Ganesh utsav and hindi movies

Synopsis: If evidence is ever needed to underline how cinema rules our psyche and also defines the cultural motifs of the age and also creates new social signals across India, Ganesha Chaturthi is one of those festivals that has evolved to reach out to everyone. the nooks and corners. from the country. No dance competition anywhere in the country is considered complete without a competition built around the salute to Lord Ganesha and this has only been made possible by the way this festival has come to dominate the country’s film and social landscape.

The cultural landscapes of a city that has a history of some fifty years, find outstanding references in the most popular entertainment medium, the cinema, all over the world. Thus, the annual parade in New York, the samba in Brazil, the gondolas in Venice, the boulevards in Paris are reflected in one way or another in almost all the movie theaters made by the filmmakers of these countries, in addition to the landscapes. also obtaining outstanding references in international films shot in these venues. Ganesha Utsav over a period of about fifty years through its projection in Hindi and Marathi cinema acquired the same halo in the country’s social scene after being introduced by Bal Gangadhar Tilak in the 1920s in a ravine in Chowpati, in Mumbai.

The Ganesh Utsav backdrop wherever it has made its presence has been awe inspiring. The first abundant reference to Ganesh Utsav, which is done in detail and forms a backdrop to the climax, was in Jeetendra, starring Sanjeev Kumar TAKKAR (1980). In this movie, idols of Lord Ganesh were used for smuggling, and this must have hurt the sentiment of believers as Lord Ganesha’s visarjan occasion was not used in the climactic scene for a long time.

Fortunately, in the same year, HUM PAANCH (1980) was released, starring Mithun Chakraborty and Amjad Khan. HUM PAANCH portrayed the conventional way Ganesha Utsav is celebrated in Maharashtra, rural areas, and captured the public imagination. His famous song, Deva ho Deva Ganapati Deva sung by Mohammed Rafi, has since become the anthem of this festival and still continues to hold true with conviction. One could not find a single pandal in the whole country where this song is not played once during the day on the occasion of Ganesha Utsav.

The actual portrayal of Ganesha Utsavs narrating in detail the politics of the mandals was captured in its true finesse by N Chandra in his ANKUSH (1986), which gave Hindi cinema a rebellious new star depicting the angst of street youth. . , Nana Patekar. The way the whole movie was built could be considered as Ganesh Utsav’s branding vehicle, which was able to raise awareness about mandals and the association of Mumbai’s youth predominantly with these mandals. N Chandra was able to grasp the nuances, politics and set-up of Mandals as he stepped out of the social structure of Mumbai, where Mandals are the dominant language.

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It was then left to master craftsman Mukul Anand to reestablish the importance of Ganesh Utsav through AGNIPATH (1990). The performance was novel in that Lord Ganesh’s immersion or visarjan was used as a violent background to trigger Amitabh Bachchan’s return to his village, a kind of illumination of the Lord of knowledge, Lord Ganesh. This was the first time that the magnificence of the immersion was juxtaposed against the violence that unfolded. The festival which is characterized by the return of the natives to their homelands was able to strike a chord and gave new impetus to the cinematographic celebration of Ganesha Utsav.

The template N Chandra had experimented with at ANKUSH found more diversified exposure by Ram Gopal Verma through SATYA (1998). SATYA used the magnificent visarjan process of the occasion to create the climax of his film and it became one of the most important cinematic performances of the occasion. SATYA came with the climax and Bhikhu Mhatre became the kingpin of Hindi cinema for times to come thereafter.

When a Hyderabadi aka Ram Gopal Verma could cinematically celebrate Bappa’s departure, how could a Mahesh Manjrekar not dabble in the genre in his own way? He did it through VAASTAV (1999) and used the Marathi song- Shendur Lal Chadao and established the song in the psyche of all Bappa lovers across the country.

If an Amitabh Bachchan had done it, then how could a Shahrukh Khan not? And luckily, this opportunity presented itself in the remake of Amitabh Bachchan’s hit film, DON (2006) and Shahrukh was able to bring out his own interesting take on the whole festive atmosphere. The song of him visarjan- tujhko tera jalwa dikhana hee hoga… has since become a cult song blasted by all the mandals when they proceed to Bappa’s visarjan.

When a Shah Rukh Khan did, then how could Salman Khan be left behind? Salman through WANTED (2009) got a cinematic occasion to pay tribute to the Bappa and got a song in the form of Jalwa to underline the importance and esteem that this Elephant-God has in the psyche of the average Mumbaikar. Salman could carry off the cinematic celebration of the occasion with panache as he is a quintessential Mumbaikar who has seen the evolution of this festival throughout its growing years.

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SHOR IN THE CITY (2011), actually captured the cinematic nuance of the occasion without focusing on the stars to perform or host this festival. He took to the streets to capture the magnificence and importance of this festival in the life of the average Mumbaikar.

In the same year (2011) through ABCD, Remo D Souza made the lord dance in the hearts of each and every movie lover and to add flavor to the song, it had hints of Punjabi flavor associated with it: Sadda dil bhi tu saddi. jaan bhi tu- e cleverly through the song’s backdrop Remo D Souza underlined how friendships in Mumbai evolve through this festival and how the occasion is used to rekindle and build bridges. Kay Kay Menon’s bonding through song became one of the more subtle aspects associated with this festival.

The remake of AGNIPATH (2012) in fact positioned the God-Elephant in the most impressive way in the psyche of the average citizen of the country. Hrithik Roshan really put all his skill to play the character of Vijay Dinanath Chauhan and the highlight of the performance was through the song: Deva Shree Ganesha, which underlined the control that Lord Ganesha has in the lives of the citizens of the country. .

But after the AGNIPATH remake, a decade has passed without Lord Ganesha having any eminence cinematic exposure. Until now, the film industry has only scratched the surface of this show, which has its own particular adaptation and an area version of its own. An aberration associated with this festival has been that Aamir Khan has not had his on-screen exposure to Lord Ganesha until now!

It’s always easy to use the backdrop of mandals to depict violence, but the real challenge for the filmmakers could be developing a romance around Ganesh Utsav and this could be traced from a festival the following year (N Chandra had tried to play it in ANKUSH, but the occasion was lost in the plot). There is never a serious moment during this festival and the film industry must adapt this unique spectacle and tell the world that India is also not far behind in having unique cultural buildings as part of the social landscapes, which transform the physical landscapes as well. , during the ten days that this festival is celebrated.

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