13 maggio 2012

Naresh Fernandes: Taj Mahal Foxtrot

Vi segnalo la recensione di Taj Mahal Foxtrot - The story of Bombay's jazz age di Naresh Fernandes, recensione firmata da Amitava Sanyal e pubblicata da Hindustan Times il 17 febbraio 2012:

'A delightful book on Bombay’s jazz past that takes readers beyond jazz as well as Bombay.
At the stroke of the midnight hour, when India was coughing awake to light and freedom, the charmed people of Bombay and Karachi were celebrating in swing time. In Bombay’s Taj Mahal Hotel, jazz bands led by saxophonist Micky Correa and trumpeter Chic Chocolate were playing the new national anthem with a young J.R.D. Tata and Vijaya Lakshmi Pandit in audience. At the Karachi Club a night later, Ken Mac’s band played a special request by Muhammad Ali Jinnah - Paul Robeson’s ‘The End’, which the Quaid-e-Azam apparently used to hum while visiting his wife’s grave in Mazagaon, Bombay.
Such vivid snapshots take Taj Mahal Foxtrot, Naresh Fernandes’ book on jazz in Bombay, to a field larger than either jazz or Bombay. Fernandes’ eight-year transcontinental research gives the American-born genre of music a new historical home this side of the Suez. His doggedness at getting close to the likes of Ken, Chic and Micky leads to a unique portrait of Bombay musicians. In the middle is the sketch of a fad-following Brilliantined society - one that worried more about slowing down the quicksilver ‘Paris speed’ to ‘Bombay speed’ than about the morning after - that Fernandes projects as jazz loving Bombay.
Much like the music itself, Fernandes’ research goes on inspired dot-joining sprees. He dives into chapters as diverse as the role of jazz musicians in the nation-building project; on Blue Rhythm, the only Indian magazine on jazz, published by diamond merchant Niranjan Jhaveri and friends in 1952-53; and on the playing up of colour as a signifier of authenticity in bands like the Plantation Quartet. At times, the collected trivia would fall between the dots and need to be parked in footnotes or in the eponymous blog. From one such aside we learn that C. Lobo, leader of the Bengal governor’s marching band around 1900, grudgingly taught western notations and violin to his neighbour, a young boy named Allauddin Khan.
The three musicians in the August 1947 postcards loom large because of their stellar roles in the history. In Finding Carlton, a documentary researched by New York-based artist-entrepreneur Susheel Kurien at about the same time as Fernandes’ book, Ken Mac is identified as the musician who brought jazz to India in the 1920s, a time the self-proclaimed ‘pioneer of European dance bands’ was playing 40 engagements a month. 
Micky Correa provided generations of musicians sustenance through his Taj band during 1939-1961.
Chic Chocolate, on the other hand, was a shape-shifter who showed others how to survive. A Goan born as Antonio Xavier Vaz, Chic first styled himself after Louis Armstrong at the time the African American was emerging as the biggest name in swing, the jaunty form of jazz that stands for the larger genre in the book. After 1947, Chic and several other jazzmen found jobs in the burgeoning orchestras of Bollywood because of their skill with harmonies and western rhythms. In that phase, Chic helped composer C. Ramchandra with some of the biggest film hits of all times: ‘Shola jo bhadke’ in Albela and ‘Eena meena deeka’ in Aasha.
Independence signalled another kind of watershed, too. After 1947, jazz masters such as Max Roach, Dave Brubeck and Duke Ellington would come by, but they would never hover for more than few weeks. Gone was the era when jazz musicians, some of them frontiersmen travelling from the racially-segregated US, would spend half a year in residence in Calcutta or Bombay.
One such travelling salesman was Teddy Weatherford, who had the most impeccable jazz pedigree in India at the time. Weatherford had mastered the piano in New Orleans, the US port where ragtime and blues blended into jazz. In Chicago, he had played with Armstrong in a pit orchestra accompanying silent films. His rendition of the Armstrong hit Basin Street Blues is included on the six-song CD that accompanies Fernandes’ book.
The burly American shifted to ‘the Orient’ in 1926. Between his first stint in Shanghai and his last in Calcutta, he played in Singapore, Hong Kong, Jakarta, Surabaya and Colombo. In Calcutta’s Grand Hotel he set up India’s best regarded jazz band of the 1940s. Among the people he hired was Nepali trumpeter Pushkar Bahadur Buddhapriti a.k.a. George Banks, whose son Louiz is a survivor of the itinerant jazz ages that followed.
During one of his Bombay stints, Weatherford was called in to record a song written by Menassch David Silas, a Baghdadi Jew born in Shanghai and settled in Bombay. The ethno-geographic mash was all too jazz-like. As was the song: a paean to the Taj Mahal Hotel, set in foxtrot'.

Naresh Fernandes pubblica testi dedicati al jazz nel sito Taj Mahal Foxtrot. A proposito: vi ricordo che Bombay Velvet, il film in progetto di Anurag Kashyap, narrerà gli sfavillanti anni del jazz nella capitale economica del Paese. Ranbir Kapoor è stato scritturato per il ruolo del protagonista, ruolo offerto in precedenza ad Aamir Khan.

Vedi anche #MumbaiMirrored: All that jazz, 19 settembre 2019.

Le prime del 18 maggio 2012: Department

Un nuovo film di Ram Gopal Varma con Amitabh Bachchan è sempre un evento. Il vulcanico regista ha regalato alla superstar una collana di ruoli indimenticabili (Sarkar, Nishabd), da qui l'eccitazione che accompagna la distribuzione di Department. Nel cast anche Sanjay Dutt e Rana Daggubati. In Department  RGV ha utilizzato  una miriade di videocamere in simultanea, alcune localizzate nei posti più impensati, e ha chiesto agli attori di sentirsi il personaggio sempre addosso e di agire come lui, in piena libertà sulla scena. A ciak ultimato, sono state selezionate le inquadrature migliori. Big B ha dichiarato il suo entusiasmo per questa tecnica nuova e stimolante. Vi propongo i video dei brani Kammo e Mumbai police, composti da Bappi Lahiri, e di Dan Dan Cheeni, item song firmata da Dharam Sandeep (ispirata alla canzone Aasai Nooru Vagai, inclusa nella colonna sonora del film tamil Adutha Varisu del 1983 interpretato da Rajinikanth). Trailer. Vi segnalo anche I am almost a gangster myself, intervista concessa da RGV a Sonil Dedhia, e pubblicata da Rediff il 9 maggio 2012:

'You recently tweeted that Amitabh Bachchan's role in Department is that of Nasty Sarkar. How similar is it to the character he played in Sarkar?
The hairstyle is similar. He is still playing a political leader though the background is different. And there is a certain intrigue in his character and from the context of the film you cannot make out whether he is a villain or a positive character. His way of speaking is very crass compared to Sarkar. That's the reason I came up with the title Nasty Sarkar.
Recently there have been a lot of cop films. How does Department stand out?
If my film Company dealt with politics within an underworld organisation, this film deals with politics within the police department. This particular department is specially formed to tackle crime situations in Mumbai. So what happens among the members of the department is what the film is about. Primarily, it is about the relationship between characters played by Sanjay Dutt and Rana Daggubati.
You have worked many times with Amitabh Bachchan. Have you found it difficult to convince him to play a role?
Fortunately, he trusts me a lot as a director. So far it hasn't happened that I've approached him for a role and he has said no. Sometimes the films have worked and sometimes they haven't, but somewhere he knows my commitment is there.
Which is Amitabh Bachchan's best performance according to you?
I think his best performance has come in Nishabd. People reacted to the overall film, but as a director I reacted to his performance. (...)
How would you define yourself?
I am almost a gangster myself. Just because I didn't have the guts to become one for real, I became a filmmaker to make films on gangsters (Laughs). (...)
You work with stars and newcomers. Do you handle them differently?
Stars come with an image attached to them. They come with a certain background. You can only build up from the characters they have done in the past. A newcomer becomes a separate character; you can make him more real compared to a star. You can make a Satya with newcomers but for a Sarkar you need a star'.

Aggiornamento del 27 maggio 2012: nelle settimane precedenti la distribuzione, era trapelata la notizia di dissapori fra il regista Varma e l'attore (e coproduttore del film) Sanjay Dutt. Department è stato pesantemente bocciato da pubblico e critica, e, per la prima volta nella sua carriera, RGV non si assume la responsabilità dell'insuccesso di un suo lavoro.

Le prime del 18 maggio 2012: Mr. Bhatti On Chutti

Godetevi l'irresistibile trailer - che in realtà è un corto di cinque minuti - di Mr. Bhatti On Chutti e vi innamorerete della pellicola e del grandissimo Anupam Kher. L'esilarante commedia è ambientata in Inghilterra ed è diretta da Karan Razdan. È previsto un cameo di Amitabh Bachchan, che ha accordato alla produzione il permesso di filmare una scena di MBOC all'esterno di casa sua. Il custode con cui interagisce il protagonista è il vero custode dell'abitazione di Big B. Vi propongo anche il video di Balle Balle, la spumeggiante... ehm... item song visualizzata da Anupam.