Masaan Movie Script Pdf Free Download
Posts Tagged 'Masaan'
There is a nice little picture of Roger Ebert (or Ebert saab, as we call him) which keeps getting featured. He is looking into the camera with his head turned, smiling, holding the Sun-Times newspaper in his hand. It has the headline, Our Ebert Won Pultizer. It's one of those images that stays with your for eternity. That "Our" in the headline puts such a strong sense of pride and belonging. If you haven't seen the image, click here. And that's the inspiration for our header too.
Masaan has been doing the festival rounds since its premiere at Cannes. And it has also been bagging a lot of awards, again starting from Cannes. But National Awards has its own charm and it feels like a perfect homecoming. Neeraj Ghaywan won the Swarna Kamal for Best Debut Film Of A Director. And Varun Grover won the award for Best Lyrics, for Dum Laga Ke Haisha's Moh moh ke dhaage. Here are some pics from the D-day.
(click on any pic to enlarge and start the slide show)
UPDATE – Here's some more update from our Masaan boys. Both Neeraj Ghaywan and Varun Grover have decided to donate their cash prize towards relief work for farmers. All in their tweets.
Out of the 1.25 Lakh prize money, I will donate 50,000. Together, me and @varungrover will donate 1 Lakh rupees.
— Neeraj Ghaywan (@ghaywan) May 4, 2016
Of course, it's a small amount, but my intent to make it public is to draw attention to agrarian crisis & encourage possible contributions.
— Neeraj Ghaywan (@ghaywan) May 4, 2016
Am donating all of it (INR 50k) & combined with @ghaywan's it'll be INR 1L. We'll find a credible channel so that it reaches the most needy.
— वरुण (@varungrover) May 4, 2016
I know it's just a drop in the ocean & the situation needs much more involvement (and not just cash), but at the moment this HAD to be done.
— वरुण (@varungrover) May 4, 2016
Also chose to make it public mainly to inspire others. If nothing else, just read about the string of crises our farmers face every year.
— वरुण (@varungrover) May 4, 2016
As we have done in the past, this year too we are trying to source the scripts of some of the best films of the year. As most of you know, the scripts of Hollywood films are easily available online, even the unreleased ones. But we don't have any such database of Hindi or Indian films. So that has been the primary reason for this initiative. And it has been possible only because some of the screenwriters and filmmakers have been very supportive about it. It's only for educational purpose and much like the spirit of the blog, is a complete non-profitable exercise.
Neeraj Ghaywan stormed into the filmmaking scene this year with his debut film Masaan. Its journey started with selection at Cannes where it bagged two top awards, and it was followed by a release in India with the best reviews of the year.
So thanks to Neeraj Ghaywan and Varun Grover, we are the sharing the script of Masaan. This is the pre-shooting draft. It's much longer than the film but will be interesting to read as editing and on-set improvs changed a lot of things. Happy reading!
Film : Masaan
Director : Neeraj Ghaywan
Story : Neeraj Ghaywan and Varun Grover
Screenplay & Dialogues : Varun Grover
To read the scripts of other films that we have posted on the blog, click here.
Busan To Open With 'Zubaan', TIFF Adds 'Angry Indian Goddesses'
Posted: August 26, 2015 by moifightclub in cinema
Tags: Aligarh, An Old Dog's Diary, Angry Indian Goddesses, anurag kashyap, Bhaskar Hazarika, Biju Viswanath, Bunny, Busan International Film Festival, Fallen Objects, Guilty, Hansal Mehta, Kothanodi, Mani Ratnam, Masaan, Megha Ramaswamy, Meghna Gulzar, Mozez Singh, Neeraj Ghaywan, O Kadhal Kanmani, Orange Candy, Pan Nalin, Peace Heaven, Shai Heredia, Shambhavi Kaul, Shumona Goel, Suman Ghosh, Talvar, TIFF, Toronto International film festival, Zubaan
A bunch of festival news about Indian films from across the world.
Busan International Film Festival will open with Mozez Singh's debut feature, Zubaan this year. The film has Vicky Kaushal, Sarah Jane Dias, Manish Chaudhary, Meghna Malik and Raaghav Chanana in lead roles. For more details about the film, click here.
Aprt from Zubaan, Busan will also have a bunch of Indian films in various categories. In its 'A Window On Asian Cinema' section, there is Meghna Gulzar's Guilty (Talvar), Hansal Mehta's Aligarh, Bhaskar Hazarika's Kothanodi, Biju Viswanath's Orange Candy, Mani Ratnam's O Kadhal Kanmani, Neeraj Ghaywan's Masaan, and Suman Ghosh's Peace Heaven.
The "New Currents" section has Hari Viswanath's Radio Set and the "Cinekids' section will screen Nagesh Kukunoor's Rainbow (Dhanak). The fest also has few Indian films in docu and shorts categories. The festival will run from 1-10th October, 2015.
Also, Filmmaker Anurag Kashyap is on the Jury for "New Currents" section of the fest.
Toronto International Film Festival has few more Indian titles to their 2015 edition. Apart from Meghna Gulzar's Guilty (Talvar) and Leena Yadav's Parched, it also has Pan Nalin's Angry Indian Goddesses in the same 'Special Presentations' section. The film stars Tannishtha Chatterjee, Sandhya Mridul, Sarah Jane Dias, Pavleen Gujral, Anushka Manchanda, Rajshri Deshpande and Amrit Maghera
Here's a short description of the film from the fest site – On the eve of their friend's wedding in Goa, a group of women discuss everything under the sun — from their careers, sex lives, and secrets to nosy neighbours and street harassment — in this largely improvised and refreshingly frank depiction of contemporary Indian society from award-winning director Pan Nalin.
TIFF will also screen Shambhavi Kaul's Fallen Objects, Shai Heredia & Shumona Goel's An Old Dog's Diary in "Wavelenths" section, and Megha Ramaswamy's Bunny in "Short Cut" section.
SPOILER ALERT
'मसान' के बारे में बहुत कुछ लिखा जा चुका है, लिखा जा रहा है, सोचा कि लिखने के लिए कुछ बचा नहीं है, लेकिन इस फ़िल्म ने इतनी सहजता से दिल को छू लिया कि लिखे बिना नहीं रह सकता. लगभग दस दिन हो गए हैं फ़िल्म देखे हुए, लेकिन ना तो ज़हन से उतरी है, ना दिल से. एक अच्छी फ़िल्म, नज़्म, कहानी या किताब की शायद सबसे बड़ी ख़ासियत ही ये होती है कि वो देर तक आप के साथ बनी रहती है. दिनों तक, महीनों तक, सालों तक और कभी-कभी सदियों तक. और 'मसान' भी इस में कोई अपवाद नहीं है. और यूं भी जिन जज़्बात और मुद्दों को 'मसान' में दर्शाया गया है, वे सब शाश्वत हैं और आज के संदर्भ में, आज के परिप्रेक्ष्य में रचे गए हैं. और यही बात, इस फ़िल्म को, इस कहानी को, उन किरदारों को और अधिक ख़ास बना देती है. और जिस तरीके से लेखक वरूण ग्रोवर ने हिन्दी-उर्दू के कवियों, शायरों को इस फ़िल्म में याद किया है, वो इस शाश्वतता के पहलू को और अधिक प्रबल करता है.
चार अहम पहलुओं, शाश्वत पहलुओं से बख़ूबी रू–ब-रू करवाती है फ़िल्म. जिज्ञासा, प्रेम, मृत्यु और उम्मीद. ये सभी वो शाश्वत पहलू या जज़्बात हैं ज़िंदगी के, जिनके बिना जीवन लगभग असंभव है. कुछ-कुछ वैसे ही जैसे शाश्वत समय के बिना.
फ़िल्म शुरू ही देवी (रिचा चड्ढा) की जिज्ञासा से, या यूं कहें कि जिज्ञासा शांत करने की कोशिश से होती है. ठीक एक बालिग होते बच्चे की तरह, जिसे बहुत कुछ जानना है और इस जानने की प्रक्रिया में वो समाज के बनाए सही-ग़लत के पैमानों पर ज़्यादा ध्यान नहीं देता है. ये जिज्ञासा बिल्कुल वैसी है, जैसी कभी आदम और हव्वा को हुई होगी, जिस के चलते उन्होंने वो प्रतिबंधित फल चखा था, जिसे चखने का अंजाम हम सब जानते हैं. अब वो सच भी हो सकता है और मिथक भी, लेकिन है एक शाश्वत तथ्य. सदियों से इस और इसी तरह की अनेकानेक जिज्ञासाओं ने इंसान को उत्सुक बनाए रखा है और एक तरह की तरक्की के लिए प्रेरित भी किया है. आज हम जितना भी आगे बढ़ पाए हैं, उस में जिज्ञासा का बहुत बड़ा हाथ है. कुछ ऎसी ही तरक्की देवी भी करना चाहती है. और उस की ये तरक्की किसी भी तरह से भौतिकता से प्रेरित नहीं है. वो बस आगे बढ़ना चाहती है, शारिरिक तौर पर, मानसिक तौर पर, खुले दिमाग से. एक जगह वो अपने पिता विद्याधर पाठक (संजय मिश्रा) को जवाब भी देती है, "जितनी छोटी जगह, उतनी छोटी सोच". वो इस छोटी सोच से तरक्की चाहती है. अपनी जिज्ञासा को शांत करने के सहारे, अपनी शाश्वत जिज्ञासा को शांत करने के सहारे.
दूसरा शाश्वत जज़्बात, प्रेम, जिसे 'मसान' ना केवल छूती है, बल्कि उस में सराबोर होकर नाचती है, उत्सव मनाती है. प्रेम, जो जितना जिस्मानी है, दुनियावी है, उतना ही ईमानदार भी है, सच्चा भी है. कहीं कोई छल-कपट नहीं है. खालिस है. और यही खालिस प्रेम, आम तौर पर परिभाषित और दर्शित प्रेम से अलग है. इसीलिए पहुँच पाता है, और छू पाता है, अंतर्मन की उन गहराईयों तक जहाँ तक का रास्ता केवल असल प्रेम को मालूम है. वही असल में केंद्र है, हर एक इंसान का, और प्रेम का यही दृष्टिकोण, दीपक (विक्की कौशल) और शालू (श्वेता त्रिपाठी) का एक-दूसरे के प्रति (दुनिया के एतराज़ को ध्यान में रखते हुए भी), उस प्रेम को दर्शाता है, जो सुबह की ओस की बूंद की तरह साफ़ है, यही साफ़-पाक प्रेम है, जो असल में शाश्वत है.
अगर एक चीज़ है, समय के परे, जो उतनी ही शाश्वत है, और रहेगी तो वो है मृत्यु. और मृत्यु को इतने अलग-अलग दृष्टिकोण से देखा-दिखाया गया है, एक ही फ़िल्म में कि ताज्जुब होता है. एक ओर पियूष (सौरभ चौधरी) आत्महत्या करता है, सिर्फ़ डर के मारे, शर्म के मारे और अनजाने में ही देवी और पाठक की ज़िंदगियाँ दाँव पे लगा जाता है, दूसरी ओर नियति का हस्तक्षेप शालू को इतनी ख़ामोशी से मृत्यु के आग़ोश में ले लेता है कि एक झटका लगता है. गहरा झटका. तीसरा रूप है मृत्यु का, दिन-रात जलती चिताओं का, गंगा के घाट पे. जहाँ मृत्यु सिर्फ़ एक काम है, एक व्यवसाय है और है एक 'पारी' का खेल. वो खेल जो दिन-रात के हर पहर में खेला जाता है, ठीक एक ज़िंदा आदमी की चलती सांसों की तरह. जब आख़िरी बंधन को खोपड़ी पर बांस मार कर आज़ाद किया जाता है, (जिसे कर्म कांड की भाषा में 'कपाल क्रिया' कहते हैं), तो मृत्यु बस एक कर्म बन कर रह जाती है. और इसी मृत्यु का चौथा रूप दिखाई देता है, जब झोंटा (निखिल साहनी) एक लम्बा गोता लगा कर वापिस नहीं आता है देर तक. मृत्यु नहीं है उन क्षणों में लेकिन उस की मौजूदगी का एहसास इतना प्रबल है कि पल भर में मृत्यु के शाश्वत होने का एहसास हो जाता है.
महाभारत में जब यक्ष ने युधिष्ठिर से ये प्रश्न किया था कि क्या है जो सबसे हैरत-अंगेज़ है, तो उस ने जवाब दिया था कि सदियों से सब मृत्यु को प्राप्त होते आए हैं, लेकिन फिर भी जब तक जीते हैं, इस तरह से जीते हैं, जैसे अमर हों. मानव-जाति की यही बात सबसे हैरत-अंगेज़ है. और यहीं पर आकर हम अगले शाश्वत जज़्बात से मिलते हैं, उम्मीद, आशा. जिस के सहारे दुनिया तब से चल रही है, जब से ये असल में चल रही है. सब तरह की उम्मीदें, चाहे वो अपनी जन्म-जाति के बंधनों को शिक्षा के ज़रिए तोड़ कर, अपने मनपसंद जीवन-साथी के साथ एक अच्छा जीवन निर्वाह करने की दीपक की उम्मीद हो, या अपना सच्चा प्यार किसी भी तरीके से (घर से भाग कर भी) पा लेने की शालू की उम्मीद हो या फिर सब कुछ बिखर जाने के बाद भी एक नए साथ के साथ एक नया सफ़र शुरू करने की देवी की उम्मीद हो, जिसे अंत में एक नई भोर की तरह की दर्शाया गया है. वो भोर, जो ज़िंदगी, जिज्ञासा, प्रेम, मृत्यु और उम्मीद की ही तरह शाश्वत है.
और भी बहुत से शाश्वत जज़्बात हैं, जिन्हें फ़िल्म बहुत सहजता से पेश करती है. प्रेम के बिछोह से उपजा दर्द, सदियों से हिन्दुस्तान में प्रचलित जाति व्यवस्था, और बंधनों में जीने की देवी की छ्टपटाहट. और वो सब भी यूं घुले-मिले हैं पूरी कहानी में, जैसे आँसुओं में नमक. जो है भी, तक़लीफ़ भी देता है, लेकिन अलग से दिखाई नहीं देता है. इतनी ख़ूबसूरत और ख़ूबसीरत फ़िल्म लिखने और बनाने के लिए लेखक वरूण ग्रोवर, निर्देशक नीरज घायवान और डी.ओ.पी. अविनाश अरूण को गले लगा कर शुक्रिया देने का मन करता है. लेकिन वो फिर कभी सही.
फिलहाल ये एक ही गुज़ारिश है, अगर आपने अभी तक ये फ़िल्म नहीं देखी है, तो कोशिश कर के देखिए. ऎसी फ़िल्में बार-बार नहीं बनती.
– मोहित कटारिया
(Mohit Kataria is an IT engineer by profession, writer & poet by passion, and a Gulzar fan by heart. He is based in Bangalore and can be reached at [kataria dot mohit at gmail dot com] or @hitm0 on twitter)
"Mann kasturi re,
jag dasturi re,
baat hui na poori re."
— Varun Grover, Masaan
"Every beginning
is only a sequel, after all,
and the book of events
is always open halfway through."
— Wislawa Szymborska, "Love at First Sight"
It's always a moment too early or too late. Too early to die; too late to have lived. In between life and death we survive in fragments, as parts of ourselves, piecing ourselves together into new selves, recovering from past pains, shielding ourselves from hurt. And all the while, we're asking ourselves one question: What if?
What if, five years ago, we had taken my grandmother to hospital an hour earlier than we did. Would she have recovered from her stroke? What if the attendant at the CT scan lab hadn't made us wait for a seemingly interminable time? Do hours actually matter when minutes can change your life?
Sixteen years ago, would my father have escaped being hit side-on by two drunk motorists, if he had started crossing a dimly-lit street — just outside a Durga Puja pandal — only a minute later? But does a minute matter when an error in judgement — made in seconds by a doctor — almost takes someone's life a few years later?
The year is 2000, and I remember oxygen cylinders; my mother's pained breathing; the look of desperation in her dim eyes — all the result of a botched operation from a few years ago. A few months later, my grandfather passed away after suddenly slipping into dementia, upon seeing my mother gasping for her life in hospital.
Is there a mapping to these sequences — a faint, cold logic of destruction that must be wrought, will be wrought? Every personal history is littered with these tribulations — of moments missed, chances dropped. But the mirror has two sides. Every personal history is also lit with chance meetings that change lives; sudden epiphanies that resound for decades; a random good turn that restores lost faith.
Just as we shiver at the thought of love lost, we must also thrill at the thought of love — and friendship — gained. That friend whom you met sixteen years ago in one of the many schools you could have attended, in one of the many cities you could have been born into. That friend who is still there, a call or message away, to listen, to console. In his book, Two Lives, Vikram Seth writes:
Behind every door on every ordinary street, in every hut in every ordinary village in this middling planet of a trivial star, such riches are to be found. The strange journeys we undertake on our earthly pilgrimage, the joy and suffering we taste or confer, the chance events that leave us together or apart, what a complex trace they leave: so personal as to be almost incommunicable, so fugitive as to be almost irrecoverable.
What if, twelve years ago, my father had not read to me the poem that would change my life, and begin a love for reading (and writing poetry) that continues unabated? That poem, I now realise, is perhaps the antidote to 'ye dukh kaahe khatam nahi hota be?'
All you who sleep tonight
Far from the ones you love,
No hand to left or right
And emptiness above —
Know that you aren't alone
The whole world shares your tears,
Some for two nights or one,
And some for all their years.
What if, five years ago, I hadn't been refused an internship in an Investment Bank in Singapore on sketchy grounds? That rejection allowed me to seek an internship — and later get a job — at a company that allows me to work from anywhere I wish. That rejection was the only way I could have spent the final two months of my grandmother's life with her. She is gone, but I now spend time at home with my parents that would have been a distant fantasy in a usual corporate job. I know she would have willed it thus.
Perhaps we are closing loops all the time.
Umar ki ginti haath na aai
Purkho ne ye baat batai
Ulta kar ke dekh sakey to
Ambar bhi hai gehri khai
If you are a regular follower of the blog, by now you must be aware of our association with this week's release, Neeraj Ghaywan's Masaan. That's why it's bit difficult for us to be impartial about it and so we haven't reviewed the film.
Our friend Avinash Verma has come to our rescue, and hopefully, impartial too. Here's his post on the film. (Mild SPOILERS)
How do you cope with someone's unexpected loss who you imagined spending the rest of your life with? All those dreams come crashing down, tears pouring through your eyes incessantly for days and months. How hard is it to move on, to Fly Away Solo (which is the English Title of Masaan)
Whose moral is it anyway? Why is sex still a four letter word? Is 'Jigyaasa mitaana' (Curbing the curiosity) a sin even when you are a consenting adult? Is the people making love inside a rented hotel room less moral than the ones necking in a public park?
These are some of the questions that this film tries to grapple with. The title 'Masaan' means a crematorium, a place where life ends but this 'Babel-ish' film is about hopeful happenstances from which life reemerges.
Vidyadhar Pathak is an ex Sanskrit Professor scraping the bottom (of Ganga, quite literally here) to pay off the ransom to a corrupt police officer to prevent his daughter from becoming a YouTube 'viral sensation'.
The daughter, Devi (Richa Chadha), is a computer teacher who is now looking for an escape from the narrow streets and the equally narrow mindsets of the citizens of Kashi, once the glorious abode of the omniscient sages, now a pit of greedy police inspectors and judgmental, vulgar MCPs.
Deepak, the guy who wants to get out of the rut of crushing dead bodies' skulls at Harishchandra Ghat falls in love with poetry loving Shaalu (the cherubic debutante, Shweta Tripathi), the youngest one of the upper caste Gupta family who leave no chance to take pride in their family name, even if it is at a random Dhaba on the highway which has absolutely nothing to do with their clan. It might as well be someone way below their caste cooking the food inside the kitchen, but for them, the food is delicious coz the joint is owned by 'Guptas' (albeit 'Salad baasi tha' coz cribbing is our national pastime)
I wish the Guptas knew this before the tragedy.
First love is special, for everyone, no matter how long or short does it last & to capture that innocence, charm and hormonal curiosity is what Masaan does exceedingly well. The heart shaped balloons, the glances exchanged in stealth mode, the endless conversations on CDMA phones, the insistence on calling each other 'Tum' & not 'Aap', the surprise bike/boat rides, the awkward, confusing yet celestial first kiss, the ingenuous gifts, the fights, patch ups and the determination to conquer the world coz she is not afraid to elope with you and you got to be prepared if it ever comes to that.
मैं हूँ पानी के बुलबुले जैसा, तुझे सोचूँ तोह फूट जाता हूँ … That's exactly how fragile you are when cupid strikes you for the first time.
In 'As good as it gets', Jack Nicolson's character pays a compliment to Helen Hunt's saying "You make me want to be a better man". Aren't all love stories essentially that? The struggle to become a better person because deep down you know that the one who loves you deserves a way better version of you. Deepak's struggle to become the better man before and after his personal apocalypse is what left me emotionally consumed.
It would have been very interesting the see what would have happened if Deepak-Shalu's story had moved forward the way we were expecting it to but… well.
The grief is real. Deepak, Devi & Vidyadhar, all three are going through hell & it's beautifully portrayed by Vicky Kaushal (Whatte brilliant debut!), Richa Chadha & Sanjay Mishra (I felt that Vidyadhar is just an extension of the good natured Babuji from Ankho Dekhi, and that is, IMO, perfect casting). The crying, the silences, the empty gazes into space imagining the various 'What ifs', sitting like a zombie in front of a TV that asks you to recognize an actor's badly morphed face to win a lottery, the yearning for closure, the desperation that lets you risk a child's life for money, the frustration that makes you smack your daughter and the helplessness that makes you cry in her lap, the uncontrollable wailing in the arms of friends who are clueless how to console you coz they simply don't know how to and throwing away the things that doesn't let you let go of the memories of your loved one and then immersing yourself into deep waters to find them back again.
The conflicts are real. The tears are real.
And that's precisely why you should see Banaras & its four residents via Masaan's lens. The silences speak volumes and some frames are more eloquent than some films could ever be in their entirety.
Except the oddly convenient intersection of both the narratives at the end, this film, rich with character, atmosphere and superb situational humor, is an extremely self-assured debut (of the director Neeraj Ghaywan, the screenwriter Varun Grover, and the editor Nitin Baid) and has so much to offer that the climax don't bother you that much.
'Bhor' engulfs you by the time the lights come back in the theatre and all you want to do is to fly away, solo.
PS: Loved the fact that Inspector Mishra had a daughter. Wished that Sadhya ji got more screen time.
(Avinash is an Ex-MICAn. His full time job is to watch movies and in his free time he pretends to be a Digital Marketeer. He loves indie films and likes to be comfortably numb whenever he can. Also, hates all the ads Ranbir Kapoor is in. His earlier post is here.)
बस इतना ही कहना है कि आज पिंजरा खुल रहा है। 3 साल की चप्पल घिसाई, घुड़सवारी, हवाबाज़ी, खुद को बहलाना, आपस में लड़ना, ट्रेनों के दरवाजों पर बैठे गुज़रते हुए गाँवों को देखते हुए किसी उलझे सीन को सुलझाना और ये भी सोचना कौनसा साला ये फिल्म बनने ही वाली है, बार बार बनारस के चक्कर और हर चक्कर में कम लौंगलता खाना ये सोच के कि बनारस तो अभी फिर आना है – के बाद आज सबका कुल जमा देश भर में फैली 240 स्क्रीनों पर टूटते तारों सा बिखर जायेगा।
बस इतना कहना है कि कुछ खास नहीं है कि इस फ़िल्म में अनेकों लोग शुरू से ही जुड़े हैं (मैं, रिचा, अविनाश, नितिन) – नाबालिग़ उमर के आशिकों की तरह – कई फ़िल्मों में जुड़े होते हैं। लेकिन ये खास है कि उनमें से बहुतों की ये पहली फ़िल्म है – नीरज घायवान, नितिन बैद, श्रुति कपूर, विक्की कौशल, श्वेता त्रिपाठी, और एक तरह से मेरी और अविनाश अरुण की भी। पहली फ़िल्म का नशा एक ही बार होता है, यही नियति है। पहले चुम्बन की तरह। ठीक से समझ भी नहीं आता कि हो क्या रहा है पर बहुत डिवाइन लगता है।
पूरी याद्दाश्त और पूरी कायनात मिटा के फिर शुरू करनी पड़ेगी अगर पहली फ़िल्म का कष्ट-रूपी आनंद दोबारा लेना है तो।
और जाते जाते बस इतना ही कहना है जो एक बार संजय मिश्रा जी ने कहा था – उम्मीद तो अपने बच्चों से भी नहीं करनी चाहिए, तो फ़िल्म से क्यों करें। रिव्यूज़ सुंदर आ गए हैं, कुछ शहरों में लग गयी है शिवजी की कृपा से, मार्केटिंग का खेला अपनी गति और दशा से चल रहा है, और ले-देकर फ़िल्म अब हमारे हाथ से गैस से टंच भरे गुब्बारे की तरह छूट चुकी है।
बचपन में जितना मज़ा गुब्बारे को हाथ में धागे से लपेटे रहने पर आता था, उतना ही उसे छोड़ देने पर भी। एक बार दुःख होता था – बिदाई हमेशा कठिन होती है – लेकिन एक अजीब सी खुशी भी ये देखकर कि वो उड़ा जा रहा है दूर किसी ऐसे आसमान जहाँ हम कभी नहीं जा सकते।
आँख से ओझल होता हुआ… बड़ा सा गुब्बारा जो हमारे हाथ में था अब एक बिन्दु से भी छोटा। आँख बस एक बार हटाई और ग़ायब!
– वरुण ग्रोवर
("Our Roger Ebert wins Pulitzer" – Remember that image of Ebert holding the newspaper with this headline? No? Here. I always thought what immense pride that one word "our" must have added. Similarly, it's time for us to say Masaan is by "OUR" Neeraj Ghaywan and Varun Grover. Do watch it in theatres. It's limited release but if you try, you can manage for that odd show timing too. This one deserves that little effort. Also, we are posting here 4 beautiful posters sketched in Madhubani style by Grover's better half, Raj Kumari.)
Avinash Arun, the DoP of Neeraj Ghaywan's 'MASAAN' and the Director/DoP of much acclaimed (and super-hit) Marathi film 'Killa' is a hardcore instagrammer, always clicking whatever catches his attention. Most of the times, it's the nature or the mundane that makes a city.
And when that city is Banaras – even the mundane becomes stunning! Check out these 22 shots by Avinash Arun, clicked during the months of October and November 2014, while shooting 'Masaan' in Banaras and Allahabad.
(Click on any image to start the slide-show. Move your cursor on the pics to get details)
A wrinkle in time.
Green that hurts.
Shadows bridging the Rajghat Bridge.
Crossing the infinity.
Allahabad
The most haraami birds, river-gulls.
Ek santusht aadmi
Dosti
The last gathering
Bairi coal train.
Light breaks in.
Banaras Sci-Fi.
Mann kasturi, shaam sindoori.
Director in a blur.
This 100-year old water tank, somebody told us, is soon going to be demolished. Or turned into a restaurant.
The shepherd.
Jeev-jantu.
Mother.
Lahar aur Nauka.
Cricketers.
Sangam.
Last-day shoot's madness.
Avinash Arun (centre) with Neeraj Ghaywan (Director) and Vicky Kaushal (Actor).
First Look : Neeraj Ghaywan's Masaan (Poster, Trailer)
Posted: June 27, 2015 by moifightclub in cinema
Tags: first look, Masaan, Neraj Ghaywan, Pankaj tripathi, poster, Richa Chadha, Sanjay Mishra, Shweta Tripathi, trailer, Vicky Kaushal
After winning accolades and prizes at Cannes Film Festival, Neeraj Ghaywan's debut feature, Masaan is all set to hit the Indian screens on July, 24th. The poster and the official trailer is out too. Have a look.
Official Synopsis
Winner of the FIPRESCI prize and Promising Future Award in the Un Certain Regard section at Cannes 2015, Masaan revolves around four lives intersecting along the Ganges: a low caste boy hopelessly in love, a young woman ridden with guilt of a sexual encounter ending in a tragedy, a hapless father with a fading morality, and a spirited child yearning for a family- as they try to escape the moral constructs of small-town India.
Set against the divine landscape of Banaras, Masaan is a celebration of Life, Death and Everything in Between.
Cast & Crew
Cast – Richa Chadha, Sanjay Mishra, Vicky Kaushal, Shweta Tripathi, Pankaj Tripathi
Produced By: Drishyam Films, Phantom Films, Macassar Productions and Sikhya Entertainment
Screenplay/Lyrics: Varun Grover
Director of Photography: Avinash Arun
Editor: Nitin Baid
Music: Bruno Coulais
Original Songs by Indian Ocean
Directed by Neeraj Ghaywan
For more info, its FB page is here and Twitter feed is here.
After doing a double whammy at Cannes 2015, Masaan comes to Indian theatres on July 24th 2015! Produced by Drishyam Films, Phantom, Sikhya Entertainment, MACASSAR films), and directed by Neeraj Ghaywan, we've written enough about Masaan by now for you to know about it, so here's making it easy for both of us in case you don't –
For Masaan trailer and photos go here
For the Cannes buzz and two awards go here
For the standing ovation video go here
Blow our minds Neeraj Ghaywan!
Source: https://moifightclub.com/tag/masaan/
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