy only and he did it. I have always said before that till date his best was the “Masculity over love” phone call to Preity Zinta in “Lakshya”, but what ever he has pulled off in the last 30 minutes of “Guzaarish” it surpasses all of his big moments. When he speaks, his eyes, the face all seems to be a landscape of emotions.

I have never been a great fan of Aishwariya. In fact I hated her from the day one because of her stereotypical acting. She has done a pretty good job here. She has spoken it straight and loud, devoid any melodrama. Shernaz Patel as Divyani Dutt was brilliant. Aditya kapoor is not up to mark for me. He needs to sharpen his acting skill more to stay here.

Guzaarish is the best that I have seen from SLB, yes better than “HDCS”. You may say it’s a yawn fest for you, but who cares, as it’s hardly a movie, it’s a theatrical performance to be true and I know how many loves theatre. I have got no hassles if you disagree with me, because I liked “Sob choritro kalponik” also, which might feel even more boring than “Guzaarish”.

If you think its boring, just one tip for you, put you in Ethan’s shoe, you will feel it pretty well.

Fossils 3 and Pyaasa !!

Before I start this article I want to bullet point some discrete elements together and I am not claiming at all that my article is the absolute truth.

1. “Maa” is a cover song, originally written by RajniKanta Sen; the first cover to be added in a fossils album.
2. If I talk music, “Guru” is a very very poor song. In fact you can use the phrase “musically challenged” against it. “Guru” came into F3 at the cost of “Bari Esho”, which is way ahead of “Guru” not only in terms of music but also in mass acceptance criteria.

3. I doubt whether “Danober Uthhan” is actually “Adventures of Satan”, which was written along with “Nemesis”.

4. I heard “Phire Cholo”, “Bhut ar Tilottoma”, “Haspatale” and “Dhongsho Romonthon” when I was still staying in Kolkata.

5. I got some lines of “Bidroher Pandulipi” as an autograph from Rupam in a live gig in early 2000.

6. The line “Local train er track e KataKuti National Laash” in “Rail Line e Mrittu” was originally “Raastar Mukhe pore ache Loktar Laash”.

7. “Schizophrenic Bra” is also a striking revolution in F series. A poem which was never sung before and WHICH IS NOT WRITTEN BY RUPAM, added in to a fossils album.

Now, look at the wrapped cover of the album. The animated strip is extremely difficult to get hold of and if any body says he has understood it by the scruff of the neck, I am sure he is a genius or he is Rupam himself. As an average listener like me, I am sure you start to scratch your head, when you try to put the tracks and story in to sync.

Here I would like to ask some questions. Why Fossils 3 is a movie of one hour? Who is this “Sada Jama lok”? Is he a socialist?

Then comes my next set of Questions. If he was murdered in “Swabhabik Khoon”, then how come he departs again in “Bhut ar Tilottoma 2”? Was he still alive then?

I know your favorite answer to all of these Questions. The Sada Jama Lok is none but Rizwanur Rehman for you. If you think so, then read my second set of Questions again and think again! I left West Bengal when he died!

If you are done with your thinking, then you go back to my 7 bullet points again. You will find, not a single song in the whole album is written after Riz’s death(some are tampered after his death though) and some songs are strikingly different from the characteristic of regular fossils albums and some songs are pushed in to although they are real push overs.

If you are baffled and don’t have an answer, I will try to help you out. I will start with “Guru”.

“Who is this Guru”? Is he God? Is he Christ? I believe he is Christ! I believe he is Christ because of “Danober Uthhan”, which is nothing but a Bengali translation of a Bible verse. Now why I would call Christ as Guru? The word itself does not go well with Christ. Now look at this snap taken from the movie “Pyaasa”. Do you find any resemblance between his posture and Jesus’ stretched hands when he was nailed? I think you do.





DO YOU KNOW, WHO IS THIS ACTOR STANDING LIKE JESUS IN THIS MOVIE?? ANS: GURU DUTT.
Those who have seen “Pyaasa” already will know what I am actually trying to say, others please watch this master piece movie, I am sure you will feel the same.

Vijay (Guru Dutt) is the protagonist of “Pyaasa”, who through out the movie wears an overcoat thrown over a white shirt. Vijay is a poet who is a socialist by nature and his creations speak volume about the society than going verbose about feminine beauty. No printing media is interested in printing his poems as pinkish lines seemed to be the order of the day for the editors. No one understood the power of his poetry except Gulabo, a prostitute based in Kolkata. Gulabo falls for Vijay. But Vijay does not; as he had a girl friend called Meena (Mala Sinha) who deserted him in greed of money and status and married some other man.

The link between F3 and Pyaasa does not shoot off directly from the scratch of the movie, but when Vijay finds that his mother is no more in this world. Vijay was thrown away from his family by his elder brothers because he did not contribute any thing financially. When Vijay gets the news from his brothers that his mother has passed away, he gets disintegrated in sheer emotion and feels he has got nothing to live for.

He leaves to attempt suicide with a final letter written to Meena in his overcoat pocket. On the way, near the rail station, he finds a poor man shivering in cold. He gives away his overcoat to him and again starts walking, wearing that white shirt. Poor man understanding his suicidal intensions follows Vijay, but he himself gets stuck in between the railway tracks. Vijay tries to save him but fails to do so. The poor man gets killed in the train accident wearing that over coat and the letter. The world knew Vijay is no more living in this world. However Vijay gets hospitalized in Coma.

The story takes a turn through Gulabo’s hands. Purely because of her urge to see Vijay’s poetry getting printed, Meena and her husband Mr.Ghosh agrees to print them finally. Poems become best seller and household topic over night. Vijay comes to know about his poems success, but no one agrees to take him as the original Vijay; as for them, Vijay has already breathed his last on a railway track. Vijay is sent to a MENTAL ASYLUM.

As No one, even his brothers do not agree to recognize him as Vijay and take him out, he escapes from the asylum. He reaches the theater where people gathered to remember him as a dead poet. He stands like Christ, sings a song of a socialist and announces his return.

Finally pissed of by this system he leaves Meena and this system.

Now let’s introspect the songs again from the end:

1. In BAT 2 Vijay leaves the city and this society, he goes in to oblivion.

2. Many a time it’s shown in the movie that Vijay is waiting beside Ganges to see the ship to depart. That links Pyaasa and F3 through Schizophrenic Bra. Vijay is a socialist, so is the man in SB. He is forcefully stuck in to a mental asylum. Being in the society he is not quite the man of this democratic system. He is alone, he has no relatives, and he has a River to fix his eyes. This society is a by product of Vijay’s head and the heads of this democratic world. These two pieces of head makes the shape of Bra. That’s why probably the song is titled like that.

3. Vijay is hospital (haspatale) ized in Coma.
4. The poor man dies on Railway track (Rail Line e Mrityu)
5. Dhongso Romonthon is when Vijay remembers the destructions that happened in his life, in discrete scenes after his mothers’ death.
6. Vijay says that we worship gods, but living does not get the basic needs from this society. We are living the life of dead mummies. Mummy depicts his thoughts and a bit of communism in him.
7. Phire Cholo and BAT 1 are signatures of Vijay’s love for Meena.
8. Bidroher Pandulipi shows the rebellion in Vijay.
9. Guru is Guru Dutt.
10. Danober Utthan is the evil of this corrupted society.
11. Maa depicts the helplessness of Vijay after his mother’s death.

You will ask what about the firing of bullets. Yeah it’s obviously Riz. Riz came in to the contention only after Rupam took interest in Riz case in ROTR. That’s it. Following songs do not fit into Riz story at all, rather there’s an uncanny similarity between Pyaasa and F3. I have thrown all my dices, what ever I think. Kindly see Pyaasa and feel free to object or support my vision. :)

And Then I saw Pyaasa !!

Life has this beautiful attribute of keeping things in a chain of events that makes the music all the more rocking and lively. What better life than a Guru Dutt movie!

Pyaasa arrived at my hard drive in that diabolic situation of my own life, when I was seeing a lot of D.Mukherjee's around and needed something to get inspired to follow Christ than following a Pathetic Devdas. Ok! How many Devdas I have seen apart from the original Devdas Mukherjee, who only loves himself and no one else in this world? I think I have seen quite a few in Indian cinemas. “Sikander” in “Muqaddar Ka Sikander”, “Mishter Appu” In “Udaan” (In the making of yet another Devdas, watch the movie you will know!) or a new age “DEV D”. Though I don’t like Mukherjee babu a lot, but what attracts me about the Saratchandra Classic is its base. The base of a Devdas story is very strong, probably one of the strongest base among any Indian Novel. The timeless triangular structure of a self descrtructive man, a promiscuous lady and a girl who choose another man, is sure to carry a lot of wait, a good enough chunk of life. Quintessentially Guru Dutt added one more side to it, the side of Jesus Christ and Pyaasa happened!!

The true magic of Pyaasa does not lie in its story telling, but in how it’s shown on screen. Take example of the first scene.


A poet named Vijay (Guru Dutt) lying on a grassy field watches the silver lining on sky, the birds meander around, some how lost in the unbound infinity in dilemma of where to fly. The wind blows and flowers sway. For a moment, nothing seems better than a life in this beautiful nature. Poet utters a song of his own in happiness, and a bumble bee attached with a string sits on a flower to suck in to the honey. Suddenly bee sits on the floor of the grassy ground and a passerby tramples over it. The bee dies. Life as it is, duration, with momentary happiness put here and there, cuts the scene to its obvious majority. Poet’s mood breaks. He leaves the place.

Vijay has abdicated romance from his poetry, where pinkish poetic lines seem to be the order of the day for the editors of printing media. Vijay’s poetry gets tagged as “Dus aane ki shayari”, finds its place in editors office “Dustbin”. Vijay’s thoughts are far from depicting a feminine beauty, more engrossed in showing what this world is all about, where the problem hides in this corrupted system. Vijay is not a Devdas, though his college mate and ex girl friend Meena (Mala Sinha) has left him in search of wealth, and status in society. Though Vijay has not forgotten Meena, but he disagrees to start a new affair with her when Meena asks him to do so, when they meet again in Meena’s husbands (Rehman) Office. Mr. Ghosh. Husband of Meena offers a job to Vijay in his office, but it’s was just in the fantasy to keep Vijay down as a slave of him, who used to be his wife’s ex boy friend. For the same reason he does not print Vijay’s poetry in his magazine. The evolution of Humanity in a three layered shape gets portrayed beautifully when Mr.Ghosh, Vijay Meets for the first time in Vijay’s college alumni.

A column followed by Mr.Ghosh and Vijay standing in a linear structure, shows how evolution of feelings has occurred from dead to a half life-less and then to a man full of life. There’s another brilliantly picturised scene when Meena says “Mujhe toh Upar jana tha” to Vijay and moves towards the lift, the shutter closes, she goes upwards, depicting her need and greed for wealth.

The angel of ChandraMukhi bangs on the screen, scorching it by sheer beauty, as Gulabo (Waheeda) arrives. Here I would like to ask one thing, why ChandraMukhis have always been far better than Parbotis in all Devdas classic? May be it’s an eternal truth also on celluloid too. Gulabo, a prostitute by her job, finds interest in Vijay’s poetry which was sold by Vijay’s Brothers as scrap papers in market. She takes those papers to her home. Vijay comes into Gulabo’s site through his own poetry, when he listens to his own song in Gulabo’s voice while passing a night in a park alone. Quite ironically Gulabo, a prostitute, understands the power and necessity of Vijay’s poetry for the first time in the world as she says; she does not need to know Vijay, because his lines speak for him. Like any Devdas movie, Vijay does not fall for Gulabo, though Gulabo could help herself but to feel the same for Vijay. The best part of a Gulabo-Vijay chemistry is shown in the brilliantly picturised “Kirtan” song called “Aaj Sajan Mohe Ang Lagalo”. When the song shoots of, Gulabo, Deprived in Love looks at the singers in suspicion and wariness. As the mridanga beats rise to crescendo she moves slowly upwards the stair, tears fall down from her eyes; she raises her hand and steps backward and moves to her room. I found “Meera Bai” in Gulabo in that scene; who is ready to sacrifice her all in the name of god and divine when the world rejects and points thumbs down.

Vijay looses his job, even his mother. Vijay comes to know about his mother’s death as he watches his brothers near Hooghly ghat, doing post crematory rituals. Again a brilliantly picturised scene! When Vijay watches his brothers the ghat is submerged in the water of Ganges in high tide. As he comes down, we can see the mud, as if the water too (life in other words) leaving Vijay. Vijay drinks alcohol heavily on that night, even comes to a prostitutes’ house. He sees a prostitute who is also a mother, is not allowed to take her ill child on her laps as she is dancing in front of the customers. Tears trickle down Vijay’s chick. He leaves the place. Gulabo again discovers him and takes her to her house. Vijay asks Gulabo why he is still living a life, as he has nothing to do in this world, he has lost his job and mother too. Rest of the life seems to an absurd duration for him now.

Passing that night at Gulabo’s place he leaves again only to suicide. On the way he finds a poor man shivering in cold. He gives away his overcoat, in which he had kept his last letter to Meena. The poor man understanding his intension follows Vijay, but his leg gets stuck in the railway track. Vijay understanding the death on the cards tries to save the poor man, but fails. The world knows Vijay died by the evidence of the overcoat and that letter. But Vijay himself gets hospitalized in coma. Mr.Ghosh reads out the death story from the newspaper so that Meena listens to it. Meena is shown holding a magazine called Life , where “Jesus Christ” is on the covers.

In the mean the Gulabo comes to Meena, and offers Vijay’s poetry to her asks her to print them. Meena, who epitomizes materialism asks price for those eternal masterpieces. Gulabo denies taking a single penny. In fact she offers all her jewellery to Mr.Ghosh to meet her urge. Vijays poetry gets printed at last and soon becomes best seller. Mr.Ghosh declares Vijay’s death to the world.

Now Pyaasa takes a new turn in the story as it now clearly focuses on the disease of this society, called materialism, a disease that makes poetry more important than the poet, creation more popular than the creator. Everybody takes a share of Vijay’s success, even who hardly knew Vijay. In the memorial show of his own death Vijay arrives at the theater, stands like Jesus Christ, light falls on his back like hello, and he croons those memorable lines “Yeh Duniya agar mil bhi jaye toh kya hai”, which still holds a value in this world of terrorism. What if terrorist achieve the world they are looking for??

Announcing his return, Vijay denies agreeing that he is the Vijay who everybody wants to see. Meena asks the reason, whether he is upset with anyone. Vijay replies No he is upset with the system only as the system has made those people to behave like that. He does not want to live here, so he is leaving. He takes Gulabo with him and leaves.

If someone says Pyaasa is a love story, then I will say he is brutally regretting the classic. Pyaasa is about Life, about its absurdness and against everything that is materialistic. A person is what he has done, No one is good, and No one is bad. Vijay epitomizes that Life, which is duration between a birth and death, is so absurd if it has nothing to do. When he had lost his mother, he felt the urge of suicide, but Gulabo has made him think about life again. Devdas going for a ChandraMukhi is a big step for me, and it is kind of signature of a so called clichéd word “Move on” in life. It’s so good to see a Vijay, Sikander, Mishter Appu or a DEV moving on in their Life. Vijay does claim his feat, as we often do in this corporate world. He has nothing to take from his life as he knows death will come one day. Nothing is "Na-hanyate" in this world.

Pyaasa, Is what life is. It takes a full circle back to the first scene which was so beautiful in the midst of the nature; as I felt the same when Vijay chose Gulabo, than to end his life.

Pahar Churo !!!

koto elo gelo aastin gotalo maaplo pahar churo
chena ochena sobai chollo abal bonita buro
punnatta kham-kheyali pretatta,
kechhabadi uposthapok
sobai chollo pahar churo te
holo sunsan poro lok !

churoy kichu nei sudhu pochha balti ar boi
taate pakhi niye lekha lekhi
jhuke niche dekhe tumi voy peyona
gola chhere gaan gao dekhi

jokhon mochha muchhi shes,
tokhon lagbe besh
dekho churo r moyla dhuye saaf
noroke pobitro r chamra gotalo
paapi pahare chharlo haaf

ebar onno pahar , sobai chollo abar
kothay Horeb na horiddar
keu keu bollo bawa dher hoyeche
amader ekhanei thaka dorkar!

This Lyric is inspired from "Meat Puppets'" memorable song Plateau.