Mumbai, May 12 (Calcutta Tube) Bollywood actress Soha Ali Khan, who has just finished her first film with her mother, veteran actress Sharmila Tagore, is in no hurry to repeat the experience. Soha and Sharmila will be seen together in London-based Indian filmmaker Sangeeta Datta‘s directorial venture ‘Life Goes On‘, which is inspired by the old tale of King Lear and his daughters. Set in London, the film explores the relations between a grief stricken father, played by Girish Karnard, and his three daughters. Soha plays one of the daughters, while Sharmila will be seen as her mother in the movie.

‘It’s my first film with mom. Hopefully, we won’t have to to face the camera in a hurry again. In spite of having years of experience playing her daughter, the experience of doing it for the camera just unnerved me,’ Soha, 31, told IANS.

‘Normally when it comes to shooting, my mom is usually very hands-on. But this time she just let it be. She did take a keen interest in my clothes makeup, etc. But once we faced the camera, she let the director Sangeeta Dutta do all the directing,’ said Soha.

<table cellpadding="0" cellspacing="0" border="0"><tr><td><img src="" /><td></tr><tr><td><td></tr></table>The young actress entered showbiz in 2004 with ‘Dil Maange More’ and has so far featured in 13 films including ‘Antar Mahal‘ (2005), ‘Rang De Basanti‘ (2006) and ‘Khoya Khoya Chand‘ (2007).

Soha says she listened to her mother about clothes. ‘Because she has a great taste. But it’s so morbid. I’ve become petrified about losing my mother after doing a film on a daughter losing her mom.’

As for love, Soha isn’t naming anyone. But she admits she’s not single.

‘I’m seeing someone. It’s still in the early stages. And it’s great fun.’

London, March 2 (Calcutta Tube) Jaya Bachchan will be honoured with a lifetime achievement award at the 12th London Asian Film Festival beginning Friday and son Abhishek Bachchan and daughter-in-law Aishwarya Rai are set to attend the gala event.  Sharmila Tagore and Soha Ali Khan are also expected to attend the festival.

The opening will be followed by a gala dinner at the Park Lane Sheraton Hotel to confer Jaya with the Lifetime Achievement Award for her contribution to cinema.

A British premiere of Jaya’s film ‘Lovesongs’ will also take place at the event. Directed by Jayabrato Chatterjee, the movie also stars Om Puri.

Also known as Tongues on Fire, the festival will commence with a British Academy of Film and Television Arts (BAFTA) interview with Abhishek, celebrating his cinematic achievements, reports its official website.

The event will also have a BAFTA interview with filmmaker Shyam Benegal exploring his vast career and screen his new movie ‘Well Done Abba’ that stars Boman Irani and Minissha Lamba.

A masterclass in acting and direction will also be helmed by Abhishek and Benegal respectively.

The event will close with the British premiere of Sharmila Tagore and Soha Ali Khan starrer ‘Life Moves On’. Sangeeta Datta’s directorial debut also features Girish Karnard and Om Puri.

Some of the Bollywood’s biggest hits including ‘Dostana’, ‘Guru’ and ‘Chak De! India’ will be screened during the 10-day event.

Speaking of awards and recognition in general, Sharmila opines, “The National awards must have their own identity free of Bollywood domination. It’s very important for regional cinema to get its recognition. Now that ‘Antaheen’ Bengali Movie has won the National award for best film it will get a renewed shelf life. Such recognition means a lot to regional filmmakers. You know when Manik-da (Satyajit Ray) made his first film ‘Pather Panchali’ he had to pawn his wife’s jewellery. Nothing has changed, really. Even today a regional film is made on a meager budget. The National award means a lot to regional filmmakers.”

Speaking for herself, Sharmila feels her recognition as an actress has come more from regional cinema than Hindi. “Barring a ‘Mausam’ for which I got the National award, most of my prestigious recognition has come from Bengali cinema. Even now the Bengali film ‘Antarheen’ in which I play a cameo got the National award for Best Film. I got as lot of opportunities to work in wonderful Hindi films like ‘Devar’, ‘Anupama’, ‘Aavishkar’ and ‘Grihapravesh’. Definitely, these were forward-looking films, having said that the regional cinema has so much longevity.”

Sharmila feels nostalgia often dictates recognition and adulation. “Zoha Sehgal got a Padma Vibhushan this year. When you’re around for a certain period of time people do love you. All said and done us Indians are a very sentimental people.”

Nowadays Sharmila chooses her films carefully. “Maybe one film at a time. Otherwise I get tired. Getting things done through the Ministry as the chairperson of the censor board is not easy. Also, my work with UNICEF and other organizations gives me more satisfaction. I’ve a one-to-one with younger people. All this is a strain on 24 hours. Today I’m a more kindred citizen. I also like to travel. Right now as I talk to you I am gazing out of my window in our home in Pataudi and I can see peacocks all over garden. I wouldn’t like relinquish this pleasure for more work on hand.”

Speaking on her work in cinema being recognized Sharmila laughs, “My self-worth doesn’t come from what other people say about me. Recognition or the lack of it doesn’t run or ruin my life. Even if it doesn’t come I still have a wonderful support system. It’s enough that some people like me. I know I’m not in the same league as Amitabh Bachchan and Shahrukh Khan. But when I walk into a room I only feel good vibes. My fulfillment comes not from awards but from watching the peacocks frolicking in my garden in Pataudi. Not that I don’t take my work as an actor seriously. I do. Earlier when I didn’t like an end-product I dissociated myself from that film. Nowadays you are contract-bound to promote a film even if you don’t like it. I find that kind of enforced professionalism to be restricting.”

By Subhash K Jha

-Sampurn Wire

Amol Palekar is directing and acting in the film “Samantar” that also features Sharmila Tagore. Amol Palkekar Talks about his ideas as a film maker and film making as a whole.

<table cellpadding="0" cellspacing="0" border="0"><tr><td><img src="" /><td></tr><tr><td><td></tr></table>AMOL PALEKAR tells JYOTHI VENKATESH that even though he is getting a lot of offers to act in films now; he has been steadfastly turning them down because he does not want to be slotted just as the father of Salman Khan.

What is your latest film Samantar all about?
My latest film Samantar is all about tracing lost parallel lives today. With Samantar, I have tried to find out something new by way of looking at relationship and life. You can see similarities at many levels in this film. The protagonists in Samantar are oblivious to the fact that they have traveled similarly, though they had different streams.

What made you decide to act in your film, besides directing it, considering that your wife Sandhya had initially thought of Girish Karnad to play the role that you have essayed in it?
After a long time, I really felt the urge to play the character, when I read Sandhya’s script and felt gung ho about playing the main character who I felt had several layers and hence could effectively display a wide range of emotions. I play the role of Kishore Vaze, who has a very small beginning from a very small village and goes on to become a very successful industrialist. Unfortunately, Kishore happens to be a very lonely person. I thought that since I felt that his thought need to be conveyed strongly to the audience, there was no other alternative but to take up the challenge of enacting the character myself. I did not have to bother about my performance and rely entirely on Sandhya’s judgment when I was facing the camera, since she is also the co-director of my film.

<table cellpadding="0" cellspacing="0" border="0"><tr><td><img src="" /><td></tr><tr><td><td></tr></table>How did you extract work from Sharmila Tagore in-spite of her not knowing Marathi?
Sharmila plays the role of a sculptor in Samantar. Since the character that Sharmila has played in Samantar needed intensity and authenticity, we taped her dialogues and sent it to her in advance to enable her to prepare for the scene. Only Sharmila could have fitted the bill by essaying the character of Shama Sani with the poise, dignity and the grace, which the character demanded.

Is it true that you do not let any actor of yours to improvise or change their lines?
Since I have the background of theatre, I insist on the specific lines. When Vijay Tendulkar writes a particular word, it has a particular rhythm, which will be entirely different from what a Badal Sarkar or a Dalvi writes. And hence I feel that as an actor, it is your job to stick to your line. I remember telling a theatre stalwart like Vijaya Mehta that even if it was Okayed by writer Sandhya, it was not okay with me, when she kept on mouthing klesh instead of atma klesh.

Were you lenient with Shah Rukh Khan when you directed him in Paheli because he was also the producer of the film?
Even when I directed Shah Rukh Khan and Rani Mukerjee in Paheli, they did not change even one word, because we had a weeklong rehearsals, particularly with Rani.

Were you confident on facing the camera as an actor after 24 years?
I should confess that fear was at the back of my mind constantly, whether I would be able to retain the intensity as an actor and whether I’d be able to give the shot in one take or take seven takes, because frankly I presumed that my talent may have rusted, since I had not faced the camera as an actor for several years, but I luckily realized that I have retained the command over my craft even today. Believe it or not, I had turned down several offers including from some big banners, only because they were not ready to tell me what character that they wanted me to play. I do not take up an assignment if I am just told that I have to play Salman Khan’s father.

How do you re-invent yourself and push the envelope further as a filmmaker?
After making a film, I try to assess it objectively to find out what I have learnt from it and also, how the audience response to it after it is released. As a maker, I do not want to repeat myself but try out something, which I had not earlier, especially because I do not want to make a labeled product.

What is the major difference between the Amol of Ankahee and the Amol of Samantar as a director?
The major difference between me as an actor in Ankahee then, and Samantar now, is that Ankahee was my second film and after Ankahee I did not act in dozens films. Also, the fact remains that Samantar is a totally different look at the man–woman relationship. It is also a script, has intense emotions, with a very serious content and a lyrical quality, which Sandhya and I have tried to capture in so many different ways, including music, cinematography and art direction, in a different way.

In what way have you kept pace with the changing cinema today, as a maker?
There is absolutely no physicality in filmmaking today because everything happens in virtual reality. Today’s Indian cinema is technically good even if it is bad and hence, I have got to compete with that. I do not make excuses. I do not have any apology on my hands and stand on equal footing with anybody and everybody at any film festival. However, I can definitely claim that I have become more techno-savvy, because today filmmaking is technically so much advanced.

In what way has Sandhya changed your approach to filmmaking after she came in your life?
All that I can say is that if you look at the phase of my output, I used to make one film in five years earlier. After Sandhya came in my life, I have managed to make at least one film every year, which by itself, is quiet overwhelming for me as a filmmaker. Without her support or contribution, it would just not have been possible at all for me. Apart from taking the complete burden of writing, what I like about Sandhya is that she has the quality of multi tasking with ten different tracks working in her mind simultaneously, though I prefer to focus on just one thing at a time when I am working. Sandhya has this urge to be a perfectionist so much so, that she is not easily satisfied with something which is just good, because she wants it to be next to the best, if not the best.

-Sampurn Media

The Marathi film Samaantar with Sharmila Tagore and Amol Palekar brings souful esthetic original music.

In today’s world of remix culture, the pure essence of soulful music, non-synthetic sound has been lost in oblivion. BIG Music is bringing back the eternal melodies, magical compositions seamlessly weaved in filmmaker Amol Palekar’s latest creation ‘SAMAANTAR’, a BIG Pictures production that is all set to release on September 4, 2009. The music for this Marathi magnum opus starring AMOL PALEKAR and SHARMILA TAGORE was released amid much fanfare at Cinemax Versova on Wednesday, August 12, 2009.

Present at the music launch of Samaantar was the film’s entire star cast and crew– Amol Palekar, Samir Dharmadhikari, Aishwarya Narkar, Radhika Apte, Sandip Mehta, Rishi Deshpande, Makarand Deshpande, Vandana Gupte, story, screenplay and dialogue writer Sandhya Gokhale, lyricist Kishore Kada aka Saumitra, music director Anand Modak. The film is about two parallel lives crossing each other in the twilight of life.

Anand Modak has composed the music of Samaantar, while Kishore Kadam– both of whom were present at the music launch, has penned the soulful lyrics for the songs. Shankar Mahadevan and Shreya Ghoshal, who have lent their mesmerizing voices to the songs of the film, performed at the music launch of Samaantar.

Samaanatar presents an intense story through alluring characters of Keshav and Shama. Keshav’s melancholy amidst his busy surroundings is well carved by Palekar, who is acting after his last film Khamosh directed by Vidhu Vinod Chopra. Thirty years after his Ankahee, Palekar has directed and acted in his own film. Legendary Sharmila Tagore who is acting in a Marathi film for the first time depicts Shama’s silent poise through marvelous performance. The two prolific actors have come together after their Bengali super hit film ‘Mother’ in late 70s.

For Amol Palekar, the music done by Anand Modak is completely in sync with the texture of the film. “Anand has capably conveyed the various emotions and changing rhythms of the script through his compositions. Anand’s strength is in his melodies rooted in classical as well as folk music,” he said.

Kishore Kadam who is immensely popular as “Saumitra” among the younger generations has penned the lyrics for all the songs in ‘Samaantar’. “These songs are based on the diverse modes of relationships. Amolda and Snadhyaji briefed me very clearly about the demands of the situations and emotions. That made my task easier as a lyricist.” Kadam explained.

Sandhya Gokhale who brilliantly inscribed music in the earlier screenplays written by her for films like Paheli, Thaang, or conceived Dhrupad music in Anaahat is very excited with the winning score of Samaantar. “This music which synthesizes sensitive poetry and unforgettable tunes will be etched in our mind forever,” added the writer who is also trained in Hindustani classical music.

“Nuste Nuste”, a song sung by Shankar Mahadevan and Shreya Ghoshal in Samaantar, exudes hope while traversing through loneliness. This melodious song shot stunningly on scenic locations will surely hypnotize the audience for years to come. “Kay Jahale, tula manaa re…” is yet another song that will move the audience, touching their heart. The two talented singers brightened the music launch evening by singing these soulful songs.

Anand Modak, who has composed the music for Samaantar, said, “Many non-Marathi singers like Hemant Kumar, Manna De, Mahendra Kapoor had lent their voices to Marathi film music. I am grateful to Amolji who offered me brilliant singers like Shankar and Shreya. Their accent is as Marathi as it could be!”

“Navika Re hati tujhya…” brings out the authentic fragrance of a majhi (boatman’s) song that was immortalized by the late S.D. Burman. “I have experimented with the majhi rhythm and tune which suited the situation-taking place on the banks of river Ganges. Sudesh Bhosale has superbly brought out the pathos of the boatman’s yearning,” added Modak.

While hoping that the audience will patronize this fresh music richly, Mahesh Ramanathan, COO of BIG Pictures said, “We are proud to unveil a stupendous gift in the form of audio CD of Samaantar to eclectic music lovers.”

- Music Press Releases / Sampurn