Sunday, January 10, 2010
Wednesday, December 30, 2009
Claudia
It was a usual hungry chilly morning
When you waltzed in through the window
Wading through the specks of sunlit dirt
With pure lyrical Felliniesque fluidity.
Then you changed into something rich
Red like the torn petal of a discarded rose
And we made love in one another's sweat
Scared to close our eyes lest we woke up.
And then the moon appeared in a starless sky
And pulled you away from my tight embrace
To take you through a different open window
Into another pair of welcoming arms.
Sunday, December 13, 2009
Rain
I love it when it rains. And no, it's not just the smell of the wet earth, because I live in a concrete jungle. Like most recent things, it is aesthetic in nature. And not just any damn drizzle, but I am talking about mother pouring rains like the kind Maharashtrian farmers pray for. The roads are wet, throwing back at us our very own luminance - the red, amber, green of the traffic signals, mixed on this black shiny canvas, with the different neon signs of the curbside shops.
It's better late at night when you don't have to share the canvas with the other voyeurs, creeping on the veins of the highway to death with their little signals of red paint, to stop and stare. You creep on, like a newly transmitted virus into the veins of a busy lawyer's body, taking in more and infecting more with your illuminating gaze. The wipers disturb you with their loud whirring with the sustained punctuality of a Chinese factory worker.
But if you happen to step out earlier, as the pink and transparent umbrellas vie for the uniform grayness of the rainy sky, you catch that smile that escapes the creased zipper of a pair of tight thin painted lips, as her beau steps into a puddle and gets his boring white socks wet, while she shows off her new furry boots to him. But he ignores her fur and only curses at his wetness, knowing little that he would revisit this scene later all by himself and wonder why he hadn't clung to her instead of his shoes.
Then there is the whole menagerie of shiny colors composed with the pink and the transparent through your windshield, through the whirring Chinese wipers. And when you turn the wipers off and let the cascade of the pureness of the rainwater wash your vessel down, your pupils open up welcomingly at the brilliant fluidity of the oil painting that looks like it's still in progress and is the product of the creativity of some artist's under-worked hand using some musty water colors.
It's better late at night when you don't have to share the canvas with the other voyeurs, creeping on the veins of the highway to death with their little signals of red paint, to stop and stare. You creep on, like a newly transmitted virus into the veins of a busy lawyer's body, taking in more and infecting more with your illuminating gaze. The wipers disturb you with their loud whirring with the sustained punctuality of a Chinese factory worker.
But if you happen to step out earlier, as the pink and transparent umbrellas vie for the uniform grayness of the rainy sky, you catch that smile that escapes the creased zipper of a pair of tight thin painted lips, as her beau steps into a puddle and gets his boring white socks wet, while she shows off her new furry boots to him. But he ignores her fur and only curses at his wetness, knowing little that he would revisit this scene later all by himself and wonder why he hadn't clung to her instead of his shoes.
Then there is the whole menagerie of shiny colors composed with the pink and the transparent through your windshield, through the whirring Chinese wipers. And when you turn the wipers off and let the cascade of the pureness of the rainwater wash your vessel down, your pupils open up welcomingly at the brilliant fluidity of the oil painting that looks like it's still in progress and is the product of the creativity of some artist's under-worked hand using some musty water colors.
Thursday, December 03, 2009
Classic Ménage á Trois – Jules et Jim
Originally published at PFC here: http://passionforcinema.com/classic-menage-a-trois-jules-et-jim/
Thank You Dear Amnesia
"too many locations", "too little money", "not enough time", "too many characters", "too many scenes"! Self doubt raised its ugly head in the midst of all the nay sayers, and hung around for a couple of days. Consecutive winter afternoons of searching for that elusive self-confidence in vain, resulting self-loathing and that sinking, helpless feeling that you aren't good enough to swim with the baby sharks. The commitment was shaken off my rocker.
A child was born to combat the depression. A little girl in a red dress craving some ice-cream on a park bench from her miserly grandfather. An accordion playing street musician offered himself to me, but refused to jam with a fellow street guitarist. The red and yellow and blue of the park sky helped me weed out the gray musicians, but deep down it still hurt. Friendly advice, like good alcohol taken on a full stomach, took its time being potent.
Cut to the last critical studies class this afternoon. "We'll watch something weird today". I had watched Eternal Sunshine before and let myself sprawl on the black, wooden yet cold desk. Sometimes amnesia can be a wonderful thing. It had been a while and the sheer brilliance of the film had evaporated from the cauldron of my conscious memory. As I sat there in the uncomfortable black plastic chair, causing what I am pretty sure is long term damage to my spinal cord, the resolve returned gradually as the film progressed, culminating in the nontarnishable white clarity I find myself in at the moment, the same white that Jim Carrey and Kate Winslett playing together like little children on a misty beach in the last shot of the film dissolve to. The girl in the red dress died and the story with the "too many locations, characters and scenes" and with "too little time and money" to make, about forgetting the past returned, for good, I think. Thank you Dear Sweet Amnesia.
A child was born to combat the depression. A little girl in a red dress craving some ice-cream on a park bench from her miserly grandfather. An accordion playing street musician offered himself to me, but refused to jam with a fellow street guitarist. The red and yellow and blue of the park sky helped me weed out the gray musicians, but deep down it still hurt. Friendly advice, like good alcohol taken on a full stomach, took its time being potent.
Cut to the last critical studies class this afternoon. "We'll watch something weird today". I had watched Eternal Sunshine before and let myself sprawl on the black, wooden yet cold desk. Sometimes amnesia can be a wonderful thing. It had been a while and the sheer brilliance of the film had evaporated from the cauldron of my conscious memory. As I sat there in the uncomfortable black plastic chair, causing what I am pretty sure is long term damage to my spinal cord, the resolve returned gradually as the film progressed, culminating in the nontarnishable white clarity I find myself in at the moment, the same white that Jim Carrey and Kate Winslett playing together like little children on a misty beach in the last shot of the film dissolve to. The girl in the red dress died and the story with the "too many locations, characters and scenes" and with "too little time and money" to make, about forgetting the past returned, for good, I think. Thank you Dear Sweet Amnesia.
Thursday, November 26, 2009
Wednesday, November 25, 2009
A Vignette
As he inhaled, the quiet of the corn field let him hear the little searing of his joint, introducing a little dash of vermillion into his otherwise hibernating subconscious. The sound brought back nostalgia-dripped memories to his otherwise arid existence. He remembered the first time he was here, back when hair had first sprouted on his upper lip, led by the obese, experienced hand of the Russian maid. It must have not lasted more than a couple of minutes but on that lazy afternoon, as the sun bore down harshly on the maid's bare back, coloring it with its inimitable red, he had finally become what he had dreamed of – a content and peaceful but sweating warrior.
Monday, November 23, 2009
Anna Karina in B&W
The search was unsuccessful. Even something as vast as the world wide web was unable to throw me the face I was seeking for my desktop. I wasn't asking for too much, was I? - just the right sized image of Anna Karina's sad mascaraed eyes in her expressionless face encased by her short hair in B&W in the just watched Godard film 'Vivre Sa Vie'. Sometimes I wonder if I can ever write a single post about a single thing without flying off on intangible tangents (for an answer, read the last paragraph), but what if that thing is absolutely the most beautiful imperfect thing in the world. Of course there is no such thing, since beauty, much like love, is too subjective to discuss anywhere other than in personal blogs.
If you look into those delicate dark honey colored eyes, you will realize, She isn't a traditional beauty by any means. There is a certain melancholy in those eyes, or even, a harshness that can unleash terrible genocide on the world, that She hides as she rocks back her head and laughs with apparent abandon and reduces my lifespan by just a petite bit. Watch Her use Her eyes seductively while rolling them to American rock 'n roll. Or when she wears her longer hair up in other films - that cruel invention by French women, to reveal that slender, sensuous nape of her neck.
A friend of mine recently told me that one of his ex-girlfriend's once told him that life is best in slow motion and black and white. And now I am telling you, or maybe just rambling silently, but the latter isn't the point. And I remember an uncle putting in words that I had felt for a while but couldn't express, probably a terrible thing for a writer - B&W is so soothing on the eyes. He couldn't have been more right. Visualize it - no extra hue and cry over over-saturated reds and blues projected on the gentle unsuspecting white of your retinas, a binary concept for the most part - the presence of light and the lack of it. The eyes even forgive the nondescript grays from time to time as long as there is a fair amount of black and white that they regard. And the poetry, oh the silent poetry, of high contrast B&W.
If you look into those delicate dark honey colored eyes, you will realize, She isn't a traditional beauty by any means. There is a certain melancholy in those eyes, or even, a harshness that can unleash terrible genocide on the world, that She hides as she rocks back her head and laughs with apparent abandon and reduces my lifespan by just a petite bit. Watch Her use Her eyes seductively while rolling them to American rock 'n roll. Or when she wears her longer hair up in other films - that cruel invention by French women, to reveal that slender, sensuous nape of her neck.
A friend of mine recently told me that one of his ex-girlfriend's once told him that life is best in slow motion and black and white. And now I am telling you, or maybe just rambling silently, but the latter isn't the point. And I remember an uncle putting in words that I had felt for a while but couldn't express, probably a terrible thing for a writer - B&W is so soothing on the eyes. He couldn't have been more right. Visualize it - no extra hue and cry over over-saturated reds and blues projected on the gentle unsuspecting white of your retinas, a binary concept for the most part - the presence of light and the lack of it. The eyes even forgive the nondescript grays from time to time as long as there is a fair amount of black and white that they regard. And the poetry, oh the silent poetry, of high contrast B&W.
Wednesday, November 18, 2009
Graffiti
Her slender artistic fingers clutching that last cigarette,
His unlined palms.
Her bouncing love handles as she laughs her infectious laugh,
His skinny jeaned legs.
The enviable straightness of her long blond flowing hair,
His receding hairline.
The slender nape of her neck when she wears her hair up,
His jutting Adam's apple.
Her color changing eyes depending on where you stand,
His Lennon glasses.
Her parentheses as she smiles her faint smile in recognition,
His luscious lower lip.
Her bunny rabbit-like slightly chipped happy buck teeth,
His ying yang molars.
Her uncleft chin protruding just enough to be bitten twice,
His bony collar bones.
The loose yet unobtrusive almost cutish fat on her triceps,
His apex cheek bones.
The virginal innocent curiosity of her pointy pink nipples,
His curly black chest.
The secret little hidden mole high on her inner left thigh,
The lint in his navel.
Her red toe nails synchronized like small Russian dancers,
His turtle shell elbows.
Her broad Viking shoulders that can carry all his weight,
His Frank Zappa that makes her smile.
Friday, November 13, 2009
Wednesday, November 04, 2009
The Cutting of 'The 400 Blows'
Originially published at PFC: http://passionforcinema.com/the-cutting-of-the-400-blows
Monday, November 02, 2009
A Day in the Life of Two Farm Animals
The sky has suddenly gone dark, depriving us one of those Californian sureties - a sunset, as if a housewife in Victorian garb in an anti-Liliputian world has mistaken our sun for a poached egg and served it to her farmer husband for breakfast. Maybe he belches a little, and even farts as an afterthought, resonating the crowing of the hen as it yawns and turns off its alarm clock - one of those retro pieces whose rude unfiltered ringing always gives you a headache the first thing in the morning. Maybe there is a system, and every day of the week a different hen crows at approximately the same time, but in a different note, and during their leisure time, the seven hens make music with their respective notes, and the farmer, or his wife for that matter, can't stop them because they are protected by severe labor laws, like in Italy.
Maybe the wife envies the labor laws and wishes she had something like that to accentuate her nagging as a defense mechanism. After all, who likes to wake up and serve breakfast to an uncouth man lacking Victorian manners. I wonder what she does when all the housework is over and she's had her fourteen hour bath, say at 11 am, when her husband is off in the farm, buttering up the hens. She can't be thinking of sex, can she? I mean she doesn't really have a frame of reference, does she? A few minutes of pain under Victorian layers and navy blue overalls can't be much fun. And that's all she's ever had. Now, she has no poster of blue-eyed Paul Newman on the rickety walls of her bathroom to touch herself in the bath, does she? Maybe she thinks about how the hens do it, but then she falsely realizes that they are asexual beings.
The man gets drunk on milk after he returns home from the farm. Stop being so cynical! It's hen's milk. You can reach an intoxicated existence if you have enough of it. Plus, it works slowly, like arsenic, and builds up an involuntary craving in its users over years, much like an arcane piece of art or music that grows itself on you gradually, like a Parisian parasitic virus. Maybe he starts talking in guttural French after he is completely inebriated. He puts on an invisible tutu and puts on a little dance for his wife, singing in an Edith Piaf voice during the performance. She laughs, throwing her arms around and brushing the tears off the corners of her squinty little hen-like eyes, rocking back dangerously in her wooden chair, that she is anyway spilling out of. She knows he does back flips for the hens on the farm that she will never see, and yet, she is happy for a few minutes, to sample this cultured little departure, before they both fall asleep in their respective perches, not really ready, but still thankful, to be woken up by a different note.
Maybe the wife envies the labor laws and wishes she had something like that to accentuate her nagging as a defense mechanism. After all, who likes to wake up and serve breakfast to an uncouth man lacking Victorian manners. I wonder what she does when all the housework is over and she's had her fourteen hour bath, say at 11 am, when her husband is off in the farm, buttering up the hens. She can't be thinking of sex, can she? I mean she doesn't really have a frame of reference, does she? A few minutes of pain under Victorian layers and navy blue overalls can't be much fun. And that's all she's ever had. Now, she has no poster of blue-eyed Paul Newman on the rickety walls of her bathroom to touch herself in the bath, does she? Maybe she thinks about how the hens do it, but then she falsely realizes that they are asexual beings.
The man gets drunk on milk after he returns home from the farm. Stop being so cynical! It's hen's milk. You can reach an intoxicated existence if you have enough of it. Plus, it works slowly, like arsenic, and builds up an involuntary craving in its users over years, much like an arcane piece of art or music that grows itself on you gradually, like a Parisian parasitic virus. Maybe he starts talking in guttural French after he is completely inebriated. He puts on an invisible tutu and puts on a little dance for his wife, singing in an Edith Piaf voice during the performance. She laughs, throwing her arms around and brushing the tears off the corners of her squinty little hen-like eyes, rocking back dangerously in her wooden chair, that she is anyway spilling out of. She knows he does back flips for the hens on the farm that she will never see, and yet, she is happy for a few minutes, to sample this cultured little departure, before they both fall asleep in their respective perches, not really ready, but still thankful, to be woken up by a different note.
Friday, October 30, 2009
Monday, October 26, 2009
Insomnia
Insomnia of the worst kind. Staring at the high grainy white ceiling with bags under the sleepless eyes. Sitting up and staring at a bleakly lit profile in the larger than life adjoining mirror. Thinking about the dichotomies of life - both professional and personal, of whether to stay warm and let the beads of sweat trickle down over the tiny black hairs on the legs, like transparent caterpillars in transhumance, or listen to the whirr of the invisible little fan and watch the blinds of the window move themselves in perfect rhythm, as if played by the ghost of some dead Rasta musician's veiny dark hand.
Don't follow your dreams. OK fine. Do it, but make sure you have enough money before you jump onto the back of the unicorn. They'll tell you you are cool, that you are just about the second person they know after that skinny dark kid with those big eyes and floppy hair from Andaman who decided to be a professional snorkeler, to follow their dreams and all that crap, but they aren't here now to sing you lullabies as you listen to the rumbling of your stomach echo off your empty life. I hope the snorkeler at least is still sinking.
Holy shit. Didn't Edward Norton's Jack have insomnia which led him to create Fight Club? I don't like where this is going. Great, now insomnia coupled with paranoia. What would the pacifist in me say? I don't have an anarchist in me. Or do I? Maybe it's been dormant all these years so as to use its most potent weapon - the element of surprise. Maybe atheists don't get the little versions of themselves as the angel and devil having the cute little stand-off with their oh-so-British halos and tridents. All they get is an uber-ugly UFC fight between the pacifist and the anarchist versions. And boy, do I know who to bet on in that fight?
Don't follow your dreams. OK fine. Do it, but make sure you have enough money before you jump onto the back of the unicorn. They'll tell you you are cool, that you are just about the second person they know after that skinny dark kid with those big eyes and floppy hair from Andaman who decided to be a professional snorkeler, to follow their dreams and all that crap, but they aren't here now to sing you lullabies as you listen to the rumbling of your stomach echo off your empty life. I hope the snorkeler at least is still sinking.
Holy shit. Didn't Edward Norton's Jack have insomnia which led him to create Fight Club? I don't like where this is going. Great, now insomnia coupled with paranoia. What would the pacifist in me say? I don't have an anarchist in me. Or do I? Maybe it's been dormant all these years so as to use its most potent weapon - the element of surprise. Maybe atheists don't get the little versions of themselves as the angel and devil having the cute little stand-off with their oh-so-British halos and tridents. All they get is an uber-ugly UFC fight between the pacifist and the anarchist versions. And boy, do I know who to bet on in that fight?
Friday, October 23, 2009
In A Lonely Place - 'hedunit?'
Originally published on PFC: http://passionforcinema.com/in-a-lonely-place-hedunit/
Friday, October 16, 2009
Saturday, October 10, 2009
Ang Lee
I am a fairly regular reader in bed (the only other place I read in is the toilet) but today I am scared to go to bed. You can thank Aravind Adiga for that. The anger of the pages from last night seared the tips of my fingers enough to force me to think a million times about returning. The fire, the fire within is affecting the temperature in the room. I am sweating on a mildly chilly October night, creating islands of imprinted sweat on my otherwise solid pale blue sea of a shirt.
Contemplating between Zeppelin and Budweiser to quench my anger. I have gone with the former and Jimmy's solos help a little to escape the apathy of the bourgeois of Delhi described in The White Tiger, the failed attempt of the combined effort of Vince Vaughn and Jon Favreau in Couples Retreat, this feeling of forever running on the treadmill towards an invisible angel who sounds real from far, far away, cleft lips of Bangladeshi babies in neighboring aisle seats and translating their angry wails at six thousand feet up in the air, men invading the maternal pores of cows with their ugly tools.
I don't wanna get up tomorrow and get sucked into this vicious cycle of fervent email checking that will sustain me till the End. I want to spend a week in bed like John, of course alone, without my Yoko, and then maybe they'll give me a Nobel too. I want to feed my credit card bill to August's frog, and maybe he'll turn into a bespectacled bureaucrat and serve me some fresh red tape, which I can't spell and have to rely on the fucking spellchecker to salvage me. I want to arson the ashes out of the watchtower while Hendrix plays on a burning lotus in the background as Saraswati pole dances around her curvy tanpura next to him like a teenage hippie on LSD. I wanna hold Raj Thakerey's hand and take him to this place he's never been before - Bombay. I want to introduce a friend to that jack in class - subjectivity.
Contemplating between Zeppelin and Budweiser to quench my anger. I have gone with the former and Jimmy's solos help a little to escape the apathy of the bourgeois of Delhi described in The White Tiger, the failed attempt of the combined effort of Vince Vaughn and Jon Favreau in Couples Retreat, this feeling of forever running on the treadmill towards an invisible angel who sounds real from far, far away, cleft lips of Bangladeshi babies in neighboring aisle seats and translating their angry wails at six thousand feet up in the air, men invading the maternal pores of cows with their ugly tools.
I don't wanna get up tomorrow and get sucked into this vicious cycle of fervent email checking that will sustain me till the End. I want to spend a week in bed like John, of course alone, without my Yoko, and then maybe they'll give me a Nobel too. I want to feed my credit card bill to August's frog, and maybe he'll turn into a bespectacled bureaucrat and serve me some fresh red tape, which I can't spell and have to rely on the fucking spellchecker to salvage me. I want to arson the ashes out of the watchtower while Hendrix plays on a burning lotus in the background as Saraswati pole dances around her curvy tanpura next to him like a teenage hippie on LSD. I wanna hold Raj Thakerey's hand and take him to this place he's never been before - Bombay. I want to introduce a friend to that jack in class - subjectivity.
Monday, October 05, 2009
Jet Lagged, Listening to Leonard Cohen and Missing Bombay
The amateur photographer in me always wondered whether sunrises look any different from sunsets, aesthetically speaking. Not being a morning person traditionally, I knew I would never find out for myself. And then there was jet lag. My love affair with this romantic concept is very erratic. It's been six days since I've been back and yet the flirtation continues, alternating like the mood of a petite plump Madame in a seedy downtown Beijing whorehouse.
I have discovered a new soul-soother, impressive almost solely because of its lack of alcohol. It started unlike most love stories in real life do - at the first meeting. I marauded in after a usual satisfying but expensive lunch at the neighboring mall, conniving in my head for ways to pass the time till it was time to go home, and not think of any more ideas of selling nutritional drinks for children between the ages of 8 and 12. And then I heard him, in his guttural Dylanesqeness, singing about tea and oranges that come from China and about being somebody's man. And the immediate life was a little more bearable, much like when I had first heard Comfortably Numb. I have always maintained that the greatness of a certain piece of music (which includes lyrics, the voices and the accompanying instruments) should be determined by its intoxicating effect, comparable to your choice of poison.
I miss Bombay, yes Bombay, not Mumbai, but Bombay. I miss the constant energy, the noise pollution, drivers swearing at pedestrians suggesting they were regularly intimate with one of their creators, moviegoers frustrated at Hollywood science fiction, a glimpse of those perfect feet peeking from the anonymity of an auto, the traffic cops with their meticulously pressed khaki uniforms matching the color of their piping hot evening tea slurped from dirty little glasses, the not-so-cheap food - junk and classical, Kingfisher and its accompanying free nuts, the unwritten poetry on the walls of Leopold (no, I haven't read Shantaram yet) between mouthfuls of Steak & Onions, the bargaining foreplay with roadside t-shirt hawkers in Town, the mysterious Marathi of the maids, the visible ribs of the cows - loitering the streets like drunk, poor poets, Vodka in the inside room for the kids and Whiskey for the uncles in the living room, overtly salty Vada Pao, the apathy of security guards everywhere, everyone's unpunctuality, the excessive honking, the distant sterility of the AC buses, the omnipresence of mineral water - even at gola stalls in Shivaji Park, the phorenesque ride on the new Worli Sea Link, that lonely face in a grilled window in one of those few crumbling buildings in this city of thirteen million, the crazily long lines of Ganpati fanatics in Shiuri, the rickety old Premier Padmini Fiat cabs - drudging on like the tired lungs of its drivers, the expressionless face of the peon assigned bathroom duty, the punctuality of the breakfast bearer at work, those conversations about skipped lunches with the elevator guard when it was just the two of us, the People dancing on the streets with total abandon in front of unmoved clay idols, outdated Communist desktop wallpapers, those violet lights in the window with the banyaned potbelly.
I have discovered a new soul-soother, impressive almost solely because of its lack of alcohol. It started unlike most love stories in real life do - at the first meeting. I marauded in after a usual satisfying but expensive lunch at the neighboring mall, conniving in my head for ways to pass the time till it was time to go home, and not think of any more ideas of selling nutritional drinks for children between the ages of 8 and 12. And then I heard him, in his guttural Dylanesqeness, singing about tea and oranges that come from China and about being somebody's man. And the immediate life was a little more bearable, much like when I had first heard Comfortably Numb. I have always maintained that the greatness of a certain piece of music (which includes lyrics, the voices and the accompanying instruments) should be determined by its intoxicating effect, comparable to your choice of poison.
I miss Bombay, yes Bombay, not Mumbai, but Bombay. I miss the constant energy, the noise pollution, drivers swearing at pedestrians suggesting they were regularly intimate with one of their creators, moviegoers frustrated at Hollywood science fiction, a glimpse of those perfect feet peeking from the anonymity of an auto, the traffic cops with their meticulously pressed khaki uniforms matching the color of their piping hot evening tea slurped from dirty little glasses, the not-so-cheap food - junk and classical, Kingfisher and its accompanying free nuts, the unwritten poetry on the walls of Leopold (no, I haven't read Shantaram yet) between mouthfuls of Steak & Onions, the bargaining foreplay with roadside t-shirt hawkers in Town, the mysterious Marathi of the maids, the visible ribs of the cows - loitering the streets like drunk, poor poets, Vodka in the inside room for the kids and Whiskey for the uncles in the living room, overtly salty Vada Pao, the apathy of security guards everywhere, everyone's unpunctuality, the excessive honking, the distant sterility of the AC buses, the omnipresence of mineral water - even at gola stalls in Shivaji Park, the phorenesque ride on the new Worli Sea Link, that lonely face in a grilled window in one of those few crumbling buildings in this city of thirteen million, the crazily long lines of Ganpati fanatics in Shiuri, the rickety old Premier Padmini Fiat cabs - drudging on like the tired lungs of its drivers, the expressionless face of the peon assigned bathroom duty, the punctuality of the breakfast bearer at work, those conversations about skipped lunches with the elevator guard when it was just the two of us, the People dancing on the streets with total abandon in front of unmoved clay idols, outdated Communist desktop wallpapers, those violet lights in the window with the banyaned potbelly.
An Ode to Scarlet
We've grown old together - hand in hand
Lying on one other all these years,
Holding on to words that take a stand,
Soaking in all Scarlet's dried up tears.
He had a lot of style back then.
All his friends who heard Him write
Would throw their tools and pick up pens
Like children tearing books and chasing kites.
But then His friends grew bigger
Than His spoken and written words
Since their wages were too meager,
Leaving nothing but poetic shards.
Scarlet collapsed from too much love
But still hungry from too many fasts,
Leaving us behind - two jailed doves
And His bottles - empty and unchaste.
He comes in here now and again
Talking to more bottles about Scarlet,
As both of us cry out to him in pain
"Let's find something new to abet".
Friday, September 04, 2009
Ritwik Ghatak and Ajantrik
Originally published on PFC:
http://passionforcinema.com/ritwik-ghatak-and-ajantrik/
http://passionforcinema.com/ritwik-ghatak-and-ajantrik/
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