Recently i saw a movie Road to sangam by amita rai featuring paresh rawal.
I was bulleyed directly or indrectly by my students for why i forced them to see richard attenbourough's GANDHI while learning services marketing.But after seeing this i am relieved as the gandhian thought in me pushes ahead to search and seek truth unconditionally.I did not do anything wrong .I request all of my colleagues and friends and students and beloved to see this movie.Try to have maximum shows of the film if you can.
Let us thank the organisers of KOlhapur and especially Mr UDAY KULKARNI the key person to keep the movement alive in KOLHAPUR.The Kolhapur based film society is really keeping the different and great tradition alive.I request you all to be the member of this society and also spread the message of power of media ,like film to the scattered existentialist society for a bliss of relief.I have cutpasted the review of the film by TOI and now running.com pictures.Please read them carefully with due credits and find some time to see this movie.The promos and pictures are avaliable on youtube also.Please see this movie.
Release Year: 2010
Cast: Paresh Rawal,Om Puri,Pawan Malhotra,Javed Sheikh ,Swati Chitnis,Yusuf Hussain,Masood Akhtar,Rajan Bhise,Sudhir Nema,G P Singh,Vijay Mishra,Tushar Gandhi,Rakesh Shrivastav
Producer: Amit Chheda
Director: Amit Rai
Music Director: Sandesh Shandilya ,Vijay Mishra
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Synopsis
A simple story of a God fearing, devout Muslim mechanic named Hashmat Ullah (Paresh Rawal) who has been entrusted the job of repairing an old V8 ford engine, not knowing the historic significance that it once carried the ashes of Mahatma Gandhi which were immersed in the holy river 'Sangam'
Mayank Shekhar's Review: Road To Sangam
It isn’t acknowledged often enough that Gandhi, the father to this nation, was victim (this day, 62 years ago) to a Hindu fanatic’s bullet. Decades later, Gandhi and his sworn secular followers were shamed further by a government that came to power in this country, pretty much over a desecrated mosque.
To simply suggest the rise of Islamic fundamentalism (in India) as response to that episode (or any other) would be to miss the trees for the woods. Insecure ghettos alone breed fanaticism of any kind. Love for God is a private affair.
These insular, claustrophobic ghettos, built around a single community, are relatively easy to politicise. The rich of the lot become their natural patrons. Sense of nation-state isn’t adequately strong. Qom (community; largely neighbours) come first. The director of this film walks into one such hamlet to help us experience its dynamics.
Paresh Rawal is a master mistri (mechanic) in a provincial Allahabad neighbourhood. He’s also an office-bearer of the local masjid committee. Unknown to him, he’s been working on the repair of a vintage Ford engine that would take Mahatma Gandhi’s ashes for immersion to the Sangam (confluence of rivers Ganga and Yamuna). This ritual was to take place after Gandhi’s death in 1948 as it was done across holy rivers around the country. This last pot of ash remains an administrative oversight. It’d disappeared into a bank vault back then. Better a service late than never.
Rawal’s Hasmat bhai (who gets his Allahabadi twang right down to Amitabh Bachchan’s ‘aayen’) feels an honoured soul. Except, he can’t honour his commitment. A firman (order) has been issued to his community to quit work, shut shops for two weeks. This is to protest against the arrest of a few Muslims as suspects in a bomb attack. Hasmat bhai should fear a fatwa for merely working (defying an order). And that decree may come from the same organisation he’s general secretary of. His superiors (Om Puri; Pavan Malhotra, brilliant as a maulvi) are not pleased. The conflict is strong, and appropriate.
Hasmat bhai, instead of fighting against his friends, covertly appeals to their senses. The filmmaker competently manages to place the individual within larger conflicts we face today. For the common man caught up in such situations, the choice is often between being ostracised, or just going with the public flow. The narrative plays out well. Rai does however subsume himself in the noble intentions to make larger points on the politics of Liaquat, Jinnah, and the creation of Pakistan. Several moments border on self-indulgence. This is often true for good first films. It is noteworthy to watch a Pakistani star (Javed Sheikh) play a part
in a picture that questions the creation of Pakistan itself: a fact, if reversed in history, the filmmaker suggests, could save us Rs 11 lakh crore spent so far on defending borders alone. The position is debatable.
It still irks the filmmaker to see posters of Osama and Pervez (Musharraf) make the walls of Indian ghettos. While he has a point, this could somewhere also be the failure of the Indian state.
Most public artistes had rather not directly touch upon the issue of Islamic fundamentalism than run the risk of being senselessly labeled Islamophobes. It’s the curse of our delicate times. The questions are still important. They shouldn’t be ignored. Neither should this film.
Song : Hum Subah Ke Bhulon Ko
Music : Sandesh Shandilya, Nitin Kumar Gupta, Prem Hariya & Vijay Mishra
Lyrics : Sudhir Nema
Singers : Vijay Mishra, Ghulam Qadir Khan & Ghulam Murtaza Khan
Views : 269
Woh Subah Gaya, Shaam Talak Ghar Nahi Aaya
Use Bhula Huwa Keh Du Mere Dil Mein Nahi Aaya
Main Jisako Pujata Hoon, Woh Mujhako Samajh Kyun Nahi Aaya
Sajde Mein Hoon Umar Se, Asar Kyun Nahi Aaya
Hum Subah Ke Bhulon Ko Pata Ghar Ka Bata De? (3)
Ai Shaah Kalandar Hame Tu Jina Sikha De? (2)
Woh Kaun Si Masti Hai Jise Tune Pa Liya? (3)
Hum Par Bhi Thoda Thoda Thoda, Hum Par Bhi Thoda Thoda
Hum Par Bhi Thoda Sufiyon Se Rang Chadha De? (2)
Hum Subah Ke Bhulon Ko Pata Ghar Ka Bata De
Kehane Ko Bahot Kucch Hai Muh Mein Jubaan Band
Saans Band Baat Band Dil Dimaag Band
Ik Dusare Se Darr Ke Sabhi Ghar Mein Kaid Hai
Kaam Se Bas Kaam Rakhenge Kiwaad Band
Haan Aa Aa... Dard Shida Raha Hai
Mohabbat Ke Taraane Dard-E-Shuda Raha Hai
Mohabbat Ke Taraane
Abb Tak Nahi Ruka Fakir? (2)
Beetein Jamaane, Beetein Jamaane
Hum Bhi Ade Hai Jidd Par, Hum Bhi Hai Sayaane? (2)
Hamane Toh Kar Rakhe Hai Apane? (2)
Aankh Kaan Band, Aankh Kaan Band
Rabba Mere Maula Mere? (4)
Tera Hai Dar Rabba Mere, Khula Huwa Maula Mere
Tera Hai Dar Khula Huwa, Dil Bhi Khula Hai
Bas Tu Hi Jaanata Hai Kya Tujhako Mila Hai
Rabba Mere Maula Mere...
Jo Dekhata Rehata Hai Tu Manjar Woh Dikha De
Baithe Bithaaye Naachane Ka Dhang Sikha De? (2)
Hum Par Bhi Thoda Thoda? (2)
Hum Par Bhi Thoda Sufiyon Se Rang Chadha De
Hum Subah Ke Bhulon Ko Pata Ghar Ka Bata De? (2)
Mehanat Mashhkatto Ke Niwaale Nahi Rahein
Aankhein Milaake Bolane Waale Nahi Rahein
Ghar Ke Bujurg Saare Gharon Se Nikal Gaye
Baahr Abb Bhi Abb Woh Ped Puraane Nahi Rahein
Hmm Budhi Badhi Kahaani Ko Abb Kauna Sunaaye
Naani Nahi Rahi Woh Nawaase Nahi Rahi
Sab Keh Rahe Hain Ya Khuda Kya Waqt Aa Gaya
Roshani Ke Sir Pe Andhera Sa Chha Gaya? (2)
Dharm Khatare Mein Hai Usako Bachaane Nikale Hain
Majhabi Log Abb Majhab Jataane Nikale Hain
Laal Aankhein Liye Khanjar Chalaane Nikale Hain
Naasmajh Log Apana Ghar Jalaane Nikale Hain? (3)
Rabba Mere Maula Mere? (4)
Abb Toh Najar Rabba Mere, Karam Ki Hum Par Maula Mere
Abb Toh Najar Karam Ki Hum Par Bhi Tu Ali Kar
Haq Mein Duwa Hamaare Bhi Toh Thodi Si Kabhi Kar
Tauba Ke Baad Phir Gunaah, Phir Se Tauba Phir Gunaah
Sab Kuchh Galat Salat Hai Nabi Tu Hi Sahi Kar
Rabba Mere Maula Mere? (4)
Nafrat Se Adaawat Se Buraayi Se Badi Se? (2)
Kaise Tune Jeet Liye Jung Bata De? (2)
Hum Par Bhi Thoda? (4)
Hum Par Bhi Thoda Sufiyon Se Rang Chadha De? (2)
Hum Subah Ke Bhulon Ko Pata Ghar Ka Bata De? (3)
Ai Shaah Kalandar Hame Tu Jina Sikha De? (2)
Hum Par Bhi Thoda Sufiyon Se Rang Chadha De? (3)
