Wednesday, 11 January 2017

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Dear Zindagi (English: Dear Life) is a 2016 Indian Hindi-language coming-of-age drama film written and directed by Gauri Shinde. It was produced by Gauri Khan, Karan Johar, and Shinde under the banners of Red Chillies Entertainment, Dharma Productions, and Hope Productions respectively. The film features Alia Bhatt in the lead role, with Ira Dubey, Kunal Kapoor, Angad Bedi and Ali Zafar in supporting roles. Shah Rukh Khan plays an extended cameo role in the film. The plot centers on a budding cinematographer named Kaira, who is discontented with her life and meets Dr. Jehangir, a free-spirited psychologist who helps her to gain a new perspective on her life.[4]

The film's development began in 2015, when Shinde signed Bhatt and Shah Rukh Khan for a film to be made under her banner. Principal photography took place in Goa and Mumbai. The film features a score composed by Amit Trivedi and lyrics written mostly by Kausar Munir. Dear Zindagi released on 23 November 2016 in North America, two days before its worldwide release on 25 November 2016, to commercial success and critical acclaim, with major praise directed to Bhatt's performance.

Plot 
The film is set in Mumbai and Goa. Kaira is a promising cinematographer. Fatima, Jackie and Ganju are her three best friends. Her cheerful life becomes a nightmare when Raghuvendra, a film producer for whom she breaks up with her childhood sweetheart, ends up engaged to someone else. Her landlord turns her out of her apartment because the building association wants to rent apartments only to married couples. This serves as a catalyst for her shift to Goa to live grudgingly with her parents. All this leads to her spending many sleepless nights.

While in Goa, she seeks out Dr. Jehangir "Jug" Khan, a Goan psychologist, for her insomnia, after having accidentally heard him talk at a Mental Health Awareness Conference. Meanwhile, she meets a musician, Rumi, for whom she begins to develop feelings, but they break up before anything serious can happen. She also meets her younger brother, Kiddo. Matters with her family come to a head when Kaira has an outburst at a family get-together where she confronts her parents about them abandoning her for years at her grandparents' house.

She finally narrates the story of her abandonment to Jug, who tells her that she fears abandonment so much that she doesn't allow herself to commit in relationships. He convinces her that she doesn't need to forgive her parents for abandoning her, but she can, as an adult, see them as two regular people who made a mistake. He says, "Don't let the past blackmail your present to ruin a beautiful future." After this, Kaira makes an effort to reconcile with her parents and also works to finish her short film.

Kaira tells Jug about how she has grown to like him over the weeks and proposes to him, requesting him to meet her more. However, he rejects this saying that despite liking her, the two will not be able to live together and he does not maintain contact with those who he thereapies. After a last hug, the two part ways, to live two different lives and two different destinies.

The movie ends with a viewing of Kaira's film where she meets a furniture dealer who might turn out to be a prospective lover.

Cast 
Alia Bhatt as Kaira, who is also referred to as "Koko". During her latest interview with Bombay Times, Bhatt spoke about her role. She said that playing the role of Kaira was altogether a very different experience.[5]
Shah Rukh Khan as Dr. Jehangir "Jug" Khan, who helps Kaira in finding her true love. He describes his role by saying, "I am a support in the film, more like an extended cameo. I am very glad to be in this film. I have never played such a role in my entire career."[4]
Ira Dubey as Fatima, Kaira's friend, who is also referred to as "Fatty".
Yashaswini Dayama as Jackie, Kaira's friend
Gautmik as Ganju, Kaira's friend
Rohit Saraf as Kiddo, Kaira's younger brother
Kunal Kapoor as Raghuvendra, a film producer
Angad Bedi as Sid, a restaurant owner
Ali Zafar as Rumi, a musician and singer-songwriter[6]
Aditya Roy Kapur as a furniture dealer (special appearance)
Production 
Development and casting[edit]
Made on a moderate budget, Dear Zindagi was produced by Gauri Khan of Red Chillies Entertainment, Johar of Dharma Productions and Shinde of Hope Productions. The film was directed by Shinde, her second directorial after the comedy-drama film English Vinglish (2012). In August 2015, Shinde revealed that she had "almost" completed working on the script of the film.[7]

Pre-production work began in December 2015, when the film was picked up for the production. Shinde started working in the story for the film. She decided to set the story of the film in Goa and Mumbai.

The editing for the film was headed by Hemanti Sarkar. The dialog team consisted of Krishna Hariharan, Gauri Shinde and Kausar Munir. Laxman Utekar was the cinematographer of the film, and Rupin Suchak was the film's production designer.[8]

A woman standing with legs crossed
Bhatt was eager to work with Shah Rukh Khan in the film
India Today reported that Shah Rukh Khan and Bhatt would star together in Shinde's then-untitled film. Bhatt was very eager to work with Shah Rukh Khan.[7] It is Shah Rukh Khan's first film with Bhatt.[9] It was reported that there would not be any typical romance between the characters of Shah Rukh Khan and Bhatt. Shinde confirmed to The Indian Express saying, "It won't be as typical as one expects man and woman to be together."[10] In April 2016, it was reported that Shah Rukh Khan would play a love guru who would help Bhatt's character to manage the attention of four people and figure out how to find her true love, and Bhatt would play the role of a filmmaker, whose experiences with all four characters would shape her life and work.[11]

The other actors who were signed up for the film include Ali Zafar, who played the role of rockstar and musician; Angad Bedi, who played the role of Kaira's childhood sweetheart, a restobar owner; Kunal Kapoor, who played the role of Kaira's film producer and invested in Bhatt's film; and Aditya Roy Kapur, who played the role of a charming furniture dealer.[12] Ira Dubey and Yashaswini Dayama played the role of Kaira's best friends, while Rohit Saraf played the role of her's brother.[13]


Filming and post-production 
Principal photographing for Dear Zindagi began on 21 January 2016 in Goa.[14] The shoot for the entire film was to be completed in two schedules; one in Goa and the other in Mumbai. The first schedule of Goa was completed in the last week of February 2016 after about 30 days, then the entire cast of the film moved to Mumbai for the second schedule of the film. Bhatt and Shah Rukh Khan enjoyed working together and were looking forward to the next schedule.[15] Bhatt had also moved to Singapore to shoot for a song sequence for the film. The entire shooting of the film ended on 20 May 2016. Bhatt shared the entire shooting experience by posting a group selfie with her team in Singapore, via her Instagram handle.[16]

In March 2016, Bhatt said to India.com that she was very excited about sharing screenspace with Shah Rukh Khan in the film. She had not slept for several nights during the shoot of the film. "It was lovely working with him on the show and on Gauri's film when we recently shot in Goa," she said.[17]

On 23 June 2016, The Times of India reported that the title of the film would be Dear Zindagi.[18]

Release 
The film was released in Canada and the USA on 23 November 2016, and worldwide on 25 November 2016. It opened in about 1200 theatres nationwide and in 600 theatres in other countries.[19] The film also had a special screening on 23 November 2016 in Mumbai.[20]

Box office 
Dear Zindagi opened well in multiplexes in Mumbai, Mysore, Tamil Nadu and Kerala, while in North India it had a comparatively decent opening.[21][22]

Dear Zindagi released earlier in North America on account of the Thanksgiving weekend holidays. The film on its first day collected ₹1.19 crore from 127 screens in the United States and ₹8.29 lacs in Canada from 16 screens. In the extended two day, the film collected about ₹1.58 crore at the North America box office.[23][24]

The film earned a total of ₹94.51 crore in India, grossing ₹139.09 crore worldwide.[3]

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For the village near Tehran, see Tamasha, Iran. For the 2015 Hindi film, see Tamasha (film).
Tamasha (Marathi: तमाशा) is a traditional form of Marathi theatre, often with singing and dancing, widely performed by local or travelling theatre groups within the state of Maharashtra, India.[1] It has also been the subject of several Marathi films. Some Hindi movies have also included Tamasha-themed songs, known as Lavanis, in the past.

Traditional Tamasha is influenced by many Indian art forms and draws from such diverse traditions as kaveli, ghazals, Kathak dance, dashavatara, lalit and kirtan. There are two types of Tamasha: dholki bhaari and the older form, sangeet baari which contains more dance and music than drama. In Maharashtra, the Kolhati groups are traditionally associated with the performance of Tamasha.[1]

Etymology
The word "Tamasha" is originally from Persian, meaning a show or theatrical entertainment of some kind.[2] The word has spread to Hindi, Urdu and Marathi, to mean "fun" or "play". Colloquially the word has come to represent commotion, or any activity or display with bustle and excitement,[3] sometimes ironically in the sense of "a tempest in a teacup".

History
Origin and early years
The region of Maharashtra, has had a long theatrical tradition, one of the early references was found in the cave inscriptions at Nashik by Gautami Balashri, the mother of the 1st-century Satavahana ruler, Gautamiputra Satakarni. The inscription mentions him organizing Utsava and Samaja, forms of theatrical entertainment for his subjects.[4]

Tamasha acquired a distinct form in late Peshwa period of Maratha Empire, in the 18th century,[4] and incorporated elements of older traditional forms like Dasavatar, Gondhal, Kirtan, and Waghya-murali, part of Khandoba Bhakti Geet, amongst worshippers of the local god Khandoba.[5]

In Maharashtra, there are two types of Tamasha, first is dholaki fadcha Tamasha and the other is sangeet baaricha Tamasha. Dholaki Fadcha tamasha is complete art, which includes song, dance, and theater. Now in Maharashtra there are only 18 to 20 full-time tamasha parties. Each tamasha mandal performs approximately 210 days in all over Maharashtra and also some border villages of Karnataka and Gujarat.

Traditional Tamasha format consisted of dancing-boys known as Nachya, who also played women's roles, a poet-composer known as Shahir, who played the traditional role of Sutradhar or a jester known as Songadya, who compered the show. However, with time, women started taking part in Tamasha.[6] Marathi theatre made its beginning in 1843, and in the following years, Tamasha which was primarily constituted of singing and dancing expanded its thematic repertoire and added small dramatic and humorous skits, known as vag, to it. These were either in prose or comprised long narrative poems performed by the Shahir along with his chorus, with actors improvising their lines. Popular Vag composers of the time were Patthe Bapurao and Dattoba Sali, and one of their noted vag, Gadhavache Lagna (Marriage of Donkey) was popularized by Tamasha artist, Dadu Idurikar. Soon, noted Marathi writers started written Vags for Tamasha troupes.[6]

As the textile industry started developing in Mumbai (then Bombay) in the 19th century, workers migrated here from the rural areas in large numbers. Soon their theatre did too, initially rural tamasha companies were invited to the city for performances. Though later numerous local tamasha companies flourished, patronized by mill workers living in Girgaum.[7]

Traditional tamasha practitioners were from castes like Kolhati, Mahar, Mang and Bhatu from rural regions of Maharashtra, labelled low castes within the Indian caste system. Thus, in the late 19th century, religious reformers employed tamasha to castigate the caste system of the region.[8] During the same period, Satyashodhak Samaj founded by Jyotirao Phule started organizing Satyashodhaki jalsa, which used the tamasha tradition in its political and reformist theatre, which was an amalgamation of proscenium tamasha and street theatre.[9]

Post-independence
The rise of modern Marathi theatre movement in the post-independence era, which was largely "literary drama" from with a Westernized idiom, tamasha like other prevalent indigenous theatre forms, like jatra in Bengal and bhavai in Gujarat, was also deemed "debased", even "corrupt", while being relegated to being only "folk" form.[10] The turning away of urban middle class audience from traditional forms, cause a disruption in the theatrical traditions besides creating a divide between urban and rural theatre, as tamasha continued to flourish out the urban pockets.[11]

In 2002, the state had 450 tamasha troupes with approximately 10,000 artistes.[12]

Influence
Main elements of tamasha, like loud humour, suggestive lyrics and dance numbers, proved influential in the development the Bollywood idiom, which is based in Mumbai. Even today, the mainstream cinema or Masala films, complete with their suggestive dance numbers, now known as item number, and humour sequences remain largely entertainment oriented.[13]

Over the years, some modern theatre practitioners have incorporated the traditional forms like tamasha and dashavatar into their plays. In the 1970s, during the rise of modernMarathi theatre, the tamasha form was employed as narrative device and style in several notable plays like Ghashiram Kotwal by Vijay Tendulkar, Vijaya Mehta's Marathi adaptations of Bertolt Brecht's The Good Woman of Setzuan as Devajine Karuna Keli (1972) and Caucasian Chalk Circle as Ajab Nyaya Vartulacha (1974), P. L. Deshpande's Teen paishacha Tamasha (1978), an adaptation of Brecht's The Threepenny Opera.[14][15]

In popular culture
The 1972, Marathi hit film, Pinjra directed by V. Shantaram, starring Shriram Lagoo and Sandhya in lead roles was set in the Tamasha musical theatre.[16] Besides this other Marathi films made of Tamasha include, Sangte Aika (1959) directed by Anand Mane and starring Jayshree Gadkar, Sawaal Majha Aika! (1964) by Anant Mane and starring Jayshree Gadkar, Ek Hota Vidushak (1992) by Jabbar Patel, Natarang (2010) by Ravi Jadhav and Tamasha - Hach Khel Udya Punha (2011) by Milind Pednekar.[17]

A 2006 multilingual documentary film, Silent Ghungroos, traces the origins of Tamasha in the Peshwa period to its contemporary form, where the form competes with modern entertainment mediums.[18]

Tamasha in other languages
The words Tamasha has been used in book and plays titles, including, Jaipur Tamasha, and theatre company, Tamasha Theatre Company.

In the Telugu and Kannada language "tamasha" means funny.[19]

In the Kiswahili language "tamasha" means show or festival.