Changes between Initial Version and Version 1 of Hamara Shaher


Ignore:
Timestamp:
Jul 17, 2012, 6:02:11 PM (10 years ago)
Author:
Trupti
Comment:

--

Legend:

Unmodified
Added
Removed
Modified
  • Hamara Shaher

    v1 v1  
     1'''Hamara Shaher''' 
     2 
     3 
     4aka Bombay Our City 
     51985 82’ col Hindi/Tamil/English/Marathi 
     6d/p/s/co-c Anand Patwardhan co-c Vijay 
     7Khambati, Pervez Mehrwanji, Venugopal 
     8Thakker Hindi voice-over Deepa Arora, Rita 
     9Bhatia, Supriya Pathak, Om Puri, 
     10Naseeruddin Shah, Rahul Varma 
     11 
     12 
     13Patwardhan’s most acclaimed documentary, 
     14made on 16mm, tells of Bombay’s millions of 
     15pavement-dwellers. Throughout the early 80s 
     16there were several brutal efforts to evict 
     17families who lived in illegal tenements and on 
     18pavements although they provided the city 
     19with the casual (esp. construction) labour 
     20crucial to its economy. The film looks at the 
     21culture of Bombay’s elite, often contrasting 
     22what they say with the physical conditions in 
     23which they say it: the former municipal 
     24commissioner bemoans the lack of space in the 
     25city while his pet dog trots around his spacious 
     26garden; the Police Commissioner Julio Ribeiro, 
     27in a speech at the Advertising Club, talks about 
     28the poor as ‘low-quality, low-intelligence’ 
     29people. The pavement-dwellers work in the 
     30construction industry in the city’s expensive 
     31Nariman Point area on land reclaimed from the 
     32sea, while massing clouds on the horizon 
     33evoke the possibility of an unbalanced 
     34environment which may cause tidal waves to 
     35wash away their seaside huts. The film 
     36achieves epic dimensions in three remarkable 
     37sequences. Street urchins sell the Indian flag on 
     38a rainy Independence Day, keeping their 
     39precious commodities dry while the huge 
     40Gothic facade of the Victoria Terminus presides 
     41over a police march-past; in the thick of the 
     42monsoon, a child in one of the homeless 
     43families dies; a woman pavement-dweller’s 
     44angry outburst at the film-makers, all highlight 
     45the issues involved in the making of this type 
     46of documentary. 
     47 
     48[[Film]]