manners and bad manners of hindi cinema Adipurush Attention to the concerns of dialogue

dushyant

Come on, on some pretext, the discussion started on the dialogues of Hindi films. ‘Adipurush’ has started this debate. Intellectuals have generally stayed away from the discussion of Hindi films. Our middle class society has also been looking at cinema as evil for the youth for decades. Children have been being told – ‘If you watch films, you will get spoiled’. No communication medium is meant only for purity. Every communication medium opens new doors. Each has its dangers as well as its positive aspects.

If cinema is considered as one of the means of learning life, then it is no less than a book. My personal opinion is that if cinema is properly made a part of school curriculum, then it can be something meaningful in the direction of beautifying the society. Cinema builds bridges between cultures, paves the way for a better connection between human beings, secretly works to make better human beings by liberalizing behavior by mixing different ways of living, morals. Although it is considered to be the foundation of all arts, it makes us generous. If an artwork does not make us liberal, then the very existence of art becomes questionable.

The dialogue tradition of Hindi cinema has also been very special and different. For a long time there were dialogues in such a language that only Hindi films had their own universal language. Where the character is from, how educated he is, there was no relation to the dialogues of that character. Looking at it in a positive way, it was a pleasure as well as a convenience. It was possible to keep a large section involved in the story without any hindrance. However, a few decades ago, when the filmmakers who preferred the authenticity of the locality, included the locality of the language in the dialogues of the film, then a different color of the dialogues blossomed. It had its pleasures, but the challenges were also huge. For example, if the story is of Udaipur, but if the character speaks the language of Sawai Madhopur-Karauli or Ganganagar or Bharatpur in the name of Rajasthani language, in the same accent and words, people outside Rajasthan may not even notice it, but the language The stupidity that will appear in the name of local touch will first of all irritate the audience of Rajasthan with that content.

In terms of the language of the story and the characters, along with the authenticity of the locality, a major challenge is also the discharge of the language in a particular period. If it is a period film then this challenge reaches its peak. By the way, accept the challenge, otherwise whatever comes to mind, whatever comes naturally, that is the cult. However, the duality of the challenge lies with the generality of the medium. Where does the compulsions of big budget, addressing a large audience allow the content to be played with purity? But it also has a beautiful theoretical side that the slang or linguistic diversity in the dialogues of Hindi cinema connects it to Kabir’s Sadhukkadi language tradition.

What is dialogue? Dramatic form or creative form of speaking behavior in life. Then the question arises that what is our tradition of this speaking behavior? It is our tradition, ‘Aisi Bani Boliye, Man ka aapa khoya, auran ko coolal kare, aaphun coolal hoy’. This is also an ideal, but it is not a utopian ideal that cannot be made possible. There was a cheerful person in the village, he was famous for his amazing restraint on his speech even in anger. Even in extreme anger, he would just say, ‘I didn’t expect this from you’. This is the skill and practice of using the language. That is to say, what you speak is simply a matter of your choice and practice. In good cinema if the dialogues are closer to life then it is considered better. Dialogues standing on the treaty of ideal and reality have far and long effect. It should not be so ideal that it seems impractical, it should not be so realistic that the way towards the ideal gets closed. Look at the gruesome dilemma and difficulties of the cinema dialogue writer who has to juggle between the four aspects of idealism, reality, concern and entertainment. The prasad of abuses or applause has to be decided by this.

If we combine the changing language of plays, stories, films with the changing language in life, many things can become easy. Adding it is not a difficult task, it is necessary to want to see. In the middle-class families of the Hindi heartland, the behavior of the language has changed at a fast pace in the last three generations, perhaps it has not changed in the previous 5-7 generations. Here it is also my opinion that even in the Maha Hindi region of the continent of India, the majority of linguistic forms of many centuries exist at the same time. Hindi cinema has invented or developed a special Hindi in dialogues, which expands Hindi not only in the Hindi heartland but also in non-Hindi speaking states. Hindi films have been teaching people from non-Hindi areas to speak Hindi. This contribution has been greater than that of the central-state governments and non-governmental Hindi organizations in terms of its influence. Perhaps it can be properly compared only with the contribution of Hindi newspapers in the Hindi heartland, which have not only saved the Hindi language indirectly, but have also enriched it at a good level in the public mind.

(The writer is a lyricist-scriptwriter of Hindi cinema)