![]() ![]() ![]() ![]() Both are one of a kind, and demand passion that is one of a kind. It is difficult to capture and convey the birth of a song, the creative crucible in which the melody simmers before it takes wing and soars free, more so when it comes to a composer like R.D Burman and ghazal maestro Jagjit Singh. What Jagjit did was to create a ledge to get past the wall and thus revived a dying form. Zakir Hussain elaborates with simple clarity: traditional ghazal singing had hit a wall. This applies to both Pancham Unmixed…Mujhe Chalte Jaana Hai, his first film in the genre that won a national award and now Kagaz Ki Kashti, an ode to Jagjit Singh, who made ghazal lovers of even those untutored in the intricacies and felicities of Urdu shayari. He invites you to join his discovery of the chosen genius and takes you along the musician’s journey, with marvellous insights from colleagues, connoisseurs and common folk. One can cobble together clips interspersed with talking heads like TV does to fill the weekend slot, which is so predictably boring and eminently missable. Brahmanand Singh, on the other hand, proves that making a film on a popular musician can be creatively enriching, totally engaging and effortlessly educative – for the filmmaker and the audience. Classical music demands a different approach and skill set. It is popular music – filmi and non-filmi – that is the irresistible siren to filmmakers. If music is the most abstract of arts, making films on musicians is paradoxically difficult and easy. ![]()
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