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Gajraj Rao recalls having only six rupees in his pockets: Us din meri aankhon mein paani aagaya

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Gajraj Rao recalls having only six rupees in his pockets: Us din meri aankhon mein paani aagaya

Before playing a role in Shekhar Kapur’s Bandit Queen in 1994, actor Gajraj Rao had to do odd jobs like working at a tailoring and stationery shop. While mentioning this, Rao in a conversation reveals that he even wrote for Hindustan Times back in 1989, something that many are still not aware of. He interviewed iconic personalities like Mehmood, Utpal Dutt and filmmaker Yash Chopra during his stint.

“Dhakke bahut jyada khaye hai mene (Life mein). I didn’t have a carefully planned existence due of the financial circumstances in my home. Not all the power was in our favour. Thus, I’ve learned a lot from these occupations. Rao tells about his life before being an actor, “I always say this bohot badi mushkil waali zindagi thi but I had the fire in me that I want to achieve something and give a nice life to my family.

Rao, who is originally from Delhi, used to frequently travel to Mumbai to look for job before his acting career took off. Rao shares his heart as he recalls a time when he only had six rupees in his pockets: “Before moving to Mumbai, I visited the city in search of employment. I was composing a script while spending a month at my friend’s house. Paise mere khatam ho gaye the at that time. I drove all the way from Andheri to Worli to read that script, but they didn’t like it. 5-7 rupaye the meri jab mein kul mila. I was at a loss for what to do.

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Should I spend those six rupees on a local rail to get home or on food instead? I will receive a payment in advance if my script is approved, which is mujhe pure umeed thi. Us din meri aankhon mein paani aagaya ki main karunga kya? Wo jo thana.

Rao adds that in order to return to Delhi, he borrowed 500 from a friend. After hearing what I told him, he gave me 500 rupees. In those days, that was a sizable sum. Because of the circumstance that exists in my case, Sharmindagi bhi ho rahi thi mujhe ye sab karna padra hai. However, I learned through this experience that I shouldn’t rely on promises made by others.

The producer who phoned me had stated, “Chinta mat karo, even if the script doesn’t work… He didn’t follow to his words,” the Badhaai Ho actor explains.

The actor, who will shortly make his teleplay debut with Gunehgaar by Akarsh Khurrana, is incredibly happy and appreciative of his path. “Even when I used to receive minor roles, I would often observe that some actors with greater talent than I did not receive any work at all, although I did. I’ve known for a long time that I want to maintain my financial stability. My financial situation caused me to come from a less than ideal existence, so kheech taan ke ghar chalte the Aapke pariwar ki bhi hoti hai, aapki jo struggle hai aapki nahi hoti. I made the decision that udhar na lena pade acting ka shauk tab karo jab jeb mein paise ho.

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The creators of Pippa respond to criticism of AR Rahman’s rendition of the song Karar Oi Louho Kopat by Bengali poet Kazi Nazrul Islam

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The creators of Pippa respond to criticism of AR Rahman’s rendition of the song Karar Oi Louho Kopat by Bengali poet Kazi Nazrul Islam

In the realm of art, especially when it involves a beloved poet’s work, emotions run deep. The recently released rendition of Kazi Nazrul Islam’s timeless composition “Karar Oi Louho Kopat” by the legendary AR Rahman for the upcoming film Pippa has stirred discussions and, inevitably, some criticism. The creators of Pippa have chosen to respond, fostering an open dialogue about artistic interpretation, cultural sensitivity, and the collaborative spirit of creative endeavors.

A Musical Odyssey: AR Rahman’s Rendition

AR Rahman, a maestro in the world of music, took on the monumental task of interpreting Kazi Nazrul Islam’s iconic work for the soundtrack of Pippa. “Karar Oi Louho Kopat,” known for its profound lyrics and historical significance, is a piece of cultural heritage that resonates deeply with Bengali speakers worldwide. Rahman’s rendition, while undoubtedly a display of musical brilliance, prompted varied reactions from listeners, invoking discussions about fidelity to the original composition.

Navigating the Sea of Criticism: The Creators’ Response

In response to the criticism, the creators of Pippa have taken a nuanced approach, acknowledging the varied sentiments expressed by the audience. In an era where cultural appreciation and appropriation are delicate themes, the creators aim to engage in a respectful and insightful conversation with those who hold Nazrul’s work close to their hearts.

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The Art of Interpretation: Navigating Boundaries

Artistic interpretation is a complex dance, especially when traversing the revered creations of literary giants. Rahman’s rendition of “Karar Oi Louho Kopat” is not merely a cover but an interpretation, a reimagining that seeks to resonate with contemporary audiences while paying homage to the essence of the original work. The creators emphasize the intent of creating a bridge between generations, fostering a connection with Nazrul’s poetry through a modern lens.

Cultural Sensitivity and Collaboration

In a world that values cultural sensitivity, the creators of Pippa express their commitment to fostering collaboration and understanding. Rahman’s collaboration on this project is seen as a celebration of diversity and an effort to unite different artistic traditions. The goal is not to replace or diminish the original but to amplify its beauty for a new audience.

The Ongoing Conversation: A Celebration of Nazrul’s Legacy

As the conversation around AR Rahman’s rendition continues, the creators of Pippa invite fans, critics, and enthusiasts to share their perspectives. It is a testament to the dynamic nature of art, where diverse opinions contribute to a richer understanding of the creative process. The goal remains to celebrate the richness of Nazrul’s legacy and ensure that his timeless verses continue to resonate across generations.

Conclusion: A Melody of Unity

In the ever-evolving landscape of art and expression, the conversation sparked by AR Rahman’s rendition of “Karar Oi Louho Kopat” is an opportunity for unity. It is a chance for diverse voices to converge, creating a harmonious discourse that transcends geographical and cultural boundaries. As Pippa prepares to weave together the tapestry of history and contemporary expression, the creators invite everyone to be part of this collective journey, where the beauty of Nazrul’s poetry continues to be a guiding force in the ever-evolving symphony of creative interpretation.

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