Categories
Enough said

Why the Railway Budget makes no sense

Humra Quraishi describes her adventures with the Indian Railways and wonders if travel basics would ever be taken care of.

Whilst reading my daily Thought For The Day a few days ago – Blaise Pascal’s ‘ Small minds are concerned with the extraordinary, great minds with the ordinary’, I muttered aloud that this thought seems to fit rather well with Railways Minister Pawan Kumar Bansal’s rail budget.

Typically, the Rail Budget comprised big announcements of bigger trains, especially from his home town Chandigarh, complete with hackneyed tricks of modern-day technology (he was trying to sound technology savvy, I think) without paying attention to the grim fact that e-bookings and reservations are beyond the reach of most of his countrymen. But the Honourable Minister doesn’t seem bothered to look into ground realities. Nor does he seem particularly concerned about the dangers lurking for rail passengers – no, not in the form of terrorists, but rats and cockroaches and stray dogs in and around train compartments.

Mind you, I am not talking of slow passenger trains but those special ones – the Rajdhanis and Shatabdis. I really want to see what the Minister’s new wonder – Anubhuti – will be like.

I’m not much of a traveller; the last time I took the train was the Lucknow-Delhi Shatabdi and the Delhi-Ajmer Shatabdi. There were rats in the coach and the railway staff’s only solution seemed to be to play hide-and-seek with them. We tried putting our feet in a high-alert (and higher-than-ground-level) posture, but you know how it is. After a point, you forget to remain so tense, only to be reminded by another darting rodent. We remained restless for long hours. As if that wasn’t enough, several well-fed cockroaches arrived on the scene, sniffing around the food trays that nobody would bother to take away hours after we’d eaten.

Then there were dogs on the platforms. Not one or two, but several loitering around as though it was their home territory (which it probably was). I was dismayed to see how the railway platform of the capital city was stinking with the filth and the animals around.

The Honorable Railway Minister should undertake a train journey one of these days, one of those unannounced and ‘spontaneous’ ones that his ilk is so fond of taking in the presence of press photographers and news channels, so that he can see the mess in the Indian Railways for himself. It will be even better if he carries a bag or two, preferably containing valuables, and experience for himself the many thefts taking place on station platforms. During one of our journeys, one of our handbags was cut into and left bereft of the last rupee tucked within its interiors; we rushed to the police station situated at the end of New Delhi Railway station, only to hear the paunchy policewallahs tell us that it was next to impossible to retrieve the stolen stuff. Very philosophically they added, “Madam, what is gone is gone.”

Mr Bansal, it is spring…that time of the year when there’s supposed bahaar in and around your bungalow, but do try and move out from your gardens and take a stroll on the railway platforms. Just like in your Budget speech, I am certain that you will utter some more of those moving couplets you regaled us with a few days ago, but this time, you may genuinely feel what you say. If you do take such a trip, be sure to watch out, apart from the filth and the mess, for the little children, some of them battered beyond recognition and several others made to beg. Look out also for the many unscrupulous activities that take place in the Railways’ premises. But no, don’t go as a minister with those sepahis and chamchas hovering around you, but as an average Indian who travels without security convoys.

Humra Quraishi is a senior political journalist based in Gurgaon. She is the author of Kashmir: The Untold Story and co-author of Simply Khushwant. 

(Picture courtesy bryansander.com)

Categories
Do

Online photo contest: ‘Ordinary women, extraordinary work’

US Consulate brings an online photo competition on the occasion of Women’s Day. You can submit entries till March 31.

In honour of International Women’s Day and Women’s History Month in March, the US Consulate General Mumbai is hosting its third annual online photo contest on the theme ‘Ordinary Women, Extraordinary Work.’

The contest will run from March 1 to March 31, 2013 and is open to Indian nationals residing in Maharashtra, Gujarat, Madhya Pradesh, Chhattisgarh, and Goa. The photographs you submit must belong to you and must not be sourced from anywhere. If you win, your entry will be posted on the Consulate’s website and social media sites. “This is our third year of the contest celebrating women and their valuable place in Indian society. This time we are highlighting ordinary women who overcome the odds to do incredible and inspirational work,” Cultural Affairs Officer Angela L Gemza said.

Photos should be emailed to MumbaiPublicAffairs@state.gov. Additionally, this year the Consulate has introduced a Twitpic category in which contestants can post their pictures on Twitter to @USAndMumbai using the hashtag #OWEWphoto.

All photos will be judged by noted digital artist Rahul Gajjar, press photographer Mukesh Parpiani and a panel of American officers from the US Consulate General, Mumbai. For complete contest rules visit: http://tinyurl.com/OWEWphoto

The prizes include a two-night stay in Goa, plus gift vouchers and other goodies like gym memberships and fitness DVDs.

(Picture courtesy telegraph.co.uk)

Categories
Learn

International Committee of Red Cross turns 150

Humra Quraishi tracks the journey of the ICRC, whose first mission to India had landed in Bombay 96 years ago.

The International Committee of the Red Cross (ICRC) turned 150 years old on February 17, 2013. It is now more than 30 years old in India. In fact, ICRC’s first mission to India was on February 12, 1917, some 95 years ago, to restore contact between people separated by war.

To give you a background on this:  The International Prisoners-of-War Agency was formed on August 21, 1914. And from December 1914, ICRC delegates began obtaining permission from the different states to visit POW camps not just to check on conditions of detention but also to let the prisoners know that they had not been forgotten by the outside world or reconnect them with their loved ones. On January 25, 1917 in Cairo, the delegates of the International Committee of the Red Cross (ICRC) had just finished a camp visit of Ottoman Prisoner of War (POWs), that they received a cable from their headquarters in Geneva.

The cable directed them to inspect camps of POWs and civilian internees in Asian countries of India and Burma. The delegates got on to a ship and sailed through the Suez Canal to reach Bombay on February 12, 1917. The arrival of delegates that day
marked the beginning of ICRC’s journey on Indian soil. The mission in India began with the delegates meeting Viscount Chelmsford, Viceroy of India (the head of the British administration in India) in Delhi. In the province of Rajputana, the ICRC delegates visited the first camp in Sumerpur on March 3 to 4, 1917.

Explaining the concrete work of the delegates during such camp visits, Mary Werntz, currently the head of the regional delegation of the ICRC in Delhi, said, “The delegates would dive deep to see if the detainees were treated with dignity. From checking the barrack premises, sleeping, clothing and sanitation facilities, access to exercise and fresh air, medical services,
quantity of food received per person, to mapping the application of order and discipline on inmates by the detaining authority, every small details were observed and noted.

Efforts would also be made to ensure that the detainees had the right to practise their religion, had access to letters and parcels, and could avail the financial support from their own Government.”

Reading these details of ICRC’s work, one thought struck me: there are no formal and full-fledged wars being fought these days, so can’t the ICRC men and women look into the current state of our lockups and prisons, and what the current state of those languishing there is. In the times we are living in, there must be watchdog organisations to monitor and bring about interventions.

(Picture courtesy itu.int)

Categories
Film

Scripting right with the stalwarts

Nihit Bhave attended a screenwriters’ conference held in Mumbai, which had the biggies in Indian cinema share their writing secrets.

If you’re a writer, you know the ‘blank document’ syndrome, otherwise known as the blinking-cursor-is-judging-you syndrome. It is the awkward pause between opening a document and writing its first word (I would have said ‘pregnant’ pause, but a writer never feels more impotent than at that stage, so I shall refrain from adding salt to the wound). It was certainly a big relief to know that this impairment hasn’t spared the best of the best.

“As a writer, my biggest challenge is a blank document,” said Juhi Chaturvedi, who wrote the film Vicky Donor.

Thankfully, the recently concluded event, ‘The 3rd Indian Screenwriters Conference – Untold Stories: Screenwriting And Truths Of Our Times’ was able to throw up many remedial suggestions for such syndromes, and also went on to shed light on some of the most pressing issues today’s young writers are facing.

Unfortunately, due to my own ignorance and complacency, I missed the first day and apparently a brilliant key-note speech. But going by Day 2 and Day 3, I can safely say that Act I must have been totally worth it.

Day 2 was primarily about the upcoming talent and the hurdles they face taking their stories from paper to producer, and from producer to the parda of cinema. The first session of the day, ‘The charge of the new ‘write’ brigage’ included panelists like Juhi Chaturvedi (Vicky Donor), Sanjay K Patil (National Award winning Marathi film Jogwa), Reema Kagti (Talaash, ZNMD, Honeymoon Travels, etc), Habib Faisal (Ishaqzaade, Band Baaja Baaraat, Do Dooni Char) and Akshat Verma (Delhi Belly) and was moderated by Pubali Chaudhari (Rock On!!, Kai Po Che). The insights from this session were unparalleled. From a coy Habib Faisal to an outspoken Akshat Verma, and from a commercially successful Reema Kagti to a relatively underrated Sanjay Patil, the writers put forth their points about creativity, content, contemporary challenges and personal hurdles for writers.

“I’ve never set out to write earth-shattering cinema. In fact, I’ve never done anything original. I’ve done clichés with my own twists and gotten away with it!”, Habib Faisal  (in pic on left) said.

Speaking about the very unusual storyline for Honeymoon Travels, the film’s writer and director Reema Kagti said, “When I was writing Honeymoon Travels…it was the story of a pitch-perfect couple who then turns out to be a superhero couple, but since no Indian producer would let me make a feature film on it, I added six other short stories and juxtaposed this one with those!”

Other memorable quotes during this session came from Sanjay Patil, who spoke of his Marathi film Jogwa thus: My film Jogwa was lying with me for 12 years because throughout the film, both the heroine and the hero were in sarees.” Juhi added, “Nothing scares producers like a writer who can’t categorise his own work. I did not know whether Vicky Donor was a rom-com or a social message film, so I said ‘drama’ and that threw people off.”

The second session, and the most entertaining one at that, was ‘Is the old order cracking?’, where moderator Govind Nihalani (Ardha Satya, Dev, Thakshak) quizzed panelists Urmi Juvekar (Oye Lucky…, Shanghai), Sanjay Patil, Bejoy Nambiar (David, Shaitaan), Rakeysh Mehra (Rang De Basanti, Delhi 6) and Abbas Tyrewala (Jaane Tu…Ya Jaane Na, Maqbool, Main Hoon Na) about the age-old three-act structure of screenwriting, linear and non-linear narratives and challenges writers face with them.

Abbas Tyrewala (in pic on right) was a revelation in this session. His explanation of a ‘structure’ for writing films was incredibly clear. “Imagine this. A smoker feels the need to smoke because he ‘imagines’ that his mind and body are lacking something. After a cigarette, a sort of ‘high’ replenishes this missing element and the person reaches the same level of normalcy (that a non-smoker is always at!) Similarly, when a viewer walks into a theatre, they’re at a level of normalcy. Your story has to create a trough and a consecutive crest – a conflict and a resolution – but with the effect of a (cinematic) high that will ensure that the viewer exits the theatre at the same normalcy level, but with an enhanced experience.”

It was interesting to see the linear v/s non-linear narrative debate between these young writers and Javed Akhtar, who nonchalantly took them on from his seat in the audience.

After two more sessions on TV content and the (hypothetical) revolution that’s in store for us on the small screen, the evening was concluded by a ceremony awarding special FWA honors to Gulzar and Salim-Javed. The awards were presented by Hema Malini.

Day 3 forced writers to face their fears and talk about what they hated the most – numbers, contracts, statistics, constitutional acts, royalties, infringements, arbitrations, etc. So after a brief morning session, ‘The empty playroom: why such few children’s films?’, led by Gulzar and Nila Madhab Panda (I Am Kalam) amongst others, we proceeded to the dark side and shed light on the things that also matter.

This day also proved fruitful, as the people at Film Writers’ Association managed to string together lawyers, Producers’ Guild representatives and writers on the same stage to discuss minimum basic contracts for writers, copyright issues and the implication of the amendments to the Copyright Act 1957.

FWA also celebrated the work of the father of Indian TV, late Manohar Shyam Joshi, who created mega TV serials Hum Log and Buniyaad.

Just to be in the same room as Gulzar and Javed Akhtar, Rakeysh Mehra, Zoya Akhtar and Reema Kagti and listening to them talk about screenwriting, made attending the event worth it. There was surely a lot to learn and understand. Because unlike what we’d like to believe, screenwriting is much more complicated than putting pen to paper, words to a story and a climax to a beginning.

Nihit Bhave is a film journalist based in Mumbai. 

(Pictures courtesy piquenewsmagazine.com, firstpost.com, c2ctara.com))

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