Garm Hava: Difference between revisions
m moved Garam Hawa to Garm Hava: The title of film has been misspelt. The correct spelling of film name can be found at its imdb page here: http://www.imdb.com/title/tt0073034/ |
The title of film was misspelt. The correct spelling as seen in IMDB link (http://www.imdb.com/title/tt0073034/) has been put. |
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'''Garm Hava''' (Hot Winds or Scorching Winds)<ref name=ref/> is a [[1973]] Hindi film directed by [[M. S. Sathyu]], based on an unpublished short story by, [[Ismat Chughtai]] and adapted for screen by [[Kaifi Azmi]]<ref name=ind/>. |
'''Garm Hava''' (Hot Winds or Scorching Winds)<ref name=ref/> is a [[1973]] Hindi film directed by [[M. S. Sathyu]], based on an unpublished short story by, [[Ismat Chughtai]] and adapted for screen by [[Kaifi Azmi]]<ref name=ind/>. |
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The film deals with the plight of a [[North Indian]] [[Muslim]] family, in the years post [[partition of India]] in 1947, as film's protagonist, deals with this dilemma of whether to move to Pakistan or stay back, the film details the slow disintegration of his family, and is one of the most poignant films ever made on India's partition<ref name=ind/><ref>[http://www.sipa.columbia.edu/sai/past_events/events_spring2007.html SAI Film Series - 2007] ''Southern Asia Institute'', ''[[Columbia University]]''.</ref>, and remains the only film, that deals with the plight of Muslims, in Post-partition India<ref>[http://books.google.com/books?id=P8h1YvRF8gQC&pg=PA235&dq=Garam+Hawa&lr=&sig=ACfU3U13KWWaY5MmPmjopOgPsQWO6v_3VQ Secularism and Popular Cinema:Shyam Benegal] ''The Crisis of Secularism in India: Gandhi, Ambedkar, and the ethics of communal representation'', by Anuradha Dingwaney Needham, Rajeswari Sunder Rajan. Duke University Press, 2007. ISBN 0822338467. page 234-235.</ref><ref>''Our Films, Their Films'', by [[Satyajit Ray]], Orient Longman, 2005. ISBN 8125015655.Page 100-102.</ref>, with the sole exception being, [[Shyam Benegal]]'s ''[[Mammo]]'' (1994)<ref>[http://nyuad.nyu.edu/filmfestival/films.8.html |
The film deals with the plight of a [[North Indian]] [[Muslim]] family, in the years post [[partition of India]] in 1947, as film's protagonist, deals with this dilemma of whether to move to Pakistan or stay back, the film details the slow disintegration of his family, and is one of the most poignant films ever made on India's partition<ref name=ind/><ref>[http://www.sipa.columbia.edu/sai/past_events/events_spring2007.html SAI Film Series - 2007] ''Southern Asia Institute'', ''[[Columbia University]]''.</ref>, and remains the only film, that deals with the plight of Muslims, in Post-partition India<ref>[http://books.google.com/books?id=P8h1YvRF8gQC&pg=PA235&dq=Garam+Hawa&lr=&sig=ACfU3U13KWWaY5MmPmjopOgPsQWO6v_3VQ Secularism and Popular Cinema:Shyam Benegal] ''The Crisis of Secularism in India: Gandhi, Ambedkar, and the ethics of communal representation'', by Anuradha Dingwaney Needham, Rajeswari Sunder Rajan. Duke University Press, 2007. ISBN 0822338467. page 234-235.</ref><ref>''Our Films, Their Films'', by [[Satyajit Ray]], Orient Longman, 2005. ISBN 8125015655.Page 100-102.</ref>, with the sole exception being, [[Shyam Benegal]]'s ''[[Mammo]]'' (1994)<ref>[http://nyuad.nyu.edu/filmfestival/films.8.html Garm Hava] NYU, Abu Dhabi.</ref> |
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It is often credited with pioneering a new wave of [[Art cinema]] movement in India, and alongside, film from an another debutant film director, [[Shyam Benegal]], ''[[Ankur (film)|Ankur]]'' (1973), are considered landmarks of Indian [[Parallel Cinema]]. The movie also launched the career of actor, [[Farooq Shaikh]]. |
It is often credited with pioneering a new wave of [[Art cinema]] movement in India, and alongside, film from an another debutant film director, [[Shyam Benegal]], ''[[Ankur (film)|Ankur]]'' (1973), are considered landmarks of Indian [[Parallel Cinema]]. The movie also launched the career of actor, [[Farooq Shaikh]]. |
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==Plot== |
==Plot== |
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Set in [[Agra]], [[India]] in late 1940s, '' |
Set in [[Agra]], [[India]] in late 1940s, ''Garm Hava'' is a socio-political drama about a Muslim family headed by an elderly shoe manufacturer, Salim Mirza. Salim ([[Balraj Sahni]]) is struggling to come to terms with changed realities after many of his family and friends migrate to [[Pakistan]]. |
||
As head of the family, Mirza is facing a crucial choice to make, whether to continue the ancestral business and stay on in India or to migrate to the newly-formed state of Pakistan. Salim's brother Halim and his family migrate to Pakistan. Halim's son Kazim tries to return to India across the border to marry Salim's daughter but gets arrested. |
As head of the family, Mirza is facing a crucial choice to make, whether to continue the ancestral business and stay on in India or to migrate to the newly-formed state of Pakistan. Salim's brother Halim and his family migrate to Pakistan. Halim's son Kazim tries to return to India across the border to marry Salim's daughter but gets arrested. |
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==Adaptation== |
==Adaptation== |
||
The film was an adaption of [[Ismat Chughtai]]’s story by noted Urdu poet and lyricist, [[Kaifi Azmi]]. While the original story centered on a [[station master]], stuck in the throws of Partition, Kaifi Azmi brought in his own experiences as a union leader, for the workers of a Shoe manufacturing factory, to the film. He not just changed the profession of the film’s protagonist, but also placed him right in the middle of film’s emotional cauldron, as he watches his livelihood (shoe manufacturing) and family disintegrating rapidly, immediately making the trauma of the [[Partition]] personal, compared to the original story, where the protagonist is a mere observer, watching his friends and family migrate. This fulfilled the main object of the film, to show the human consequences, not social and economic consequences of a large political decision, like the [[Partition of India]], to which none of its suffers, the people, were party, as in the words of film director, [[M.S. Sathyu]], ''“What I really wanted to expose in |
The film was an adaption of [[Ismat Chughtai]]’s story by noted Urdu poet and lyricist, [[Kaifi Azmi]]. While the original story centered on a [[station master]], stuck in the throws of Partition, Kaifi Azmi brought in his own experiences as a union leader, for the workers of a Shoe manufacturing factory, to the film. He not just changed the profession of the film’s protagonist, but also placed him right in the middle of film’s emotional cauldron, as he watches his livelihood (shoe manufacturing) and family disintegrating rapidly, immediately making the trauma of the [[Partition]] personal, compared to the original story, where the protagonist is a mere observer, watching his friends and family migrate. This fulfilled the main object of the film, to show the human consequences, not social and economic consequences of a large political decision, like the [[Partition of India]], to which none of its suffers, the people, were party, as in the words of film director, [[M.S. Sathyu]], ''“What I really wanted to expose in Garm Hava was the games these politicians play...How many of us in India really wanted the partition. Look at the suffering it caused."''<ref name=up>[http://www.upperstall.com/films/1973/garam-hawa Review Garm Hava, 1973] [[Upperstall.com]].</ref>. |
||
The screenplay was written jointly by Kaifi Azmi, and Satyu’s wife, [[Shama Zaidi]], with Kaifi Azmi, adding the dialogues to the film. |
The screenplay was written jointly by Kaifi Azmi, and Satyu’s wife, [[Shama Zaidi]], with Kaifi Azmi, adding the dialogues to the film. |
||
==Production== |
==Production== |
||
The film was shot in location in the city of [[Agra]], with scenes of [[Fatehpur Sikri]] as well. Due to repeated local protests, owning to its [[Partition of India|controversial theme]], a fake second unit, with unloaded camera were sent to, various locations to divert attention from film's actual locations. As the film's commercial producers, had early on, backed out fearing public and governmental backlash, and ‘Film Finance Corporation’ (FFC) (now [[National Film Development Corporation]] ([[NFDC]]), stepped in later, the film was made on a shoe-string budget of eight [[lakhs]]<ref>[http://www.planetbollywood.com/Film/GaramHawa/ '' |
The film was shot in location in the city of [[Agra]], with scenes of [[Fatehpur Sikri]] as well. Due to repeated local protests, owning to its [[Partition of India|controversial theme]], a fake second unit, with unloaded camera were sent to, various locations to divert attention from film's actual locations. As the film's commercial producers, had early on, backed out fearing public and governmental backlash, and ‘Film Finance Corporation’ (FFC) (now [[National Film Development Corporation]] ([[NFDC]]), stepped in later, the film was made on a shoe-string budget of eight [[lakhs]]<ref>[http://www.planetbollywood.com/Film/GaramHawa/ ''Garm Hava'' Review] ''planetbollywood.com''.</ref> |
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Most actors in the film, barring a few were new, like [[Farooq Shaikh]], who was making his film debut, were stage actors from [[Indian People's Theatre Association]], ([[IPTA]]), to which film’s lead, [[Balraj Sahni]] had long been associated, for whom, this his last important film role, and according to many his finest performance<ref>[http://www.upperstall.com/people/balraj-sahni Balraj Sahni - Profile] ''[[Upperstall.com]]''.</ref>. Badar Begum, who played, his mother, in this film, was in fact discovered in the locality where the film shot, in an old [[haveli]]. |
Most actors in the film, barring a few were new, like [[Farooq Shaikh]], who was making his film debut, were stage actors from [[Indian People's Theatre Association]], ([[IPTA]]), to which film’s lead, [[Balraj Sahni]] had long been associated, for whom, this his last important film role, and according to many his finest performance<ref>[http://www.upperstall.com/people/balraj-sahni Balraj Sahni - Profile] ''[[Upperstall.com]]''.</ref>. Badar Begum, who played, his mother, in this film, was in fact discovered in the locality where the film shot, in an old [[haveli]]. |
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==Performance== |
==Performance== |
||
Prior to its release the film was held by [[Central Board of Film Certification|Central Board of India]], for eight months, fearing communal unrest, but film’s director persisted and showed it to government officials, leaders and journalists. Finally the film was released to both critical and commercial success<ref name=up/>. Today it is noted for its sensitive handing of the [[Partition of India|controversial issue]], dealt in only a few Indian films<ref name=ref>[http://www.filmreference.com/Films-Fr-Go/Garam-Hawa.html Review |
Prior to its release the film was held by [[Central Board of Film Certification|Central Board of India]], for eight months, fearing communal unrest, but film’s director persisted and showed it to government officials, leaders and journalists. Finally the film was released to both critical and commercial success<ref name=up/>. Today it is noted for its sensitive handing of the [[Partition of India|controversial issue]], dealt in only a few Indian films<ref name=ref>[http://www.filmreference.com/Films-Fr-Go/Garam-Hawa.html Review Garm Hava]</ref>, like ''Kartar Singh'' (1959) (Pakistani film)<ref>[http://www.upperstall.com/films/1959/kartar-singh Kartar Singh - Review] ''[[Upperstall.com]]''.</ref>, [[Manmohan Desai]]'s ''[[Chhalia]]'' (1960), [[Yash Chopra]]'s ''Dharamputra'' (1961), [[Govind Nihalani]]'s ''[[Tamas]]'' (1986), [[Pamela Rooks]]' [[Train to Pakistan]] (1998), Manoj Punj's ''Shaheed-e-Mohabbat Boota Singh'' (1999), Anil Sharma's ''[[Gadar: Ek Prem Katha]]'' (2001) and Chandra Prakash Dwivedi's ''[[Pinjar]]'' (2003). |
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Ironically, in the subsequent [[National Film Awards]], it was awarded, the [[Nargis Dutt Award for Best Feature Film on National Integration]]. |
Ironically, in the subsequent [[National Film Awards]], it was awarded, the [[Nargis Dutt Award for Best Feature Film on National Integration]]. |
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== External links== |
== External links== |
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* {{imdb title|0073034| |
* {{imdb title|0073034|Garm Hava}} |
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* {{Amg movie|155734| |
* {{Amg movie|155734|Garm Hava}} |
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* [http://www.upperstall.com/films/garamhawa.html Review on UpperStall.com] at ''[[Upperstall]]'' |
* [http://www.upperstall.com/films/garamhawa.html Review on UpperStall.com] at ''[[Upperstall]]'' |
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* [http://video.google.com/videoplay?docid=-708949022277691882&ei=um23SID1N5KywgON873gDA&q=Garam+Hawa+(1973)&vt=lf ''Maula Salim Chishti'' -- |
* [http://video.google.com/videoplay?docid=-708949022277691882&ei=um23SID1N5KywgON873gDA&q=Garam+Hawa+(1973)&vt=lf ''Maula Salim Chishti'' -- Garm Hava (1973)] |
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{{Bollywood}} |
{{Bollywood}} |
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[[Category:Films directed by M. S. Sathyu]] |
[[Category:Films directed by M. S. Sathyu]] |
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[[pl: |
[[pl:Garm Hava]] |
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Revision as of 08:45, 26 November 2009
| Garm Hava | |
|---|---|
| File:Garam Hawa.jpg | |
| Directed by | M. S. Sathyu |
| Written by | Kaifi Azmi Shama Zaidi |
| Story by | Ismat Chughtal |
| Produced by | Ishan Arya, M.S. Sathyu, Abu Siwani |
| Starring | Balraj Sahni Farooq Shaikh Dinanath Zutshi Badar Begum Geeta Siddharth Shaukat Kaifi A. K. Hangal |
| Cinematography | Ishan Arya |
| Edited by | S. Chakravarty |
| Music by | Aziz Ahmed Bahadur Khan Khan Warsi |
Release date | 1973 |
Running time | 146 min |
| Country | Template:FilmIndia |
| Language | Hindi/Urdu |
Garm Hava (Hot Winds or Scorching Winds)[1] is a 1973 Hindi film directed by M. S. Sathyu, based on an unpublished short story by, Ismat Chughtai and adapted for screen by Kaifi Azmi[2].
The film deals with the plight of a North Indian Muslim family, in the years post partition of India in 1947, as film's protagonist, deals with this dilemma of whether to move to Pakistan or stay back, the film details the slow disintegration of his family, and is one of the most poignant films ever made on India's partition[2][3], and remains the only film, that deals with the plight of Muslims, in Post-partition India[4][5], with the sole exception being, Shyam Benegal's Mammo (1994)[6]
It is often credited with pioneering a new wave of Art cinema movement in India, and alongside, film from an another debutant film director, Shyam Benegal, Ankur (1973), are considered landmarks of Indian Parallel Cinema. The movie also launched the career of actor, Farooq Shaikh.
Today, Indiatimes Movies ranks the movie amongst the Top 25 Must See Bollywood Films.[2].
Plot
Set in Agra, India in late 1940s, Garm Hava is a socio-political drama about a Muslim family headed by an elderly shoe manufacturer, Salim Mirza. Salim (Balraj Sahni) is struggling to come to terms with changed realities after many of his family and friends migrate to Pakistan.
As head of the family, Mirza is facing a crucial choice to make, whether to continue the ancestral business and stay on in India or to migrate to the newly-formed state of Pakistan. Salim's brother Halim and his family migrate to Pakistan. Halim's son Kazim tries to return to India across the border to marry Salim's daughter but gets arrested.
As the refugees from Pakistan start competing with Salim's business, the moneylenders refuse to invest in his business, as he might emigrate to Pakistan. In face of discrimination, will Salim Mirza finally decides to leave the country?
Adaptation
The film was an adaption of Ismat Chughtai’s story by noted Urdu poet and lyricist, Kaifi Azmi. While the original story centered on a station master, stuck in the throws of Partition, Kaifi Azmi brought in his own experiences as a union leader, for the workers of a Shoe manufacturing factory, to the film. He not just changed the profession of the film’s protagonist, but also placed him right in the middle of film’s emotional cauldron, as he watches his livelihood (shoe manufacturing) and family disintegrating rapidly, immediately making the trauma of the Partition personal, compared to the original story, where the protagonist is a mere observer, watching his friends and family migrate. This fulfilled the main object of the film, to show the human consequences, not social and economic consequences of a large political decision, like the Partition of India, to which none of its suffers, the people, were party, as in the words of film director, M.S. Sathyu, “What I really wanted to expose in Garm Hava was the games these politicians play...How many of us in India really wanted the partition. Look at the suffering it caused."[7].
The screenplay was written jointly by Kaifi Azmi, and Satyu’s wife, Shama Zaidi, with Kaifi Azmi, adding the dialogues to the film.
Production
The film was shot in location in the city of Agra, with scenes of Fatehpur Sikri as well. Due to repeated local protests, owning to its controversial theme, a fake second unit, with unloaded camera were sent to, various locations to divert attention from film's actual locations. As the film's commercial producers, had early on, backed out fearing public and governmental backlash, and ‘Film Finance Corporation’ (FFC) (now National Film Development Corporation (NFDC), stepped in later, the film was made on a shoe-string budget of eight lakhs[8]
Most actors in the film, barring a few were new, like Farooq Shaikh, who was making his film debut, were stage actors from Indian People's Theatre Association, (IPTA), to which film’s lead, Balraj Sahni had long been associated, for whom, this his last important film role, and according to many his finest performance[9]. Badar Begum, who played, his mother, in this film, was in fact discovered in the locality where the film shot, in an old haveli.
Performance
Prior to its release the film was held by Central Board of India, for eight months, fearing communal unrest, but film’s director persisted and showed it to government officials, leaders and journalists. Finally the film was released to both critical and commercial success[7]. Today it is noted for its sensitive handing of the controversial issue, dealt in only a few Indian films[1], like Kartar Singh (1959) (Pakistani film)[10], Manmohan Desai's Chhalia (1960), Yash Chopra's Dharamputra (1961), Govind Nihalani's Tamas (1986), Pamela Rooks' Train to Pakistan (1998), Manoj Punj's Shaheed-e-Mohabbat Boota Singh (1999), Anil Sharma's Gadar: Ek Prem Katha (2001) and Chandra Prakash Dwivedi's Pinjar (2003).
Ironically, in the subsequent National Film Awards, it was awarded, the Nargis Dutt Award for Best Feature Film on National Integration.
Cast
- Balraj Sahni - Salim Mirza
- Geeta Siddharth - Amina Mirza
- Farooq Shaikh - Sikander Mirza
- Dinanath Zutshi - Halim
- Badar Begum - Salim's mother
- Shaukat Kaifi
- A. K. Hangal
- Abu Siwani - Baqar Mirza
- Jalal Agha - Shamshad
- Jamal Hashmi - Kazim
Awards
- 1974:Cannes Film Festival: Golden Palm - Nominated.[11]
- 1975:Filmfare Best Dialogue Award- Kaifi Azmi
- 1975:Filmfare Best Screenplay Award- Shama Zaidi, Kaifi Azmi
- 1975:Filmfare Best Story Award- Ismat Chughtai, Kaifi Azmi
Further reading
- Three Hindi Film Scripts, by Kafi Azmi and Shama Zaidi, 1974.
- Four and a Quarter Our Films, Their Films, by Satyajit Ray, Orient Longman, 2005. ISBN 8125015655.Page 100-102.
- Garam Hawa ( Hot Winds) 1973 Limiting Secularism: The Ethics of Coexistence in Indian Literature and Film, by Priya Kumar, University of Minnesota Press, 2008. ISBN 0816650721. Page 186-187.
References
- ^ a b Review Garm Hava
- ^ a b c 25 Must See Bollywood Movies Indiatimes, Oct 3, 2005.
- ^ SAI Film Series - 2007 Southern Asia Institute, Columbia University.
- ^ Secularism and Popular Cinema:Shyam Benegal The Crisis of Secularism in India: Gandhi, Ambedkar, and the ethics of communal representation, by Anuradha Dingwaney Needham, Rajeswari Sunder Rajan. Duke University Press, 2007. ISBN 0822338467. page 234-235.
- ^ Our Films, Their Films, by Satyajit Ray, Orient Longman, 2005. ISBN 8125015655.Page 100-102.
- ^ Garm Hava NYU, Abu Dhabi.
- ^ a b Review Garm Hava, 1973 Upperstall.com.
- ^ Garm Hava Review planetbollywood.com.
- ^ Balraj Sahni - Profile Upperstall.com.
- ^ Kartar Singh - Review Upperstall.com.
- ^ "Festival de Cannes: Garam Hawa". festival-cannes.com. Retrieved 2009-04-26.
External links
- Garm Hava at IMDb
- ‹The template AllMovie title is being considered for deletion.› Garm Hava at AllMovie
- Review on UpperStall.com at Upperstall
- Maula Salim Chishti -- Garm Hava (1973)
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