sparsh ( film )
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sparsh (devnagari: स्पर्श, in english: touch) is a 1980 indian hindi feature film directed by sai paranjpye .
notably, the film won the national film award for best feature film in hindi. the film won numerous awards including national film award - best actor for naseeruddin shah, while sai paranjpye got the best screenplay .
she moved to bombay, a broken marriage behind her. in the years that preceded sparsh, paranjpe made an odd film here, an ad film there. but all along, she was nagged by this urge to make a film on the blind .
the national film award for best feature film in hindi is one of the national film awards presented annually by the directorate of film festivals, the organisation set up by ministry of information and broadcasting, india .
- best feature film for, mass appeal, best music direction and best female playback singer. oriya film
mumbai: soham pathak, lead vocalist of the band sparsh, is currently composing for his sophomore marathi film,' paisa paisa'. in addition to composing three songs for the film, pathak will also compose the background score. the film is a remake of a malayalam film and is directed by a malayalam director, jojijob .
mohan gokhale (1954 – 29 april 1999) was an indian film, television and theater actor who has worked in art films such as sparsh, bhavni bhavai and mirch masala .
- a film which won three awards. close on the heels, as if competing for the' threes' was the telugu film
one of the most respected actors of indian new wave cinema and the bollywood film industry, he won several filmfare and national film awards for his roles in aakrosh, chakra, sparsh, iqbal, and other critically acclaimed movies of the 1980s,' 90s, and early 2000s .
popular singer javed ali sang a song for footprint media entertainment’s upcoming marathi film sparsh. the music is composed by babli haq. lyrics by sachin andhare the song “jaguni zara kshan baawra tu” was recorded at empire studio, mumbai .
kay kay menon will soon be seen in a short film, titled ‘sparsh’. the film also stars mishal raheja, prashant narayanan and puja gupta. interestingly, the film handles one of the most reflexive prejudices human beings have – the prejudices of appearances. sparsh is produced by barun dash and by sabyasachi mishra under social diaries production. ankoosh bhatt directs. in a media interaction, ankoosh said that the internet has brought a lot of opportunities. kay kay said that the way short films are growing is proof that people like this format .
sparsh will go on floors from 11th may at sangali. it stars kishor kadam, sulabha deshpande, ravindra mankani and two child artists in very important roles .
he appeared with sean connery in the 2003 film the league of extraordinary gentlemen .
when the legend sends you this handwritten note. . thank you my dearest @ srbachchan sir. you' ve made my day. much regards & charan sparsh urltoken
' sparsh' is a novel interaction method to transfer data between digital devices by simple touch gestures. sparsh prototype system is designed and developed by pranav mistry, suranga nanayakkara of the mit media lab. sparsh lets the user touch whatever data item he or she wants to copy from a device. at that moment, the data item is conceptually saved in the user. next, the user touches the other device he or she wants to paste / pass the saved content into. sparsh uses touch - based interactions as indications for what to copy and where to pass it. technically, the actual transfer of media happens via the information cloud. the user authentication is achieved by face recognition, fingerprint detection or username - password combination. sparsh lets the user conceptually transfer media (pictures, text, video, links) from one digital device to one' s body and pass it to the other digital device by simple touch gestures. at present, sparsh system support android and windows platform .
mumbai: actor kay kay menon has teamed up with director ankoosh bhatt for a short film titled “sparsh”, and he says the growth of the format is proof people are liking it. it also features mishal raheja, prashant narayanan and puja gupta .
the filmfare awards were kicked off in the year 1954 and are therefore also considered as one of the oldest in the indian film industry. the awards were introduced to acknowledge the most talented artists in bollywood. the film ‘sparsh’ (directed by sai paranjpye) swept off several awards in various categories this year. the film is about the plight of the blind, particularly focusing on the lives and feelings of blind children. the title of the film - ‘sparsh’ (aptly given) - refers to the sensation and feeling of touch upon which blind people rely, in the absence of sight. listed below are the winners who were awarded in various categories in the year 1985 .
later, she taught at the pune film institute (rehana sultan, jalal agha, sadhu meher and rakesh pandey are some of her students) before joining delhi tv as a producer - sparsh is an outcome of one of her assignments during this period .
produced by m. b. sankhe, sparsh is directed by well known director sandeep manohar naware. talking about the music of the film he said, “there are only two songs in the film as the story does not require. javed is very popular in youths. the young generation will definitely like the song. the another song is gazal and will be recorded in the voice of anwesha who will sing first time for marathi film. ”
a wednesday! is a 2008 indian thriller drama film written and directed by neeraj pandey .
kanu roy was an indian film actor, and music composer in hindi and bengali films .
is an indian film and television child actress. she played the role of young ichcha in
basu bhattacharya (1934–1997) was a hindi film director, most famous for his 1966 film teesri kasam, starring raj kapoor and waheeda rehman (based on a short story -
maare gaye gulfam
by phanishwar nath' renu'), which won the national film award for best feature film in 1967; he also produced sparsh in 1985 starring shabana azmi and naseeruddin shah, which won the filmfare best movie award and the most famous box office hit and critically acclaimed film directed by him remains avishkaar starring rajesh khanna and sharmila tagore which received five stars in bollywood guide
collections
and rajesh khanna received filmfare best actor award in 1975 .
the entire antarang hall was packed with the movie buffs on friday afternoon as they enjoyed watching one of the classics of bollywood. hindi movie sparsh was screened at bharat bhavan on friday .
“ sparsh ” is the annual c ultural festival of the sardar vallabhbhai national institute of technology. it usually takes place in the second or third week of february, and is one of the largest of its kind in the western region. this five - day festival consists of mega - attractions, informal events, technical events, managerial events among numerous other competitions like band - wars, sparsh idol and many more. the festivities of the day are followed by the' sparsh nights' - the inaugural night, singing night, dancing night, fashion night and celebrity night. every year the team of sparsh comes out with new and exciting themes and adds even more thrill to the fest. in the past few years sparsh had interesting themes like
bridging the gap between rural and urban india
,
celebrating the indian cinema
,
halloween
etc. such a concept has resulted in attracting even more crowd .
, (which means touch) has been adjudged the best hindi feature film of the year .
libaas (english: clothing) is a 1988 hindi drama film written and directed by gulzar .
the national film award for best actor, officially known as the rajat kamal award for the best actor, is an honour presented annually at the national film awards of india instituted only since 1967 to actors who have delivered the best performance in a leading role within the indian film industry .
this is the list of the national film awards (india) for best screenplay presented annually by the directorate of film festivals, the organisation established by ministry of information and broadcasting, india .
from her first film in 1974, shabana azmi has been part of over one hundred projects .
sparsh (
touch
) is part tender love story, part psychoanalytic character study, and part message - driven social drama. the parts don' t always gear together smoothly, but the film' s sweetness outweighs whatever flaws it has, and the result is enjoyable and touching .
shabana azmi (born 18 september 1950) is an indian actress of film, television and theatre .
the 27th national film awards, presented by directorate of film festivals, the organization set up by ministry of information and broadcasting, india to felicitate the best of indian cinema released in the year 1979 .
mumbai: singer - composer kailash kher will launch bands ar divine and sparsh on his birthday on 7 july here. he says it is his way of nurturing music and art to
save humanity
.
but, with the film, she has come to stay, and settle comfortably on the celluloid map. her next venture takes her to tanzania where she will make a film on the sugar factory workers .
sparsh' s transition from script to celluloid was not easy, funds being very scarce. with a rs 5 lakh interest free loan from a friend, it was shot on an all - time low budget .
sparsh is a wonderfully made movie. the acting is one of the best made in many years. most movies featuring physically challenged people end up in showing sympathy and depict what normal people can do for them .
the film screening received a great response by the bhopalites and a huge crowd was seen at the hall .
welcome to the most exclusive site on classic and contemporary bollywood films and film - songs. watch great online bollywood videos while you surf through interesting features, interviews. artist profiles, film reviews and music album reviews .
produced by barun dash and sabyasachi mishra of social diaries productions, the film will be releasing around independence day .
sparsh (devnagari: स्पर्श, touch) is a 1980 bollywood feature film directed by sai paranjpye starring naseeruddin shah (playing anirudh) and shabana azmi (playing kavita prasad) in the lead roles of a visually impaired principal of a blind school and a young widow who joins the school as a teacher. the film remains most memorable for its subtle but strong performances and a very realistic script revealing the emotional divide between the
blind
and the
sighted” .
the filmfare best film award is given by the filmfare magazine as part of its annual filmfare awards for hindi films .
prashant said: “the movie is based on prejudices that people form based on appearances. the film speaks about breaking the stereotypes. ”produced by barun dash and sabyasachi mishra of social diaries productions, the film will be releasing around independence day .
stole the show as he strode up to receive his dadasaheb phalke award. an octogenarian, modi wants to remake his film
actor told tweeted a photograph of the note he received from the megastar, saying :
when the legend sends you this handwritten note. . thank you my dearest @ srbachchan sir. you' ve made my day. much regards and charan sparsh .
while there is no general agreement upon the greatest film, many publications and organizations have tried to determine the films considered the best .
prashant said :
the movie is based on prejudices that people form based on appearances. the film speaks about breaking the stereotypes .
unusual: paranjpe' s claim that sparsh is the first realistic portrayal of the blind is no idle boast. unconventional in its approach, the plot is woven round a blind man (naseeruddin shah) and a normal woman (shabana azmi) who is nursing an emotional upheaval .
india' s first woman film writer - director is a volatile, voluble, maha - russian. born to a maharashtrian mother and a russian father, sai paranjpe, 43, with an impressive record of' firsts' has done it again. her first full length hindi film
naseeruddin shah (born 20 july 1950) is an indian film and stage actor and director, and a prominent figure in indian parallel cinema .
t 2530 - saw' bareilly ki barfi' last night. . a delightful film and such competent and excellent performances. .! ! urltoken
the filmfare best director award is one of the main awards presented given by the annual filmfare awards to recognise directors working in the hindi film industry .
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
the film won numerous awards including national film award – best actor for naseeruddin shah, while sai paranjpye got the best screenplay. at the filmfare awards, it won the top two: that of best movie and filmfare award – best director, plus a best dialogue award for sai paranjpye. further, shabana azmi was nominated for best actress, which she eventually won for the film bhavna, while naseeruddin shah was nominated for best actor lost out to anupam kher in saaransh .
this is a sensitive film starring naseeruddin shah and shabana azmi, directed by sai paranjape. the highlight of the movie is intense performance by naseerudin shah in the role of a self - respecting visually impaired principal of a blind school, who hates the society for pitying people like him. kanu roy composes the soulful music for this film .
the film will not be hampered by a lack of funds - the perpetual bane of all film makers .
i am looking forward to it because the whole idea is so new and different - and for once, there is going to be money ,
she mused .
and, no more low budget films for me - thank you .
a film - maker who is having an extra - marital affair with an actress decides to leave his wife. arth is the story of this women' s search for her identity .
they nurse a symbiotic relationship and children from the blind school provide the essential comedy and tragedy. shot in the blind school campus, the film communicates and entertains rather than mystifies and spawns .
the fact that the movie went on to win 3 national awards (best hindi film, best screenplay and best actor) despite its shoe string budget is a remarkable achievement in its own right .
“the film has two periods 1950 and 1975. the story revolves around a guy who helps poor people so that they can take education. its his fight for right of education, ” adds sandeep .
writer, director and playwright sai paranjpye is one of india’s most creative minds. beginning as an announcer in radio, she has made serials, documentaries, written and directed films, written and directed theatre in hindi, marathi and english and also written many books. her first feature film ‘sparsh’ in 1980 won three filmfare and one national award. her comedies ‘chashme badoor’ (1981) and ‘katha’ (1982) are today considered classics of indian comedy. in the 1970s she twice served as the chairperson of cfsi and over the decades, has made four films for them including the award winning ‘jadoo ka shankh’ and ‘sikandar’ .
a well - known painter also trained in film animation in calcutta and in chicago, kantilal rathod was in charge of the cartoon unit of the baptista - vijayakar production unit, hunnar films. later, rathod branched out forming his own company akbar films and made many art and industrial films. with his first award winning feature film ‘kanku’ (1970), rathod set a new trend. the film presented an objective account of a lower - middle class women’s monotonous and stultified existence. his second feature. ‘ramnagari’ followed some years later. he has directed many features, documentaries and short films. he died in 1988 .
earlier in the day, big b had tweeted to say :
saw bareilly ki barfi last night... a delightful film and such competent and excellent performances ,
to which ayushmann replied this way :
mishal has not just acted in the film, but assisted bhatt too. “it’s a small but tough role. ankoosh had directed prashant and me for ‘encounter’ and hence it was like a reunion, ” mishal said .
in 1979, sai paranjipye made
sparsh
( the touch), based on her own sceenplay, with a cast comprising naseeruddin shah, shaban azmi and om puri .
sparsh
is a limpid and touching account of the encounter between two people, each overcoming pain and pride as they come together. anirudh (naseeuddin shah), the blind director of a school for the visually handicapped, works ceaselessly at his job. the joys and sorrows of the blind students do not, in the film, give it a melodramatic dimension. they are, in fact, integrated into the narrative. a young widow, kavita (shabana azmi), whose interest in the school is purely charitable at the outset, soon gets more deeply involved in its activities. she falls in love with anirudh and they get engaged. however, anirudh' s obsession with being completely self - reliant and his suspicion that kavita may be acting more out of sympathy than love eventually leads to the engagement being called off. finally, a good friend of the couple intervens and helps them to realise their follies and reunite .
shivendra sinha did a diploma in dramatic art from london university and graduated from the royal academy of dramatic art. later he studied and trained for theatre in berlin as well as for radio, tv and film in different parts of europe. coming back to india he acted in and directed many plays and films and served on different arts and cultural bodies. ‘phir bhi’ in 1972 is his most notable film and won the national award besides many other awards .
the butterfly, though small, plays an important role in the sustenance of the environment. this short film sheds light on the same, by depicting the life cycle of a butterfly through the eyes of a little boy who catches them for fun .
all donations towards the prime minister' s national relief fund (pmnrf) are notified for 100% deduction from taxable income under section 80 g of the income tax act, 1961. © children' s film society india, all rights reserved .
the citations read like a conglomerate of official dispatches, uncomfortable mouthfuls that prompted the guests to say
have a heart
. that the jury of the 27th national film awards had a heart was evident, for the best actress award was given to
the film remains most memorable for the subtle acting of its leads, plus the handling of the issue of relationships with the visually handicapped, revealing the emotional and perception divide between the world, the blind and the sighted, epitomized by the characters .
shyam and soni live with their mother in the outskirts of a village. in return for a good deed, the brother and sister pair is presented with a magical conch that grants wishes. with its help the two kids assist a king to unravel and foil a plot against him and his kingdom. directed by sai paranjape, this best child actress winning film at the moscow film festival drives home the message that not only does good triumph over evil in the end, but no good deed goes unrewarded .
he appeared in the 2013 pakistani movie zinda bhaag, which was nominated for best foreign language film at the academy awards. also a stage actor, he co - founded a theater company called motley productions and starred in a 1979 production of waiting for godot .
basu bhattacharya produced the film but all was not well between the producer and the director .
all that i can say is that i had to do much more production work than i had bargained for and that really cut into my work ,
said paranjpe ,
films about relationships between blind people and sighted people - or indeed between any
handicapped
people and
normal
people - always run the risk of waxing trite and preachy, and sparsh does not fully avoid this hazard. some of its uncomfortable moments feel canned and facile, as when kavita, at one of her early meetings with anirudh, refers to his students as
those poor children ;
anirudh bristles, telling kavita to remove the word
poor
from her vocabulary, as his children do not need her pity .
much against her will, she was deputed to make a film on the blind relief association, delhi .
i didn' t want to go, but now i' m glad i went - an entire metamorphosis had taken place inside me ,
said paranjpe .
there are three songs in the movie all of which are sung by the actress and singer sulakshna pandit. the music is by veteran kanu rai. additionally there is a piece by santoor maestro ustad amjad ali khan who also makes a brief appearance in the film as himself .
for the score, pathak wanted it to be
very indie with no cinematic score
. there will also be elements of metal and dub - step infused in the score. the film is written by sachin barekar and stars sachit patil, spruha joshi and milind shinde as the antagonist .
in 1973, india celebrated its 25 years of independence with pomp and gaiety. one of the highlights of the celebration was a special children’s rally where kids from different parts of the country participated. this short film documents the vibrant and colourful rally and shows the unity in diversity of this great nation .
indira gandhi, the first women prime minister of india, inherited the love of children from her father jawaharlal nehru, effectionately called ‘chacha’ (uncle) by the kids of the nation. this short film shows indira gandhi interacting with the children who have won awards for bravery during the annual republic day celebrations .
the 1980 indian hindi feature film directed by sai paranjpye stars naseeruddin shah and shabana azmi playing the characters of a visually impaired principal and a sighted teacher in a school for the blind, where they fall in love though soon their complexes tag along and they struggle to get past them to reconnect with the touch of love .
.
we felt that we deserved the award - we' d seen the other films and somehow we felt that the other directors didn' t know what they wanted to say ,
said the patwardhans. their unconventional approach must have rubbed off on the jury too, for this is the first time a film, totally
, starring kriti sanon, rajkummar rao and ayushmann khurrana. from his tweet on monday, we know that big b loved the movie and reviewed it as
a delightful film
with
competent and excellent performances .
but outside social media, big b has singled out rajkummar to be worthy of a handwritten note and flowers. the
accordingly, sparsh is at its best when it focuses tightly on kavita and anirudh as individuals, rather than as iconic representatives of
the blind
and
the sighted
. kavita and anirudh are fragile people. anirudh is proud, and that pride makes it hard for him to let kavita care for him. kavita, for her part, is eager for a way out of her loneliness but not quite ready to move beyond her husband' s death. they are both navigating strong emotions, but they are also both uncertain and very reserved by nature; that, together with shabana and naseeruddin' s understated performance styles, yield a very muted tone, with few outbursts of emotion. indeed, kavita in particular is so out of touch with her feelings that it takes manju' s psychoanalytic interference to resolve the major conflict of the film. the resolution is unsatisfying, with a kind of a deus ex machina feel as manju swoops in to explain to anirudh everything that is going on in kavita' s head .
sparsh is a sensational story of anirudh parmar (naseeruddin shah) who is blind. yet his impairment does not let him down. he starts a school for the blind as a principal. during his days he gets in touch with a social worker, kavita. kavita is attracted to him, and he slowly also gets attracted to her. when marriage is proposed, both agree to marry each other. then anirudh starts having doubts whether this marriage is going to succeed. how will kavita ensure anirudh that their married life would be successful? sign up for free and get daily updates on new videos, exclusive web shows, contests & much more urltoken send us your feedback and suggestions at: connect @ urltoken
despite these minor weaknesses sparsh is nevertheless quietly sweet and engaging; the characters are warm, sympathetic, likeable. kavita is a wounded bird; even her smiles are a little sad. this may be what makes the young shabana and naseeruddin work so well as a screen couple, they both carry in their faces a kind of droopy, puppy - dog sadness. their romance is delicious, sweet and even passionate at moments. and there are some truly beautiful scenes. in one, kavita shops for a new sari, closing her eyes and using her fingertips to choose one that anirudh will like. in another, anirudh makes kavita blush, describing for her why he finds her beautiful - her fragrance, the sound of her voice, the softness of her touch .
kay kay is one of the best actors that bollywood has. it is always a pleasure to work with him. the short film format is like t - 20 cricket, wherein you have to tell the entire story in a very short span of time. but just like t - 20 cricket, short films are also very exciting to make ,
bhatt said in a statement .
after completing a degree in law, parvati menon decided to make her career in films instead and became one of the first students at the newly instituted ftii in the 1960s. a prolific director, parvati’s main concern in cinema has been children. she has taught, researched and written about cinema, while also writing, directing and producing many feature, documentary and short films. she has served as jury for many film festivals worldwide .
“kay kay is one of the best actors that bollywood has. it is always a pleasure to work with him. the short film format is like t - 20 cricket, wherein you have to tell the entire story in a very short span of time. but just like t - 20 cricket, short films are also very exciting to make, ” bhatt said in a statement. kay kay is excited about the association too .
. celebrities like karan johar, varun dhawan, sushant singh rajput and arjun kapoor also had everything good to say about the film which released earlier this month .
bareilly ki barfi is warm, funny and delightful. the performances are superb. dialogues have many laugh out loud crackling moments ,
karan had tweeted while kriti' s co - star sushant wrote :
kriti sanon is brilliant and it' s her best performance .
despite the fact that her play, the little tea shop had won the asian broadcasting union (abu) award in teheran, she was not making any progress .
i felt stifled and claustrophobic as a producer and i decided to quit and join the children' s film society (cfs) ,
- a job she threw up two years later.' people advised me against resigning from the cfs and i could kick myself for having listened to them ,
she said .
children from a sos children’s village in faridabad, an institution that raises orphaned and destitute children in family units, are up in a mountaineering camp in manali. the kids are despondent initially as they are unable to perform the physical challenges put up by trainers. later they are overjoyed at overcoming irrational fears and discovering endurance within themselves. in a film presented as children’s narratives with their voiceovers, the kids develop a close bond with the instructors that seemed heartless brutes in the beginning of the camp .
since noé (
enter the void ,
irreversible
) wants to steep viewers in murphy' s confused emotions, the experience of watching
love
can sometimes be more frustrating than thinking about the meaning of
love
while you watch the film. in fact ,
love
probably only works if you see it as a paradoxically over - determined work of and about sensuality. noé uses 3 - d photography but also never stops reminding viewers that they are outside of the frame, as he directly acknowledges in one scene where an erect penis thrusts directly at the camera before ejaculating cgi semen. you can' t watch this movie and ever really forget that you' re watching a movie, as is reinforced by the film' s elliptically - structured plot, droning soundtrack and periodic mid - scene black - out cuts. that' s because murphy is, like some of noé' s previous blank slate heroes, a character who remembers himself at his most frustratingly vacant .
all the actors (ketaki mategaonkar, gauri bapat, medha manjrekar, savita malpekar, sakharam kulkarni, abhijit kelkar and vaibhav mangle) do full justice to their characters and deliver memorable performances. but as a man taking on the system and fighting against all, including his own self, sachin khedekar towers above all. looking at him, you feel the strength of his character and the weight of his fate. it is a brilliant performance in an exceptional film that is every bit worthy of all possible awards !
produced by basu bhattacharya, the film went on to win three national awards including that of best actor for naseer. interestingly, sanjeev kumar was the original choice of sai and it is only when could not do it that she approached naseer. thirty five years later one could not imagine any other actor in the shoes of aniruddh parmar. few years later, sanjeev kumar did go on to play a blind protagonist in “qatl” who was as “kaabil” as hrithik roshan is trying to be this republic day. that’s for another day .
girish joshi’s screenplay (developed from usha datar’s short story) creates a complex multi - layered old world, full of contrasts and contradictions. the locations, costumes, language, music and cinematography – all contribute to creating a perfect period - feel. it is a film that works on both, personal as well as social levels. on a personal level, we get caught up in an emotional storm brewing between various characters and on a social level, we are shaken out of slumber by the stark portrayal of some inhuman religious rituals, which once made widowed life a living hell .
naseer and om puri often performed together like singing a duet. different notes but always working for a harmonious whole. here in a supporting role, om manages to leave an impact, despite naseer’s immersive performance, because he creates another blind character which is as real and distinct as aniruddh. add to it yet another impressive turn by shabana azmi and we have a film that continues to feel fresh. she has the amazing ability to make the mundane dramatic and the dramatic believable. cinematographer virendra saini creates a contemplative atmosphere right from the opening shot when aniruddh is following kavita’s voice on a hazy delhi morning .
m. s. sathyu, an internationally renowned filmmaker and theatre director, moved to bombay from mysore in 1952. he did a variety of jobs including animation, documentary, tv films, tv serials, designing and directing plays and even wrote a script for a ballet before making ‘garm hava’ in 1974, that became one of the best films on the partition and won him a golden palm nomination at the cannes film festival including several awards in india. he has since made films like ‘bara’ and ‘kanneshwara rama’ while also directing many successful plays. ‘kala parvat’ is an indo - russian joint collaboration with alexander zagurdi .
but what' s it like to actually watch
love
? this is a movie where non - professional actors and unsimulated sex scenes constantly encourage viewers to form a bond of alienation, instead of a bond of sympathy, with murphy. that may sound pretentious, but noé knows exactly the type of effect he wants to achieve, and he mostly gets it. his biggest gamble is the use of first - time actors to elicit complex emotions. but he builds a complex relationship between murphy and his viewers throughout the movie, one that speaks louder than the unmoving, shrill line - readings from all three of the film' s principle characters .
since the time he channelized his energy full time into marathi cinema, mahesh manjrekar has contributed a lot to the marathi cinema’s resurgence. his productions (mee shivaji raje bhosle boltoy, lalbaug - parel, shikshanachya aaicha gho and fakt ladh mhan) have successfully touched the audience - chord with contemporary, socially relevant and thought - provoking themes. often he has erred on being too populist in his presentation with a definite eye on the box - office. but now that he has established his production house as the commercial powerhouse, he goes for the jugular and shows that he also has it in him to create a perfectly artistic period - film like kaaksprash .
the film' s sex scenes are similarly mannered, mournful and distractingly graphic. but they' re not just endurance tests, or frustrating slogs either. noé wants you to see sex as a cocoon, so he genuinely tries to show you what attracts his young characters to each other. his earnest objectification of actors' bodies is, in that sense, often compelling. we look at bodies in motion, and see them as body parts first, and then people trying to get lost in each other, to give each other pleasure, and to remain lost in sensations that will always remain mysterious to anyone who isn' t experiencing them first - hand .
love
may not always be enjoyable, but it leaves an abiding mark .
in
love ,
murphy essentially relives a past life. he is not however in control of his emotions, so his memories are fragmented, and out of order. he recalls electra because her mother calls him, giving him a sentimental oasis to cling to in order to escape his life with omi. still, in flashbacks, we see how murphy' s relationship with omi ironically started because of electra, and how electra and murphy' s relationship was always a co - dependent one. he, a film student with posters of
saló ,
and
story of o
hanging ostentatiously on his bedroom wall, jealously obsesses over her. but eventually she, an aspiring painter, reveals that she' s just as concerned with being protected. they form an unhealthy relationship that expresses itself through violent outbursts, and copious sex scenes that range from genuinely sexy to mechanically frantic. so while electra accuses murphy of being a bright young man who doesn' t know what love is, she' s just as impulsive .
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kavita (shabana azmi) is a depressed widow; though her close friend manju (sudha chopra) urges her to step back into life and society, kavita spends her days at home, tending to a meticulous bonsai garden (a metaphor for her stultifying confinement) and singing sad songs to an audience of herself alone. when she accidentally meets anirudh (naseeruddin shah), a bristly but charismatic blind man who runs a nearby school for blind children, kavita is moved to offer her time to the school, and begins reading to the boys and teaching them music and crafts. kavita is touched by the children, and begins to welcome warmth and happiness back into her life. she is also touched by anirudh; a tender romance blossoms between them, and they become engaged to marry. the romance sours, though, when anirudh begins to fear that kavita is marrying him not for love, but only in search of a way to martyr herself, sacrificing her youth and independence to the care of a hapless handicapped man .
text (c) 2006 - 2016, carla miriam levy. the ideas and opinions expressed in this weblog are mine alone, and do not represent the views of my employer or of any other organization with which i may be associated .
i am actress, still trying to make my foothold strong in bollywood. i had made a debut in bollywood in 2004 but that went unnoticed and i moved on to south industry .
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as “kaabil” brings visually impaired protagonists back in focus, it is time to revisit sai paranjpye’s timeless gem that continues to be a benchmark for films that address the normal / abnormal binary. breaking the stereotypes created by cinema and society where blind people are often presented as objects of pity, sai creates an inclusive space where the blind protagonist wears his self esteem on his sleeve and suffers from the same emotional upheavals as any sighted person is. based on the real life story of ajay mittal, sai demolishes the lachar - bechara image that hindi cinema wove around blind characters and in naseeruddin shah she has a malleable actor to realise her vision .
the narrative holds a soothing love story of a sighted woman and a blind man. it seems implausible but as sai sensitively unravels the layers one can figure that each one of us have handicaps. a young widow disabled by the society, kavita is struggling with her emotional vacuum when she comes across aniruddh parmar, the principal of a school for the blind. a beautiful relationship evolves which is more tactile than visual and the fragrance permeates through the celluloid. kavita buys saris that aniruddh could feel. a self made man, aniruddh allows kavita in his dark universe. however, soon self doubt creeps into the relationship as aniruddh fears dependence on kavita. aniruddh has been more than compensated by nature in other senses, including ego. is kavita trying to be a gandhari? is she trying to justify her second love as a duty? it leads to an intense curdling of emotions in the estuary between right and wrong .
there is a bigger picture as well which can be easily juxtaposed to the majority / minority question. in the outside word, blind people might be struggling to find feet but in the blind school it is the sighted who are yearning to find acceptance. sai presents it through the strand of pappu, the sighted boy among blind students. he longs for the attention of his teacher but her entire focus is on blind students. when pappu fights with a blind student, he closes his eyes to make it a fair fight but still fails to get the attention. similarly, kavita does everything to be part of aniruddh’s universe but he considers it as a ritual to get over her past or as kavita’s friend (sudha chopra) says he remains blind to her love .
naseer has often rated it as his most fulfilling performance. the shift in eyeballs, the arc that he creates with the stick, the way he holds the cup and the ungainly body posture, naseer almost becomes the character. in his autobiography, “and then one day”, naseer admits the thought of acting as a sightless person with children who were actually sightless took him as close to butterflies in the stomach as he had ever been. the key to play a blind character, he says, is that they directed their ears and not their eyes at the point they were addressing, and that caused their sometimes ungainly bodily posture, which, having absolutely no self consciousness, they were oblivious to. he imbibed it by following mittal for ten days. his education in aligarh muslim university also helped as it had one of the best schools for the blind in the country. he had observed a couple of blind classmates during college days. he tried different things to get the movement of a blind character but ultimately went by his imagination. “i had always been able to shut out all aural stimuli whenever i felt like it, but shutting off all visual stimuli proved equally easy. ”
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anirudh parmar is blind, but he does not let this impairment bind him down. he runs a school for the blind as a principal. he meets with social worker, kavita. kavita is attracted to him, ... see full summary »
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anirudh parmar is blind, but he does not let this impairment bind him down. he runs a school for the blind as a principal. he meets with social worker, kavita. kavita is attracted to him, and he slowly also gets attracted to her. when marriage is proposed, both agree to marry each other. then anirudh starts having doubts whether this marriage is going to succeed, as he feels he is being patronized, and pittied .
this movie deals with people with handicaps  one is bitter due to blindness and the other is depressed due to heart break. society tends to glorify blindness as a bigger handicap than heartbreak. the movie poignantly shows that both are debilitating and need a lot of work to overcome. kavita and anirudh are fortunate in discovering each other. their individual handicaps first help them in working together, then bonding together and then tears them apart. a well - wisher has to step in ultimately to bridge the gap. there are some endearing scenes with the kids and the dialog is very engaging. the sequence where anirudh describes his perception of kavita' s beauty deserves special mention for its poetry. both naseer and shabana excel in their minimalist style .
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in addition, it gets the best screenplay and best actor (naseeruddin shah) awards. still recovering from the windfall (she insists she did not expect it) said paranjpe :
isn' t that wonderful ?
till recently, paranjpe' s name was synonymous with the world of children' s books and films (jadu ka shankh, sikander). when she was 8, she published her first book of short stories in marathi called mulencha mewa. she then moved on to theatre and subsequently did a stint at the national school of drama, new delhi.
sparsh ( devnagari : स्पर्श , in english : touch ) is a 1980 indian hindi feature film directed by sai paranjpye . it stars naseeruddin shah and shabana azmi playing the characters of a visually impaired principal and a sighted teacher in a school for the blind , where they fall in love though soon their complexes tag along and they struggle to get past them to reconnect with the " touch " of love . the film remains most memorable for the subtle acting of its leads , plus the handling of the issue of relationships with the visually handicapped , revealing the emotional and perception divide between the world , the " blind " and the " sighted " , epitomized by the characters . the film won the national film award for best feature film in hindi . however the film 's release was delayed by almost 4 years . the film won numerous awards including national film award – best actor for naseeruddin shah , while sai paranjpye got the best screenplay . at the filmfare awards , it won the top two : that of best movie and filmfare award – best director , plus a best dialogue award for sai paranjpye . further , shabana azmi was nominated for best actress , which she eventually won for the film bhavna , while naseeruddin shah was nominated for best actor lost out to anupam kher in saaransh . 
sparsh (devnagari: स्पर्श, in english: touch) is a 1980 indian hindi feature film directed by sai paranjpye. it stars naseeruddin shah and shabana azmi playing the characters of a visually impaired principal and a sighted teacher in a school for the blind, where they fall in love though soon their complexes tag along and they struggle to get past them to reconnect with the " touch " of love. the film remains most memorable for the subtle acting of its leads, plus the handling of the issue of relationships with the visually handicapped, revealing the emotional and perception divide between the world, the " blind " and the " sighted ", epitomized by the characters. the film won the national film award for best feature film in hindi. however the film's release was delayed by almost 4 years. the film won numerous awards including national film award – best actor for naseeruddin shah, while sai paranjpye got the best screenplay. at the filmfare awards, it won the top two: that of best movie and filmfare award – best director, plus a best dialogue award for sai paranjpye. further, shabana azmi was nominated for best actress, which she eventually won for the film bhavna, while naseeruddin shah was nominated for best actor lost out to anupam kher in saaransh.
sparsh (devnagari: स्पर्श, in english: touch) is a 1980 indian hindi feature film directed by sai paranjpye. it stars naseeruddin shah and shabana azmi playing the characters of a visually impaired principal and a sighted teacher in a school for the blind, where they fall in love though soon their complexes tag along and they struggle to get past them to reconnect with the " touch " of love. the film remains most memorable for the subtle acting of its leads, plus the handling of the issue of relationships with the visually handicapped, revealing the emotional and perception divide between the world, the " blind " and the " sighted ", epitomized by the characters. the film won the national film award for best feature film in hindi. however the film's release was delayed by almost 4 years. the film won numerous awards including national film award – best actor for naseeruddin shah, while sai paranjpye got the best screenplay. at the filmfare awards, it won the top two: that of best movie and filmfare award – best director, plus a best dialogue award for sai paranjpye. further, shabana azmi was nominated for best actress, which she eventually won for the film bhavna, while naseeruddin shah was nominated for best actor lost out to anupam kher in saaransh.