Someone steps out gently, to intervene or simply to put an end to an inconvenience, before returning to their original place. It drives the main plot, twisting it this way and that. The backdrop is quietly wilful, deviously dynamic. Shanghai's main plot and narration are linear but a large, seemingly static and beatific backdrop casts its long shadow on the small people we are concerned with.
The correct rendition of this song would end with the words “le lo”.
And though the lyricist has added “jai bolo” at the end, that’s not the sentiment of this song, or our mourning. We are dancing around it, smiling, screaming. But the country we carry in our heads and hearts.Īs the lyrics of the song suggest, we are in mourning, but we are conducting Bharat Mata’s antim sanskar in a medieval fashion. Not of the country that we live in today. But being the super-smart, light-touch director that he is, he conducts the last rites of our beloved country to the loud, cheery strains of the song Bharat Mata ki, Bharat Mata ki. Or exactly a year ago, on June 9, 2011, when he died in another country.ĭirector Dibakar Banerjee loves this country dearly and Shanghai is his guttural, anguished wail. Or on November 27, 2003, the day NHAI's 30-year-old Satyendra Dubey was killed. Perhaps your moment of mourning came in February 2002, when Gulbarg Society burnt. If you love this country, I am certain you have had moments when you’ve wanted to drop to your knees, look up at the sky and scream.
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