Vinden och floden (The Wind and the River),1951 by Arne Sucksdorff

sabzaar gulzaar

Vinden och floden (The Wind and the River),1951 by great Swedish filmmaker, Arne Sucksdorff. Based on the life of boat people of Kashmir. Lyrically capturing the songs and images of that life in one of the most beautiful films ever made on Kashmir.

Arne Sucksdorff visited India in 1950, it seems with the objective of documenting the life of its working people. Out of this visit came two films: Village Hindou (Hindu Village) about the lack of water in an Indian village, and Vinden och floden (The Wind and the River), about river life of Kashmir.

The film begins with a quote (missing in the extract above) which summarises the vision of the film, “NÃ¥r de tunge pramme stages op ad Jelum-floden, sker det under en storslÃ¥et dialog mellem Allah, Mennesket og Skønheden. (When the heavy barges poled up the Jelum River, she does so in a magnificent dialogue between God, Man and beauty.)”

The music of the film, a blend Kashmir folk and India Classical, is by Ravi Shankar, who was yet to attain international acclaim back then. He was working with AIR at the time and probably artists form AIR station Srinagar were used for creating the sounds.

The film begins with scene of a Hindu ascetic mediating atop a hill in Srinagar. Down below, the city is brimming with scenes of lyrical songs of life. A life sustained by a river that quietly flows through it and weaving a web of ecology in which people seem to be at peace. A peace for which people thank their benevolent gods.

It is a way of life that is now almost over. Jhelum has been cleared of its boat people and their ‘slums’. [a view from 2014, what the river looks like after the ‘cleanup’ of boat people]

Winter 2014

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Extracted from ‘Uma Vida Dividida‘ (2001).

Majrooh’s Paradise

Continuing with the theme of Kashmir as Paradise…


Aye Cheshmay Tamasha Jhoom Zara
Ab Waqt e nazara aa pohcha
Kashmir may do din jeenay ko
Kashmir ka mara Aa pohcha
Firdaus kay ghum ho  janay ka
Kuch gham na karey 
Adam say kaho
Akhir ko tumhari jannat may
Farzand tumhara aa pohcha

Line of Majrooh Sultanpuri (1919 − 2000) delivered (in a bombastic manner) by Dev Anand in Teen Devian (1965). The scene has a mushaira held on a houseboat in Srinagar. Majrooh was last of the great urdu poets claimed by film world as a lyricist.

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Poplar Avenue
From Francis Frith’s album. Around 1850s to 1870s.
via: Victoria and Albert Museum.

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Kashmir in Satyajit Ray’s Art

To get the feel of the era right for Satyajit Ray’s Shatranj Ke Khilari (1977), among other things, the art director used authentic antique Kashmiri shawls from private collection. The art director was Bansi Chandragupta. If Satyajit Ray is considered one of the greatest Indian film directors of all time, his regular art director Bansi Chandragupta can be considered one of the best and pioneering art directors in India.

Bansi Chandragupta was born in 1924 in Sailkot. When still a child his family moved to Srinagar where he did his basic education. In 1942, in midst of ‘Quit-India’ movement he moved to Bengal and was introduced to Satyajit Ray as a painter. Along with Ray he was one of the founders of Calcutta film society. In years to come, Bansi Chandragupta went on to be Ray’s ‘Kashmiri’ friend who helped him in creation of almost all his cinematic masterpieces.

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Portrait of a Kashmiri Girl
Bansi Chandragupta
Early 20th century 
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video: ‘Bumbro, Bumbro’, 1964

Came across this mesmerising bit in A Bhaskar Rao’s “The Dancing Feet” (1964), a Shantaram Production about folk dance forms of India. [link for full movie at NFDC channel, where they had trouble dating the film]

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Notice the same place on the

 Bank of Jhelum, Srinagar, 1906

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Got names of some of the people in the video from readers via Facebook page of the blog

The woman in red: Raj Dulari, was a teacher at Lal Ded school

Zia Durrani and Nancy Gwash Lal, who were members of the original opera too.

One of the singers is Raj Begum.

Otto Lang’s ‘Search For Paradise’, 1957

At SearchKashmir not only are some old dreams of ‘Earthly Paradise Kashmir’ catalogued, but not so strangely it is also helping re-create some old dreams. Here is someone’s visual interpretation of Dimitri Tiomkin’s score for Otto Lang’s ‘Search For Paradise’ (1957). The film was about two WW-II pilots, two Marco-Polos searching for paradise in East and of course visit Kashmir. It is about the adventures they have, there are high flying planes (new Jet planes meant new age of science ), fast flowing rivers (there was US presence in the region) and invincible mountains (Nanga Parbat was conquered only in 1953).


Also this was probably the last time word ‘Shalimar’ was weaved into western classical music, a long tradition starting from Amy Woodforde-Finden setting Adela Florence Nicolson/Laurence Hope’s ‘Kashmiri Song’ to music in 1902.

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A NYT review from 1957

A news report about the film from year 1963.

Kikli for Heer

Heer Ranjha (aka Beauty of Punjab aka Hoore Punjab, 1929).
Starring Sulochana (aka Ruby Meyers) and D.Billimoria.

Kikali kalir di! 

Hold hands and whirl around
My brother’s turban is brown
His wife’s veil is red
Which she just won’t shed
Heer comes from Kashmir
Ranjha is of Hindustan

~ A translation of Punjabi folk song ‘Kikali kalir di‘ by Nirupama Dutt (from ‘The Tenth Rasa: An Anthology of Indian Nonsense’ (2007)) from version given in ‘Punjabi lok Git’, compiled by Devendra Satyarthi and Mohinder Singh Randhaw in around 1956 and published in 1961. Kikali would be Punjabi equivalent of Kashmiri Hikat.

The usage of Kashmir and Hindustan in the lines, rather than alluding to origins of the fabled lovers, is meant as a tease, to show the incomparability of two. A popular device used in wedding songs to show the unbalanced scale between bride (usually on the higher end) and groom (at the lower end).

I came across it while looking for Devendra Satyarthi’s travelogue on Kashmir  from 1930s (which I did manage to track down! And will make available soon. Available Here). Legendary Punjabi folklorist Devendra Satyarthi was the first to introduce Mehjoor’s work to India.

Now, re-watch Imtiaz Ali’s Rockstar (2011), which was a re-take on story of Heer-Ranjha, with a Kashmiri Heer and an Indian Ranjha.

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