Rodevra Republic

Freedom sometimes feels like being born again You may have heard the famous song from the film Guide , with lyrics by Kaviraj Shailendra: ओ-ओ, काँटों से खींच के ये आँचल तोड़ के बंधन, बाँधी पायल ओ-ओ, कोई ना रोके दिल की उड़ान को दिल वो चला आज फिर जीने की तमन्ना है आज फिर मरने का इरादा है What is intriguing is the line “आज फिर मरने का इरादा है” , which appears to stand in direct contrast to the preceding line “आज फिर जीने की तमन्ना है.” Why would Shailendra place these two powerful yet seemingly contradictory lines together? The answer perhaps lies in the opening lines themselves. They capture a woman’s exhilarating sense of freedom: “काँटों से खींच के ये आँचल…” In the film, Waheeda Rehman as Rosy has been pulled back from the brink of despair. Encouraged by Raju (Dev Anand), she buys herself a pair of payal from the village market. That small act becomes the spark that reignites the dancer within her, allowing her to break free from a stifling and oppressive domestic life. The joy a...

Walk alone. The destination is within. A film song that quietly echoes the Advaita idea: the seeker and the sought are one Notwithstanding the controversies surrounding the film Laal Singh Chaddha , it contains a gem of a song that is worth reflecting upon. While the English subtitles provide a literal translation, the deeper meaning of the lyrics, to my mind, resonates strongly with the principles of Advaita . This couplet captures the essence beautifully: तू आपे सवाली है, आपे ही पयम्बर है तू खुद है तमाशा भी, आपे ही कलंदर है You are the seeker, you are also the messenger. You are the spectacle itself, and you are the one who watches it. The next couplet is equally meaningful: बेकार तलाशे तू, दरगाह में शिवालों में जिस यार को तू ढूंढे, वो तेरे ही अंदर है You wander in vain in shrines and temples. The one you seek is already within you. The idea is familiar to anyone who has encountered Advaita. The Divine that we search for outside is, in truth, within ourselves. The song also touch...

Here is a story at the end of which you may ask yourself: Who is the real saint? There was once a saintly man who crossed a river every day, as his ashram was on the other side. A poor boatman ferried him across daily. Out of respect for the holy man, the boatman never charged him anything. In any case, he thought, where would a saint have money? The boatman was simple and innocent. He had no knowledge of shastras or scriptures. Yet during their daily journeys across the river, the saint would often speak on spiritual matters. He spoke about God and about how one should relate to Him in everyday life. The boatman listened with deep attention and complete faith. One day the saint invited the boatman to visit his ashram. When they arrived, the saint said to him, “At one time I was a very successful merchant and had earned enormous wealth. But an unfortunate incident took away my wife and children. With no family left, I wondered what use all this wealth was to me. I decided to renounce e...

A moment of quiet release — from the song “Ja Re Ja Re Ud Ja Re Panchhi” Would you believe that the song “जा रे, जा रे उड़ जा रे पंछी” can convey such depth of meaning through the simple image of a bird in flight? Just look at the words: जा रे, जा रे उड़ जा रे पंछी बहारों के देस जा रे यहाँ क्या है मेरे प्यारे क्यूँ उजड़ गई बगिया मेरे मन की जा रे ... ना डाली रही ना कली अजब ग़म की आँधी चली उड़ी दुख की धूल राहों में जा रे ... मैं वीणा उठा ना सकी तेरे संग गा ना सकी ढले मेरे गीत आहों में जा रे ... Majrooh Sultanpuri uses the image of a flying bird to express something far deeper than a simple farewell. On the surface, we see Mala Sinha urging Dev Anand to move away from her life. But the song seems to suggest something more — a quiet realisation to break free. That realisation comes after a certain barrenness, an emptiness in existence. The pain strikes like lightning — perhaps a sudden flash of awareness. When one can no longer align with one’s inner harmony, and life’s song fad...

A different lens — how Awara was seen beyond India Today’s song is “Awara Hoon” from the Raj Kapoor film Awara (1951). What is remarkable is the film’s immense popularity outside India, particularly in regions such as Azerbaijan, Turkmenistan, Armenia, and Turkey. In Turkey, the film was released in 1955 and went on to become a major success. It was screened and re-released several times until 1962. The song itself was played on national radio on important occasions — a measure of how deeply it had entered public memory. Raj Kapoor, the showman, had an instinctive ability to connect with audiences across class, language, and geography. Whether through his style or his themes, he found a way to reach people. The Turkish poster (see above) is an interesting example — it presents a more rugged, almost macho Raj Kapoor, and a more sensuous Nargis, both looking outward, perhaps toward a different horizon. What made the song so widely loved? Was it the chemistry between Raj Kapoor and Nar...

  Vanity (1889), by Auguste Toulmouche — a study in quiet self-regard A painting that fits its title, Vanity , almost perfectly. The pose of the woman — hands on her hips, head held high, as she leans forward to kiss her own reflection — leaves little doubt about the theme. There is a quiet self-absorption in the gesture, almost complete. The artist has kept the setting deliberately restrained. The room is understated, almost muted. Apart from the full-length mirror, there is only a console table, holding a vase, a folding fan, and what appear to be small jewel boxes. Nothing here distracts from the central act. Her attire, at first glance, appears simple — perhaps even informal. The bodice is not tightly structured in the manner of formal wear. And yet, the dress reflects the style of the period, with its emphasis on the back — long trains, layered fabric, and carefully arranged flounces. The painting also reveals the artist’s academic realism. There is careful attention to detai...

Rimjhim Gire Sawan No other song brings out the magic of monsoon in Mumbai better than this song. More than the male version, the female version by Lata is the one that evokes the monsoon mood. Not many would know the filming of this romantic rain song was done in unsupervised locations. Amitabh and Moushumi were left to improvise, and the crew went from location to location filming the song in some of the most well-known landmarks of South Mumbai. It was Amitabh's brother Ajitabh who drove the actors from one location to the next. The torrential rains meant that Moushumi's makeup was running colour throughout the filming. For me the male version filmed on Amitabh is exceptional in terms of picturization. The camera work is brilliant with its silky smooth panning shots.  Not much is going on except Amitabh's singing on the harmonium, but the way the camera pans, it engages and involves us in the intensity of the song. It is apparent in the first minute of the song itself. K...

I thank you all for your warm birthday wishes. There is a sense of closeness and belonging in your words that is difficult to express, and I am truly grateful for it. I am, by nature, a quiet and private person, and I tend to shy away from the attention that birthdays and celebrations bring. Yet, reading your messages today, I felt a gentle happiness in sharing this moment with you. Birthdays have a way of making one pause and look back. Perhaps it is the one time in the year when we become consciously aware of the passage of time. As I look back, the years seem to come together, carrying with them their share of bittersweet memories. Somewhere along the corridors of life, amidst its many events, one begins to sense that there is a certain order—a quiet harmony that underlies everything. When seen in the right spirit, this brings with it an attitude of faith and acceptance. I am reminded of a line from 3 Idiots : “Bahut mushkil se aaya hai yeh attitude… main mera yeh attitude rakh loon...

A tense moment from the Marathi stage adaptation of Dial M for Murder, set in 1970s Girgaum While it is common knowledge that the play is an adaptation of Alfred Hitchcock’s Dial M for Murder , which itself was based on the 1954 play by Frederick Knott, this Marathi version is extraordinary in terms of the skill of adaptation. Everything has been so perfectly localised in the cultural milieu of Mumbai of the 1970s, in and around its Girgaum locality, that never for a moment does one realise that this is an adaptation. The credit goes to the writer, Neeraj Shirvaikar. The team of Vijay Kenkre, the director, and Neeraj Shirvaikar have also given us the play Khara Khara Sang under the banner of Badam Raja Productions. While A Perfect Murder is a crime thriller, Khara Khara Sang is an uproarious comedy. Both genres have been expertly handled by this team, which speaks of their versatility, given that the two forms are so different and have their own unique dramatic demands. A word about...

Dry British humour often lies as much in the restrained delivery as in the story itself True British humour indeed! What was even more interesting was the way he recounted the story. It was a fine example of dry British humour. One could see the complete emotional neutrality with which he narrated the comic situation. I found the language and delivery particularly interesting. The language was typical Queen’s English (as one would expect), characterized by the distinct pronunciation of each word to enhance clarity. For example, the t s are true t s, where the articulation is very clear. Listen to how he says the words “Majesty” or “next”. Even when a word ends in t and the next word also begins with t , the sound is clearly articulated in both words. A good example is when he says “at times”. In many other English accents the t sound in the first word would often become silent. Another feature is the “eh” sound at the end of words ending with y . So hear him say “normally” as nor...

Children sheltering under an umbrella surrounded by lively terriers — the warmth and innocence of a rainy afternoon It is a lovely painting, quite idyllic, with children and dogs. I found the focal point of the painting very well accentuated; one can almost visually draw a circle at the centre. The effect is created by the open umbrella on the right and the placement of the dogs on the left, forming a circular line together with the barrel. It is almost as if the artist first drew the circle and then placed the elements inside it. Try partly closing your eyes and looking at the painting; you will see the structure of the composition more clearly. But within this circular arrangement there is also a gentle sense of movement. A diagonal seems to run through the picture from the boy's raised stick to the dog jumping up and further across to the girl holding the puppy. This diagonal quietly animates the composition, preventing the scene from becoming static and giving the painting a li...

This bhajan by Kabir Das highlights one of the biggest realities of our spiritual existence. He was one of the most influential and evocative poets.  He played a major role in the Bhakti movement in India in around the 15th century through his simple poetry that touched the common man. One of his most well-known poems was, “ Ud Jayega Huns Akela”  This poem elucidates the reality of our existence by giving apt metaphors, rich in meaning and imagery. Ud Jayega Huns Akela, Jug Darshan Ka Mela Jaise Paat Gire Taruvar Se, Milna Bahut Duhela Naa Jane Kidhar Girega, Lageya Pawan Ka Rela Jub Howe Umur Puri, Jab Chute Ga Hukum Huzuri Jum Ke Doot Bade Mazboot, Jum Se Pada Jhamela Das Kabir Har Ke Gun Gawe, Wah Har Ko Paran Pawe Guru Ki Karni Guru Jayega, Chele Ki Karni Chela Here Huns  (Swan) represents our free-spirit that continues to live beyond the death of the body. When the physical death comes, the "less-constrained" life leaves every worldly thing behind (including the bod...

Sahir Ludhianvi — poetry that questioned both society and silence Recently, a friend sent me the following lines and asked if I had something to say about them on a quiet Sunday morning: Aasmaan Pe Hai Khuda Aur Zameen Pe Hum Aaj Kal Woh Is Tarah Dekhta Hai Kum... At first, I felt that perhaps nothing more needed to be said. These lines are powerful enough to stand on their own, and sometimes poetry is best left to quietly settle within us. But on second thought, they invite a deeper reflection. To understand the full meaning of Sahir Ludhianvi’s thought, it helps to look at the complete context of the song. These lines are from the 1958 film Phir Subah Hogi . Aasmaan pe hai khuda, Aur zameen pe hum; Aajkal woh is taraf dekhta hai kam. Aajkal kisi ko woh tokta nahin, Chahe kuch bhi keejiye, rokta nahin; Ho rahi hai lootmaar, Phat rahe hain bam,Z Zindagi hai apne apne bazuon ke dum... As the later lines reveal, the song is essentially a critique of society. Sahir wrote it when he wa...

Human breasts are unique among mammals — a fact that has intrigued both artists and biologists Among the roughly 5,000 mammalian species on Earth, humans are the only ones where breasts remain permanently visible. In most other mammals they appear only during nursing and disappear after lactation. In humans they develop during puberty and, thankfully, remain. Ganga Subramaniam Oberoi, an Indian married woman, once received an award for having the most beautiful breasts in the world. It makes one wonder what the selection criteria might be. It cannot simply be size, because it is widely acknowledged that firmness, even skin tone, and a certain visual proportion are what matter more in breast aesthetics. Above all, there is the question of how a woman carries them — whether she is apologetic about them, or confident enough to hold her chest high and make their presence felt. Ganga seems to score well on that last point, though I am not too sure about the first two. By the way, size ha...

A moment where skill and timing come together A friend recently shared a remarkable photograph of a bird — one of those rare captures that seem almost impossible. Many of us responded with admiration. One comment described it as having a “hawk’s eye” for spotting such moments. That felt apt, but it also seemed that something more was at play. Such photographs do not happen by chance. To reach that level, there must be a certain alignment — of mind, attention, and presence. Skill, of course, is essential. But beyond skill, there is a quiet readiness, a way of being fully available to the moment as it unfolds. Perhaps humility plays a part too. It allows one to keep learning, to stay open, and to respond without interference when the moment arrives. And when that happens, it almost feels as if nature itself allows the image to be taken. One begins to see this in many fields. When Sachin Tendulkar plays an extraordinary shot against a fast bowler, it seems to be created in that very inst...

A moment of greatness, met with quiet composure Here is a rare video of Sir Garfield Sobers hitting six sixes in an over. What strikes one immediately is his composure. There are no exaggerated celebrations, no theatrics — just a quiet acknowledgment of what has been achieved. At one point, there is even a casual exchange with the wicketkeeper, as if this were just another passage of play. One cannot help but spare a thought for Malcolm Nash, the bowler. He had shifted from medium pace to spin, inspired by the success of Derek Underwood at the time. After this over, it is said he never bowled spin again. Another interesting aspect is the commentary. It carries that unmistakable old-world British tone — phrases like “goodness gracious me” and “my goodness gracious” come through naturally. There is no excess, no attempt at embellishment. The commentator simply describes what is unfolding, leaving the viewer to absorb and interpret. That, perhaps, is what good commentary does. The mat...

Kailash Kher — a voice that carries both pain and resilience Here is the song “Toota Toota Ek Parinda” , sung by Kailash Kher. I would hesitate to translate it. The song carries a deep philosophical undercurrent, and each listener may arrive at a meaning that is personal, perhaps even sacred. The song was written by Vishal Dadlani — singer, composer, and lyricist. It is rich in spiritual metaphor, and at its core carries a quiet message of resilience — of not giving up in the face of adversity. Kailash Kher, of course, needs little introduction. Born in 1973, he went through a period of intense personal struggle, even reaching a point of deep despair. This song is often seen as a turning point in his life. It is not difficult to see why — the words seem to carry a force that goes beyond mere expression. His raw, unpolished voice lends the song a rare authenticity. There is a directness in the way he sings, as if the experience behind the words is not distant, but lived. These lines, in...

Bulleh Shah (1680–1757), the Punjabi Sufi poet whose verses question identity and the nature of the self One of the first steps in learning is unlearning . For a life of continuous learning, as Sir suggests, one must first empty oneself of pretenses and prejudices. Only then does the ground become ready for real learning. In this context, I am reminded of a beautiful Sufi song written by Bulleh Shah , the 17th century Sufi poet from Punjab. The poem is written in the second person, and therefore reads as if Bulleh Shah is addressing himself: “Bulleya, I know not who I am.” The song “Bulleya Ki Jaana” is sung by Rabbi Shergill. In spirit, it reflects something similar to the neti-neti approach in Indian philosophy — the path of negation. By denying every identity and label, one gradually strips away false notions of the self, until only the pure awareness of one's true nature remains. / Below is a translation of the song: Bulleya, I know not who I am. Neither am I a believer i...