Dead on the streets: Watching ‘Salim Langde Pe Matt Ro’ with Saeed Akhtar Mirza

For a film that comes out as a chronicle of a phenomenon of death, Salim Langde Pe Mat RO Open in magnificent livelihood. According to the film’s director, Saeed Akhtar Mirza, a young, brash man a Mumbai Street seems to be a “owner of the road”. “My name is Salim Pasha, the public calls me Salim Langda,” Holy Malhotra, then a 30 -year -old man announced in an insited voiceover. He walks with film-star assurance, proudly massages his wrist, dark birds gliding in the Dawn Sky. A best bus draws behind him, and Salim, sometimes punk, makes way. He will die a dog’s death by the end of the film, but is the time.

The 1980s has been seen as an era of unmisted garbage in popularly Hindi film, yet out of such provocative works Ardh satya, jane bhi two yaro And Salim Langde Pe Mat ROFor Mirza, one of the bold (and best) proposals of parallel cinema movement, the film scored a loose quartet of films with ficklely long titles: previous entries were the previous entries Arvind Desai’s strange squad (1978), Albert Pinto has a cow cuen flour (1980) and Mohan Joshi Hazir (1984). All four films were set in Mumbai; Each represents a certain social class on a hero, and each distilled, in its own way, the moral, political and existence collapse of its time.

Salim Langde Pe Mat RO Recently, the Versova Homage Screening (VHS) was displayed as part of the initiative in Mumbai. This was my first trip for a VHS screening; She has shown 21 films so far, small, curated meetings at mixed places, usually ending with a conversation with the filmmaker. Mirza, now 80 and living in Goa, changed to screening, and were interacting with Sudhir Mishra, who assisted the director in many films, including, including, including Salim Langde on …

Mirza shared a beautiful original story for her paintimetti film. During shooting Mohan Joshi Hazir In South Mumbai, in a lower-middle-class Muslim neighborhood, his set was intercepted by a young Hudalam of 23; Although Mirza, a limited film stock and a paletry budget were encouraged by shooting, obstruction, they were duly advised to not react by their local ‘protector’. He was later told, he was a shooter for D-Gang. “He was owned by the road, he was the owner of the neighborhood,” the director recalled the observation.

Mirza describes Salim Langde … A ‘essay’ film is mapping the concerns and aspirations of a ‘Jewish Basti’ as a film. The film, he emphasized, was created in a specific social and historical context: The Textile Mill Strike that Mumbai’s working class, 1984’s Bhiwandi riots, troubles in Kashmir and the Ram Janmabhumi movement disintegrate the buildup. Salim, a low-level promoter for a local ‘Seth’, meets the moon and hanging and hanging around the corners of the road with two of his friends. He is a rare laugh that Malhotra loves strangely, and he accepts a tired, street-darshan. ,A pie of a pie, Nahi Bardast Karti Jehania (This world is disabled), “He says, a thick poem in his agitated tone: Salim’s language, per mirza, is influenced by his dekani roots.

The best views of the film are revealed inside Salim’s house. With simple pan and tilt, cinematographer Virendra Saini provokes a world. Salim’s father, we learn, lose their jobs in a mill strike, and his elder brother, Javed, died in an accident, an electrician who worked in a factory. His mother tolds up in the sewing machine, while her sister – so the family’s conclusion is – the marriage has come. Salim feels the weight and humiliation of his circumstances, although he is not yet, yet, is fully equipped to check its actual origin. Like the director’s many heroes, their consciousness is raised by the degree, through the conversation and late night reflection. A certain German philosopher of the 19th century wrote, “It is not the consciousness of men who determine their existence, but on the contrary, their social existence that determines their consciousness.” Rampuri,

Also read:I see my films as an essay, which you can accept or reject: Saeed Mirza

Like his late contemporary, Shyam Benegal, who died last year, Mirza’s reputation as a ‘serious’ social thinker obscure her yen for humor. Even like a tank and pessimistic Salim Langde on … With zingers and quips as a knife as a knife, a barrel of laughter packs. “This country has a long queue of patriots,” spits a character at one point. “Do not add traffic jams.” There are also countless cameos that make you a pleasant ex-iid: Tom turned into a sweet-tempered hippie, singing ‘Mera Jota Hai Japni’ for the road Archin in a slum, Neeraj Vora Hawking, a long jerk with digestive herbs, and, my favorite, my favorite, is a calm, a calm.

After the screening, an audience member in a case, “Thanks for reflecting our time.” Salim Langde Pe Mat RO Does this with you. The communal tension that boils throughout the film is now a brand order of things. The fringe is the mainstream. Mirza, as usual, was also toned into his self-assessment. “I am not an oral,” he said, adding after a while, “but my ear was very close to the ground.”