चेतावनी – आप चाहें तो आगे की कुछ पंक्तियाँ छोड़ कर आगे बढ़ सकते हैं. मैं बात समझाने के लिए आगे दोनों संवादों को उद्धृत कर रहा हूँ.
(Ye shadi nahi ho sakti. because this girl given me a BJ and being a 21st century man I also given her oral pleasure.)(ये शादी नहीं हो सकती. क्योंकि इस लड़की ने मेरा चूसा है और बदले में मैंने भी इसकी ली है.)
इसी ज़मीन से उपजे कुछ मूल सवाल हैं जिनके जवाब मैं खुले छोड़ता हूँ आगे आपकी तलाश के लिए…भाषा का विद्यार्थी होने के नाते मेरे लिए आखिरी सवाल सबसे डरावना है. मैं चाहता हूँ कि कहीं से कोई आचार्य ह़ज़ारीप्रसाद द्विवेदी का शिष्य फिर निकलकर सामने आए और मुझे झूठा साबित कर दे. फिर कोई सुचरिता बाणभट्ट को याद दिलाए, “मानव देह केवल दंड भोगने के लिए नहीं बनी है, आर्य! यह विधाता की सर्वोत्तम सृष्टि है. यह नारायण का पवित्र मंदिर है. पहले इस बात को समझ गई होती, तो इतना परिताप नहीं भोगना पड़ता. गुरु ने मुझे अब यह रहस्य समझा दिया है. मैं जिसे अपने जीवन का सबसे बड़ा कलुष समझती थी, वही मेरा सबसे बड़ा सत्य है. क्यों नहीं मनुष्य अपने सत्य को देवता समझ लेता आर्य?”
(courtesy: http://mihirpandya.com)
- NDFS Desk
Google also salutes Indian Film Industry and reminds us this historic date by putting a wonderful and most visible image from the film. NDFS blog has earlier published a piece on Alam Ara as excerpts of a wonderful book on Alam Ara written by Sharad Dutt. We will soon publish part 2 of that wonderful article. Till then go to archives and enjoy that piece on making of Alam Ara. 
-NDFS Desk
- Sudeshna Sarkar/ (Courtesy: IANS)
(This is probably for the first time in Asia, when a documentary film has got a big commercial release with 42 screens.)
Kathmandu, Feb 17 (IANS) It was an unusual scene in Kathmandu Thursday with two top leaders of Nepal's Maoist party - chairman and former prime minister Pushpa Kamal Dahal Prachanda and his deputy Baburam Bhattarai - heading for a posh cinema early in the morning when the party remained in consultations to name its new ministers.
'It is especially important to us,' Prachanda told IANS at the premiere of 'Flames of the snow', a nearly two-hour documentary chronicling the rise of the pro-democracy movement in Nepal from the 19th century and culminating in the abolition of monarchy in 2008.
'This documentary is based on the People's War fought by our party.'
For the first time in Nepal, a documentary will be screened commercially across 42 theatres, marking a landmark in the republic's celluloid history.
It is the brainchild of Indian journalist Anand Swaroop Verma, who is associated with the leftist political movement in India, and directed by Ashish Srivastav, a New Delhi-based commercial film maker.
'The People's War of Nepal does not belong to Nepal alone,' said Verma. 'It belongs to every country where there is repression and struggle against it. The Maoist movement in Nepal was never truly represented. There was a calculated misinformation campaign against it. So we felt this was a story that needed to be told.'
The documentary, produced by India's Third World Media in collaboration with Nepal's GRINSO, traces the long and blood-drenched pro-democracy struggle against three regimes: the Shah kings of Nepal who ruled the country for 240 years, the repressive Rana prime ministers who reduced the kings to puppets for 104 years, and a succession of 12 governments in 13 years who sought to put down people's protests by force. 
The revolt that started with peasant leader Lakhan Thapa in 1876 did not end with his hanging but continued in 1950 and 1990, finally becoming the Maoists' People's War that raged on for 10 years from 1996.
Starting with the fateful Friday night when a family dinner in Nepal's royal palace in June 2001 turned into a massacre, leading to the death of the king, queen and eight more royals, the documentary ends with the sun setting on the Shah dynasty May 28, 2008 when an elected parliament formally abolished monarchy and ordered the deposed king to vacate the palace so that it could become a national museum.
Weaving in interviews with Prachanda, Bhattarai, deputy commanders of the Maoists' People's Liberation Army and its fighters, 'Flames of the Snow' offers a rare insight into the reason that made Dahal, a poor farmer's son, become the mighty Prachanda, whose name is now an inspiration to communist movements worldwide.
'Prachanda was born near a stream in the field we used to farm,' says his father Mukti Ram Dahal, a farmer on southern Chitwan district. 'That will tell you how poor we were.'
As a young boy, Prachanda remembers following his father to the Narayangarh market and there, watching in helpless anger his father being abused and beaten up by landlords.
The impulse to avenge it shaped him as a rebel, though, as the movement snowballed, he says the individual emotion became an ideology.
'I realised (the repression of the poor by the rich) was not an isolated incident,' he says. 'It was everywhere in society. We have to change society...'
Though an uncritical praise of the Maoist movement, that had its dark side too, the film highlights one undoubted achievement: the emancipation of women from the villages and Dalit community, who were given a voice and treated as equals.
'If thousands of women had not joined the movement from the villages, it would not be where it is now,' Prachanda admits.
In the three years since then, Nepal has undergone further changes and the Maoists are now regarded as power-mongering and growing indifferent to people's woes.
Verma defends the documentary, saying that the revolution is still on.
'Only one phase is over with the People's War,' he says. 'There are ups and downs in every movement.'
Watch theatrical trailer of 'Flames of the snow '
- NDFS Desk
Peepli Live is about farmer suicides in the country and talks about how the media and politicians handle the issue. Anusha, the Director and Mahmood Farooqui, the film’s Co Director and Casting Director too, shared their feelings with new delhi film society blog, and wrote - “Its very nice that the film has been selected for the oscars from india, but there is a long way to go for the nomination yet. Of course its good that more people will see it now, but for us the most satisfactory thing was that people in india, especially in the hindi belt and in smaller towns enjoyed the film. No joy can be compared to that.”
तीसरा लखनऊ फिल्म उत्सव 2010
प्रतिरोध का सिनेमा
8, 9 व 10 अक्तूबर 2010
वाल्मीकि रंगशाला (उ0 प्र0 संगीत नाटक अकादमी), गोमती नगर, लखनऊ
मित्रों,
कला माध्यमों से यह उम्मीद की जाती है कि वे हमारे समाज और जीवन की सच्चाइयों को अभिव्यक्त करें। सिनेमा आधुनिक कला का सबसे सशक्त और लोकप्रिय कला माध्यम है। लेकिन इस कला माध्यम पर बाजारवाद की शक्तियाँ हावी हैं। मुम्बइया व्यवसायिक सिनेमा द्वारा जिस संस्कृति का प्रदर्शन हो रहा है, वह जनचेतना को विकृत करने वाला है। सेक्स, हिंसा, मारधाड़ इन फिल्मों की मुख्य थीम है। यहाँ भारतीय समाज की कठोर सच्चाइयाँ, जनता का दुख.दर्द, हर्ष.विषाद और उसका संघर्ष व सपने गायब हैं। आज दर्शक विकल्प चाहता है। वह ऐसी फिल्में देखना चाहता है जो न सिर्फ उसका मनोरंजन करें बल्कि उसे गंभीर, संवेदनशील, जागरुक व जुझारू बनाये। दर्शकों की इसी इच्छा, आकांक्षा ने प्रतिरोध के सिनेमा या जन सिनेमा आन्दोलन को जन्म दिया है। जन सिनेमा के सिलसिले को आगे बढ़ाने के उद्देश्य से हमने लखनऊ में 2008 से फिल्म समारोह के आयोजन द्वारा एक छोटी सी शुरूआत की है जिसकी अगली कड़ी के रूप में तीसरा लखनऊ फिल्म उत्सव 2010 का आयोजन किया जा रहा है। जन संस्कृति मंच द्वारा आयोजित यह उत्सव 8, 9 व 10 अक्तूबर 2010 को वाल्मीकि रंगशाला, उत्तर प्रदेश संगीत नाटक अकादमी, गोमती नगर, लखनऊ में होगा। तीन दिनों तक चलने वाले इस फिल्म उत्सव में करीब एक दर्जन से अधिक देशी, विदेशी वृतचित्रों और फीचर फिल्मों का प्रदर्शन होगा। आप हमारी ताकत हैं। आपके सक्रिय सहयोग की हमें जरूरत है। आप अपने परिवार व दोस्तों के साथ आयें, फिल्में देखें और इस आयोजन को सफल बनानें में अपना हर संभव सहयोग प्रदान करें, हमारी आपसे अपील है।
निवेदक: कौशल किशोर
