Khalid Mohamed

Apr 04, 2011
Khalid Mohamed

Khalid Mohamed

Tumsa nahin dekha

His green-grey eyes were a bit damp, his complexion was apple red to the last, and his voice had husked with age.

The determined outsider

He was the uncompromising outsider. He refused to genuflect to commercial diktats, sticking stubbornly to his individualistic — frequently non-linear — form of filmmaking. Down four decades, he was identified with what is variously termed as “art”, “new wave” and “parallel” cinema.

‘Eastend’ is India

Champagne is being uncorked by more Hollywood movie moguls than ever before at the swishy suites of Rajasthan’s palace hotels. Heavy-duty celebrities are jetting in to break into Bollywood boogies. And Yann Martel’s topselling novel — The Life of Pi — is being filmed by the Oscar-winning Ang Lee in beach-caressed Puducherry. Whoa, how come the sudden influx of international film crews? Evidently, rules and strictures have been relaxed, a thorough contrast to the bygone decades when the script of every American and European film project was scanned by New Delhi’s dense forest of ministries.

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I want to begin with a little story that was told to me by a leading executive at Aptech. He was exercising in a gym with a lot of younger people.

Shekhar Kapur’s Bandit Queen didn’t make the cut. Neither did Shaji Karun’s Piravi, which bagged 31 international awards.

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