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'Satya' comes once in lifetime-Ramgopal Verma 1998
Not grimacing in pain or ugliness.
Satya will always remain with me like a film from the yesteryears.
The script is more of a treatise on Mumbai underworld that an imagined plot. The reality e captured in plotting is commendable.
Genius of Ramgopal verma can explore it and translate to an apt cinematic idiom. In his shoot he has always steered clear of run-of-the-mill depictions.
Satya is a ride to events and episodes of impressively unapologenic villains of Mumbai underbelly Gangsters of Mumbai who can be childlike and can giggle before an act of extortion.
The film was shoot and in theatres in 1998. Directed by Ramgopal Verma, script writers are -Anurag Kashyap and Saurav Shukla. Gulzaar's words with the songs are at times Hilsa, or often honey-sweet or as adventurous Jangli-Maas of Rajasthan.
From each character of the film ‘Satya’ a film is possible. All scenes are maturely powerful, and can easily carry the extreme loads of the remained ‘Satya’.
The longing for love of Priya Mhatre and the unsaid craving for each other, in film’Satya’ can be done calmly.
Vishal Bharadwaj’s ‘Samne Mein Milti Hai....O Kudi Meri Sapno Milti Hai......Saradin band gudiya si .....ankhiyon mein Khulti hai....’ almost instantly get on the helplessly over-enthusiastic Bhiku Mhatre and even more lustrous with playful-rejoining of his wife Priya Mhatre, overpowering each other in the longing for love.
The complementary lines with Asha Bhosle’s –
‘ Saradin sadkon pe khaali rikshe sa ....
Peeche Peeche Chalta Hai....
Loosely set light-hearted words effortlessly takes to the childhood crushes and fantasies.
In the paragraph above I simply meant that the ‘Film’ is ON.
ON was ’Satya’ at 10.10 pm of 30th October 2020, after a decade. The first ‘Satya’ was in year 1998 and I kept safe the rude-faces of Mumbai underbelly rowdies till 2010. Till 201, in innumerable rendezvous, I met the characters; at times took slowly the tasty scenes and at times hurried and ate endlessly.
I have seen ‘Satya’ in innumerable ‘pauses’ and when moving at a press to the ‘play’ button. Each time I have thoroughly enjoyed the scenes and, with my varying temperaments, matched myself with the characters; mostly done when love grew to extremity or when extremity was vengeance or when both lived together.
Though with all diligence and ‘love for –‘Satya’ ‘, I invariably used to fail and was a great dumb and mum to answer ‘Exactly Why Satya?’and ‘How ‘Satya’ is possible In face of ultra modernity’ and buffer less productive-times of today .
It was earlier that I was far less capable to keep the ‘Satya’ inside me. When engrossed with the ‘Satya’ outside me, I felt ‘Satya’s impossibility to be built inside. Moving scenes, whenever switched from pause to play, that I felt as if — ‘Satya’s is bound since birth between the start and the end of the film ‘Satya’.
At 2.00 am on 31st of October that at extreme hunger and with short in food stocks I was slightly angry.
The awaited patience in my calling ‘Satya’ from film to real life was happily over.
Now, ‘Why Satya?
‘Right?’
I repeated the lines to myself; and there was an accompanying triumphant smile; I have the answer that had once hit harder than Bhiku Mhtre’s punches and then had hit grief, I was more grieved than Satya.
If the film is watched at one go then it’s more difficult to get ‘Satya’ inside mind. But if seen second time, you may get stuck with the dialogues, the film’s pace, the songs and in the gory scenes. In the third time it will be as strong as an instinct like that of the gory hunger of a carnivore if flesh suddenly vanishes in nowhere’but your=e and when it has just started to eat. The fourth time ‘Satya’, believe it or not, will build another instinct.
Though Love, worries, waits, longings, patience, death, uncertainty, violence and failures are bagged by the characters of the film and still the characters manage to walk beyond the ending of the film to live independently in a rickshaw puller’s lascivious jokes, in the smallest happy moments of 10.00 am to 4 pm clerk, and can be sporting in the under acknowledged shanties. If the ‘Film’ chewed and digested well, then a...
Satya will always remain with me like a film from the yesteryears.
The script is more of a treatise on Mumbai underworld that an imagined plot. The reality e captured in plotting is commendable.
Genius of Ramgopal verma can explore it and translate to an apt cinematic idiom. In his shoot he has always steered clear of run-of-the-mill depictions.
Satya is a ride to events and episodes of impressively unapologenic villains of Mumbai underbelly Gangsters of Mumbai who can be childlike and can giggle before an act of extortion.
The film was shoot and in theatres in 1998. Directed by Ramgopal Verma, script writers are -Anurag Kashyap and Saurav Shukla. Gulzaar's words with the songs are at times Hilsa, or often honey-sweet or as adventurous Jangli-Maas of Rajasthan.
From each character of the film ‘Satya’ a film is possible. All scenes are maturely powerful, and can easily carry the extreme loads of the remained ‘Satya’.
The longing for love of Priya Mhatre and the unsaid craving for each other, in film’Satya’ can be done calmly.
Vishal Bharadwaj’s ‘Samne Mein Milti Hai....O Kudi Meri Sapno Milti Hai......Saradin band gudiya si .....ankhiyon mein Khulti hai....’ almost instantly get on the helplessly over-enthusiastic Bhiku Mhatre and even more lustrous with playful-rejoining of his wife Priya Mhatre, overpowering each other in the longing for love.
The complementary lines with Asha Bhosle’s –
‘ Saradin sadkon pe khaali rikshe sa ....
Peeche Peeche Chalta Hai....
Loosely set light-hearted words effortlessly takes to the childhood crushes and fantasies.
In the paragraph above I simply meant that the ‘Film’ is ON.
ON was ’Satya’ at 10.10 pm of 30th October 2020, after a decade. The first ‘Satya’ was in year 1998 and I kept safe the rude-faces of Mumbai underbelly rowdies till 2010. Till 201, in innumerable rendezvous, I met the characters; at times took slowly the tasty scenes and at times hurried and ate endlessly.
I have seen ‘Satya’ in innumerable ‘pauses’ and when moving at a press to the ‘play’ button. Each time I have thoroughly enjoyed the scenes and, with my varying temperaments, matched myself with the characters; mostly done when love grew to extremity or when extremity was vengeance or when both lived together.
Though with all diligence and ‘love for –‘Satya’ ‘, I invariably used to fail and was a great dumb and mum to answer ‘Exactly Why Satya?’and ‘How ‘Satya’ is possible In face of ultra modernity’ and buffer less productive-times of today .
It was earlier that I was far less capable to keep the ‘Satya’ inside me. When engrossed with the ‘Satya’ outside me, I felt ‘Satya’s impossibility to be built inside. Moving scenes, whenever switched from pause to play, that I felt as if — ‘Satya’s is bound since birth between the start and the end of the film ‘Satya’.
At 2.00 am on 31st of October that at extreme hunger and with short in food stocks I was slightly angry.
The awaited patience in my calling ‘Satya’ from film to real life was happily over.
Now, ‘Why Satya?
‘Right?’
I repeated the lines to myself; and there was an accompanying triumphant smile; I have the answer that had once hit harder than Bhiku Mhtre’s punches and then had hit grief, I was more grieved than Satya.
If the film is watched at one go then it’s more difficult to get ‘Satya’ inside mind. But if seen second time, you may get stuck with the dialogues, the film’s pace, the songs and in the gory scenes. In the third time it will be as strong as an instinct like that of the gory hunger of a carnivore if flesh suddenly vanishes in nowhere’but your=e and when it has just started to eat. The fourth time ‘Satya’, believe it or not, will build another instinct.
Though Love, worries, waits, longings, patience, death, uncertainty, violence and failures are bagged by the characters of the film and still the characters manage to walk beyond the ending of the film to live independently in a rickshaw puller’s lascivious jokes, in the smallest happy moments of 10.00 am to 4 pm clerk, and can be sporting in the under acknowledged shanties. If the ‘Film’ chewed and digested well, then a...
