Changes between Version 12 and Version 13 of Rebellious Tapori by Ranjani Mazumdar

Jan 7, 2013, 7:10:23 AM (12 years ago)
Lawrence Liang



  • Rebellious Tapori by Ranjani Mazumdar

    v12 v13  
    303303Munna is willing to make fun of his physical strength and masculinity in Rangeela. This is highlighted through a drunken conversation between Pakhiya and Munna, which starts with Munna confessing his love for Milli to Pakhiya. Pakhiya does not believe Munna has the guts to tell Milli (tere me daring nahin hai). Pakhiya says he himself had proposed to a woman a while ago and told her he would buy a house and have their children study at a school where the medium of instruction is English. Munna looks at Pakhiya in wonder and asks what happened next. Pakhiya says the woman took off her sandals and hit him! The entire conversa- tion is laced with humorous one-liners in the best tradition of the Bam- bayya language. The conversation is as follows: 
    305 [[Image(63.jpg)]] 
    308306Munna: I must say this to Milli. 
    34534366 The Rebellious Tapori 
     347[[Image(63.jpg)]]                            [[Embed(youtube=xGf4l-ahnBo)]] 
    347349Aamir Khan as the tapori in Ghulam (1998). Courtesy Studio Links. 
    348353the incident is shot. There is rapid cutting between fire, twisting feet, close-up shots of eyeglasses, and sugar falling to the ground. These images are woven together by the sound of a tortured scream. This sequence is repeatedly shown as an enigmatic aspect of Sidhu’s memory. 
    349354The entire confrontation between the father and Sunder and the en- suing suicide come together at a pivotal moment that will enable Sidhu a second chance to redeem both himself and his father. Ghulam’s narra- tive seems to suggest that Sidhu’s aimless loitering in the city as a tapori 
    394399The Rebellious Tapori 71 
    396 [[Image(71.jpg)]]                 [[Embed(youtube=xGf4l-ahnBo)]] 
    399404Publicity still for Ghulam. Courtesy Studio Links. 
    400407survival. The performance combines tricks of the street with the playful use of a red kerchief. The empty stadium becomes a stage for Sidhu’s verbal and gestural performance and for the development of his romance with Alisha. The Bambayya language used in the song becomes a dialogue between Sidhu and Alisha, with Sidhu inviting Alisha to join him on a holiday in Khandala. Sidhu’s swagger, arrogance, and body language are 
    40140872 The Rebellious Tapori