Uzaipalar Deenam, a poignant film exploring the lives of migrant workers, was recently showcased at Singapore Carnival Cinemas, drawing a diverse crowd that included Singaporean dignitaries and Tamil workers. The event was a resounding success, highlighting the film’s powerful narrative and emotional depth.

Directed by the multi-talented Santosh Nambirajan, known for his acclaimed works Vattar Vajakku and To Let, Uzaipalar Deenam artfully blends comedy and romance in its first half. However, the film takes a serious turn post-interval, delving into the stark realities and challenges faced by workers seeking better opportunities abroad. The climax features an unexpected twist that left the audience in awe.

Nambirajan not only directed the film but also took on the roles of lead actor and producer, showcasing his versatility and dedication to the project. “The film was well received,” Santhosh shared with DC. He recounted a particularly touching moment when a migrant worker approached actor and co-producer ‘Singapore’ Durairaj. The worker expressed, “Our families don’t know about our lives abroad. But you have shown our lives beautifully in Uzaipalar Deenam. The cinematography made the audience laugh.”

The film’s portrayal of migrant workers’ lives struck a chord with the audience, resonating beyond the migrant community. Santosh is confident that the film’s appeal will extend to all workers, capturing the universal struggle and resilience of individuals striving for a better future.

Distribute by Vicky Films, Uzaipalar Deenam is set for a mid-August theatrical release in Tamil Nadu. The film will also be released in Sri Lanka and various European countries by AKS Tamil Media, as well as in Karnataka State through Prathana Shree Enterprises and DSK Cinemas.

With its compelling narrative and heartfelt performances, Uzaipalar Deenam is poised to make a significant impact, offering a poignant glimpse into the lives of those who work tirelessly to support their families from afar.

for bookings : https://in.bookmyshow.com/movies/uzhaipalar-thinam/ET00395510

The Satyajit Ray Film and Television Institute (SRFTI), an academic institute under the Ministry of Information & Broadcasting, Government of India, organized a two-day festival on Mohanveena – now a heritage instrument of India which was created by the legendary musician the late Pt. Radhika Mohan Maitra in 1948, on 25^th and 26^th of July. The festival started with the screening of the documentary made by Prasar Bharati, Government of India during the late 1990s entitled “Mohanveena – a Genesis”. The screening was attended by several cinema buffs of the city and the students, staffs of SRFTI at the main auditorium. The hall was almost houseful for the 90-minute documentary and ended with a great applause. This documentary was telecasted in the National Television several times till 2010.

The next day was much more exciting. There was performance on Mohanveena by Joydeep Mukherjee, a dynamic and iconic musician of Gen X, and a grand disciple of Pt. Radhika Mohan Maitra followed by demonstrations and a short recital by Somjit Dasgupta, a disciple of Pt. Maitra. Mukherjee started his recital with Raag Megh and there was pin-drop silence in the hall. This technically sound and aesthetically brilliant performer started with alaap, jor, & jhala followed by two compositions – one in 12 bit Chowtaal demonstrating the ‘been-baaj’ and next was in 16 bit Teentaal demonstrating the sarod style playing. Raag Megh ended with a super jet speed jhala which received standing ovations. Mukherjee then played a couple of very popular tunes composed by Satyajit Ray in Mohanveena – “Ese Hirok Deshe, Dekhe Hirer Chomok” and “Feluda theme music” which the audience enjoyed to the fullest.

Next item was of Somjit Dasgupta where he first explained the history of Mohanveena. He said, “In the year 1943 when my Guruji Pt. Radhika Mohan Maitra played a jugalbandi in Sursingar with Ustad Sadik Ali Khan in Veena, he conceptualized a special instrument which should have the tonal quality of the Veena, resonance of a Sursingar and the ability to execute high speed taans like the Sarod. In 1948 he finalized a new instrument which had all the above qualities and on the same year Thakur Jaidev Singh, the then Chief producer of All India Radio named this instrument as “Mohanveena” after the middle name of Pt. Maitra. After that he performed some 22 National programs and countless recordings with this Mohanveena which are the assets of the Akashvani archives now. Today this 76-year-old ‘parampara’ of Mohanveena is still running among his disciples, grand disciples and great disciples,” He then played a melodious alaap in Raag Chhayanut followed by a composition in Raag Khamaj. Shree Mrinal Bhattacharya accompanied both the artists very sensitively in the tabla. His work on the left hand drum was quite admirable.

The next part of the festival was the most interesting one. The open house – direct interaction with the audience and the artists, moderated by Prof. Prajna Dutta – a nascent ex faculty of the SRFTI. Prof. Dutta gave a very contextual introduction to start the conversation and asked both the artists about the idea of musical instruments in cinema. Somjit Dasgupta told, “As per my Guruji cinema is analogous to Maa Durga with 10 hands and family members with their riders – implicating lots of characters, props, music, production crews, directors, producers etc. The same is there for music too where we have several raags, taals, tempos and playing styles.” Asking the same question to Joydeep Mukherjee he told, “Presenting a raag is just like making a cinema. Here the musician has to establish the raag note by note, just like several shots create a scene. Then continuity in music is much more important same like that of the cinema. A musician slowly builds the raag and goes to the climax at the end, just like I approached to the high speed jhala from the slow alaap -without letting a single audience any continuity jerk. The same is applicable for the director, editor & post production crews in the cinema.”

There were musicians like Bhabani Shankar Dasgupta, son & disciple of Padma Bhusan Late Buddhadeb Dasgupta, Subir De, a disciple of Pt. Maitra and distinguished persons like Prof. Sukanta Majumdar, HoD of the department of sound, SRFTI, Prof. Dr. Nabinanda Sen, Dipankar Dasgupta, head of cultural wing at USA Consulate, Dipankar Dasgupta, a former journalist among the audience as distinguished guests.

While both the musicians (Mukherjee & Dasgupta) avoided gently on the controversy regarding another namesake instrument Mohanveena created atleast four decades after Pt. Maitra, Bhabani Shankar Dasgupta clearly explained in the open house, “Any instrument except this Sursingar-Sarod blend is just a misnomer. Please don’t get confused. Do remember a patent is on the design and process and not on the name. For name there is trademark which has already been objected and the patent is challenged at the Honourable court. The namesake instrument is a matter of sub judice and no one can’t talk about that publicly. At the same time Radhika Mohan Maitra’s Mohanveena is a traditional instrument and can be freely discussed upon.”

It was a hyper packed house as several audience sat on the floor and stairs to listen to the program.

This program is an ongoing series organized by the Department of Sound Recording and Design under “Voices: Lecture Series”, under the leadership of Prof. Sukanta Majundar.

Qismat Qonnector Yuvraj S Singh does it again!

Punjab industry Prince Yuvraj S Singh launches his own studio Label!

It’s hard to survive in such a volatile industry for many people, but if you are a creative genius like Yuvraj S Singh, you make your own way. The hit machine has launched his own label Rage Studio after his production ventures and set to launch as many as 10 tracks in the coming 12/15 months along with web series, short films, mini series and creative endeavours that make him truly unique individual in an industry of rural semiotics who pretend to rule the roost. When we video called the maestro, he smiled,his track “Naam Tera” is a beautiful Hindi track which has been liked by all individuals within the industry.

Q)Yuvraj you keep surprising industry insiders with your own talent…

A) “hehe nothing like that,Hindi and Punjab industries are well connected and frankly everyone in Punjab industry has been supportive, I have also supported many careers and stars and one tries his best”

Q)Your songs are hidden gems which everyone is eagerly waiting for how do you create this edge?

A)Well frankly one has to work hard,also having knowledge and craftsmanship is more important than just being a show piece, if you work on your craft even the best respect you.”

Q)But you are the best !Aren’t you??

A)Hehe no nothing like that I just deliver stuff people don’t, and some ideas are unique…

Q)What’s in mind with Rage Studio? A)”Frankly music and films ..we will experiment with genres and try to cater to audiences globally with wishful content and yet keeping all commercial asthetics in place.

Wow! looking for Naam Tera to release and many more tracks!!

Yuvraj has made many hits and super hits in Punjab and Hindi like Qismat,Surkhi Bindi,Bajre da sitta, Qismat 2 and launched many interesting careers like Tania,Ammy Wirk, B praank In Hindi film industry,also Asees Kaur, Raftaar and many other stars who have now made a big name, also His latest track “Fakir” is trending in Punjabi homes globally…

Truly this handsome star is a force to reckon with, probably best left alone!! may the force be with you!

Smiles Yuvraj.. sips his coffee ☕ He will also be seen in his maiden Telugu movie as a lead hero! Wow waiting for that!! Too 🤪

Afreen khan _ journalist