Doordarshan, etc: Wisps of Nostalgia (Part-II)

Author's Note: You may read the 1^st part of this series: HERE.

Here's a little trivia regarding "Kitty" of Jasoos Karamchand: the popular misconception that Sushmita Mukherjee is actor Keshto Mukherjee's daughter. In the 70's and early 80's, Keshto Mukherjee specialized in comic drunkard roles in Hindi films. He was a discovery of the legendary Ritwik Ghatak, but it was Asit Sen who ought to be credited for unearthing Keshto Mukherjee's potentials for the patent drunkard act (although he was a teetotaler in real life). Here is Keshto Mukherjee doing his classic act (that of a drunkard) and annoying Utpal Dutt immensely (in the Hrishikesh Mukherjee-directed 1979 classic 'Golmaal'):

Now, think of the latest auteurism that has come out of Ro'hit' Shetty's stable? A (supposedly) 'modern take' on Hrishi-da's classic! Enough said. Think of the other 'masterpieces' being churned out at regular intervals? There seems to be no dearth of Vitamin M - when it comes to sponsoring or financing below-the-nadir stuff. And to think we are bang in the middle of a bottom-less recession! Strange indeed!!

It is true that various channels are exploring new avenues for generating mirth. Shekhar Suman's now-defunct Movers and Shakers tried mime and parody so successfully that one of his prime targets, the then prime minister, Mr. Atal Bihari Vajpayee, personally complimented him. Later Suman anchored Poll Khol wherein he targeted various politicians. Often, the monkey in the show overshadowed the host.

As for Shekhar Suman (SS), he is now a pale shadow of his once-upon-a-time-glory-days of 'Reporter', which kept us glued to the television screens. Samir Hegde of 'Reporter' was a total contrast to Samir Diwan of the laugh-riot 'Dekh Bhai Dekh'. However, both were a far cry from the blabber-box that SS has somehow managed to metamorphose himself into. The much-admired Samir Hegde (from 'Reporter') was a very unassuming, well-meaning, down to earth, investigative journalist. His manner and attitude were more intense, more ponderous and in terms of dialogue ... understandably quite unlike those mouthed by the somewhat frivolous Samir Diwan (from 'Dekh Bhai Dekh'). But we loved them both - one made us think, the other made us laugh. And Shekhar's expressions weren't frozen then. Unfortunately the same cannot be said about his various avatars that plague us now (or have been plaguing us for a while now) - on the idiot-box. Botox has claimed yet another high-profile victim. Muscles and nerves have been 'downsized' as per the signs of the times and have been given the 'golden handshake' aka 'voluntary retirement' too; therefore, no voluntary or involuntary responses or reflexes to be found on the faces of folks facing the arc-lights. Muscles and nerves: RIP.

Sadly, now-a-days, people turn into walking mummies but no pyramids are built anywhere. That's progress, I guess.

Whether 'Movers and Shakers' - the very popular tongue-in-cheek current affairs show hosted by Shekhar Suman in his earlier mobile-faced avatar, complete with an in-house musical band, innovatively christened the 'Rubber-band' - was telecast by DD (Doordarshan) or not, I don't quite remember.

Ditto 'Pradhan Mantri' featuring the versatile Kay Kay Menon and Malvika Tiwari. But 'Ji Mantriji', which took a barbed look at Babudom and featured Farooque Shaikh, was telecast by Star Plus.

We discussed crime-based and detective serials in the 1st part of this series. Frankly, when it comes to iconic detective characters, I prefer the original ... or at least one or the other of their earlier versions. In short: yours truly isn't really taken up with any of the upgraded or modified variations, no matter how many clothes they shed. I mean: the compulsory 'moulting' that actors have to undergo these days, whatever the weather. 

So, Benedict Cumberbatch or no Benedict Cumberbatch, my loyalties firmly lie and will remain with Jeremy Brett - always. He IS Sherlock Holmes. Period. Gazing down from the suitably cavernous windows of 221B, was Jeremy Brett. Watching him stride on the small-screen today - as the peerless detective (thanks to box-set DVDs), I am transported back to my childhood days. Jeremy Brett and Sherlock Holmes continue to thrill and fascinate.

[Jeremy Brett: website.]

During his distinguished 40-year career, however, Brett's repertoire included such diverse roles as the foppish Freddie Eynsford-Hill in the 1964-film version of My Fair Lady, Bassanio, Robert Browning, Che Guevara, Dracula, and even Dr. Watson in a 1980 Los Angeles production of the play The Crucifer of Blood, with the screen-legend Charlton Heston as Holmes. However, Brett's brilliant portrayal of Sherlock Holmes in a series of episodes for British television (filmed between 1984 and 1994) - remains ever-popular. With his intense and ascerbic Holmes, Brett added something to the character (of Holmes) that no one else whom I have seen has done: He brought a sense of humor to the part. And he and David Burke and Edward Hardwicke let us know that this Holmes was very good friends with Dr. John Watson.

Jeremy was very ill by the time the last series of S.H went into production. His ill-health visibly showed but he bravely carried on. Here was a well-known and accomplished actor willing to go to the lengths of losing weight, dying his hair and taking up pipe smoking to properly inhabit the world's most famous detective. It all seems very irresistible; but it also proved fatal for him, leading to a nervous breakdown, repeated illness and a premature death.   

Robert Downey, Jr.? Nah.

Although Sir Arthur Conan Doyle's writings (as well as those of the celebrated Agatha Christie's) were not free from racial leanings and colour, we - the Indians - have always possessed the necessary magnanimity and sophistication required to separate the milk (cream) from the water. The fair and lovely world has failed to acknowledge this. But so what?

However, while the British have preserved the famous (yet fictitious) address - 221B Baker Street; we - the Indians - have destroyed and demolished every inch of the brilliant Shankar Nag's beloved "Malgudi". There are some lessons that we can and should learn from our erstwhile colonial masters; unfortunately, we have been insisting on learning the wrong ones.

I am glad that the "Feluda" series still remain firmly in the hands of the Ray family and Satyajit Ray's son, Sandip Ray, remains perched atop the director's saddle. Otherwise, by now cringe-inducing item numbers, crude jokes, lewd gestures, double-entendre dialogues and adult content would have first wormed their way into the narrative - flaunting the ever-ready laws of necessity, market dynamics, changing tastes of Gen X, reel-life mimicking real-life, aesthetics and whatnot. And though I said, "first wormed their way into the narrative", in reality, all the above would have quickly enveloped and submerged the narrative itself - thanks to sundry moneybags, etc that are so keenly and genuinely 'concerned' about projecting real life onto reel life ... while upholding 'our ancient culture and traditions' - simultaneously. Quite a balancing act, must say.

I so wish Satyajit had made 'Badshahi Angti' (The Emperor's Ring) - even before making 'Shonar Kella' (The Golden Fort). This way, Soumitro would have played Feluda and that would have been a perfect cinematic treat - one, we would have cherished forever. The quartet of Feluda, Sherlock Holmes, Byomkesh Bakshi and Tintin actually made us want to be detectives, no? Here is Soumitro as Feluda (in Shonar Kella) exercising his 'mogojastro' - his agile mind and brilliance:

None can quite match up to Soumitro. He is an enchanting combination of good looks, great personality and classy demeanor; a rich, cultured voice combined with layered and nuanced acting abilities. Many think him to be Satyajit Ray's alter ego. Anyone going gaga over thespian Dilip Kumar's or even the emperor-of-ham, Shahrukh Khan's portrayal of 'Devdas' - should watch the Bangla version featuring Soumitro - in the same role. Superlative. [Those who do not know the language can use the subtitles option.]

Now, weren't all these movies so much better than the heavy-duty-dialogue-spewing-angry-young-man types, heaving bosoms, jhatkas-matkas, cheap jokes, rehashed clichés and all? Weren't they better than what now passes for "new-age cinema" or masquerades as "mass entertainment"? 

Do films really portray real-life? Is reel-life actually inspired by or borrowed from real-life? Or is reel-life a powerful vehicle, instrument and medium - for creating multiple mindsets, one that has been utilized to the hilt? 

As usual ... you decide.

The charm of the classics: be it movies, books or music have not diminished, even after many decades ... and they will most certainly retain their allure after the passage of several more decades. Then why is there a dearth of such movies, books or music (conveniently ascribed to 'changing tastes of Gen X', 'market dynamics' and the like) ?? Why is there a sudden 'paucity of funds'?

What do you think? [Always keep your thinking cap handy - to bring out the mini-Sherlock Holmes in you :)]

Well ... I guess we have discussed enough about movies; lets get back to the television fare of yore.

Some of DD's shows targeted at children (but enjoyed by viewers of all ages) were: Fairy Tale Theatre (that featured all-time favourites like: Beauty and the Beast, Jack and the Beanstalk, Snow White and the Seven Dwarfs, Pinocchio, etc); Dada Dadi Ki Kahaaniyan, Vikram Betaal, Singhasan Battisi, Indradhanush, Space City Sigma, Stone Boy, Malgudi Days, Tenali Rama, Potli Baba Ki, Superhuman Samurai Cyber Squad, Knight Rider, Street Hawk and a suspense-horror serial - Qile ka Rahasya (1989). 

Rex Smith (astride the all-black mesmerizing mean machine) - was played by Jesse Mach. We diligently watched every episode, and that does say it all, doesn't it? :) Do have a look:

Seema Kapoor, actor and TV personality Annu Kapoor's sister and acclaimed actor Om Puri's first wife, helmed the very popular 'Qile Ka Rahasya'. How the jealous, egoistic and insecure Om Puri destroyed her and her very promising career - are stuffs that legends are made of. But I wish this legend were not made; and those of you that have watched this serial would agree, won't you?

I'm still shaking my head though.

[Annu Kapoor is the guy who played Sridevi's editor in Mr. India.]

R.K. Narayan's "Malgudi Days" continue to charm and perhaps DD still telecasts all of the 39 episodes off and on. But there are CDs and DVDs for the ones (like moi) that cannot wait until DD decides to re-telecast them. Here's My Reflections on 'Malgudi Days' and Malgudi: How a village was transformed into R.K. Narayan's fabled town - from the blog archives.

Malgudi Days was and is not the usual comic production. The idyllic setting, innocent characters having small problems, and only imaginary demons to contend with, leave one wishing for such a charmed and laid-back life. When, at the end of an episode, a problem is resolved, one feels contented. A sense of happy satisfaction is the ultimate test of a quality comedy. But can we say: Give us more?! 

Well, you and I both know the answer to that one.

'Malgudi Days' remains one of the most loved, nostalgic television series of all times. I have shared my thoughts in my two earlier posts on Malgudi (links provided above) and therefore ain't deliberating on it again. But this is what my friend Rajdeep had to say: "Malgudi Days has been one of my favorite books over the years. We identify ourselves with those stories. The present generation X does not seem to. They will miss the treasure not us. Unfortunately most of the good books do not have translations in foreign languages. I actually gifted a copy of "Malgudi" to my university library here, though I doubt anyone would ever read it!" [Rajdeep was referring to the library of a well-known University in Japan.]

This, while certain "ist" and "ism"-based writers seem to have no shortage of translators and publishers; no matter how cringe-worthy their works are. *Sigh*

The spicier the contents, the longer the line of translators and publishers - outside their homes and offices; the more coloured, fantasy and figment of imagination-inspired their works on history, the more the takers - and all of them then jointly flood our bookstores and airwaves. Result??

Post the unbottling of the much-vaunted liberalization genie, television has not been indulging in profound issues or even simple entertainment; it keeps doling out stupefying doses of frivolities. The inane soaps churned out sap the intellect and wearies the soul. And, since the entertainment industry caters to the lowest common denominator, it cannot afford to be cerebral. Or so we have been told; and the ones that tell, expect us (viewers) to accept this logic and be 'understanding' too.

Sadly, ever since the almost-namesake of 'Kyunki Chaach Bhi Kabhi Dahi Thi' hit our cable airwaves, all we have been receiving are perfectly coiffed and made-up dolls - glittering sarees, elbow-length churiyan, big bindis, high-heel stilettos, wedge or beaded sandals and all ... preparing tea at the crack of dawn (read: in the blue predawn hours). Perhaps to wake up the roosters for their morning cock-a-doodle-doo, or maybe that too has been outsourced - to this churiyan-brigade. Who knows?

(Stay tuned…)

Pictures: 1. Pic1 - Keshto Mukherjee and Utpal Dutt in Golmaal (1979). 2. Pic2 - Jeremy Brett (as Sherlock Holmes from "The Problem of Thor Bridge". 3. Pic3 - Feluda and Topshe - sketch by Satyajit Ray. 4. Pic4 - Soumitra Chattopadhyay as Feluda (in Satyajit Ray's Shonar Kella). 5. Pic5 - Rex Smith (astride the mesmerizing mean machine) - played by Jesse Mach. 6. Pic6 - R.k. Laxman's sketch for 'Malgudi Days'; don't remember the link :(

Malgudi: How a village was transformed into R.K. Narayan's fabled town.

Author's Note: Please read My Reflections on 'Malgudi Days'.

In this post I'll write about... how a village was transformed into R.K. Narayan's fabled town... and about the genius that was Shankar Nag.

Early in the 1980s, director Shankar Nag handed John Devraj a sheet of paper. It was the script for Malgudi Days, based on R.K. Narayan's stories set in a fictional town in Karnataka. From the words on that page, Devraj, a sculptor, musician, art director and town planner, was asked to create Malgudi in Agumbe, a village in the Western Ghats, roughly 400 km from Bangalore, with a population of about 180 families.

Devraj began to fabricate carts, statues, trains, avenues, shops and temples. "I had to conceptualize everything from scratch," he says. "I had to then make everything by hand-often working 20 hours a day." Twenty-one years after Doordarshan took it off the air, Devraj's handiwork is now available for viewing in Big Home Video's two-volume DVD pack... as well as complete VCD set. Go grab them! What are you waiting for?

The task of building Malgudi was made even more daunting by Agumbe's isolation and by Nag's obsession with detail, note Devraj and several members of the crew. Production controller Jagadish Malnad recalls how one bright day, when everything was in place for a shot, a cloud suddenly floated in front of the sun. "Shankar motioned to me and asked me to move the cloud," he says.

Nag, who was killed in a car accident near Bangalore in September 1990 at the age of 36, invested loads of energy and enterprise into imagining the minutiae of life in Malgudi. "Nothing you see on screen was a result of an accident or chance," says Arundhati Nag, his wife, who also acted in the series. "He went about things with precision. He once asked Malnad to bring in a donkey (accompanied by its master) from Theerthahalli, 20km from Agumbe."

Arundhati says the cast practically lived in the village "in fits and starts" over the three years it took to make the serial. "Agumbe was not accustomed to film crews, so they just let us into their homes," she says. "The village became such a huge part of our lives that my daughter Kavya, who was a year old, went to school there."

Like most of Narayan's works, Malgudi Days is woven with ordinary concerns: the financial worries of a goat-herder, the glee with which a long-awaited letter is received. Nag was intent on preserving Narayan's vision, says Ashok Mandanna, who played the role of a postman in the episode 'The Missing Mail'. "We made the serial at a time when it was possible to take over an entire village and transform it into a fictitious place," says Mandanna. "The logistics and cost of such an enterprise now would prevent people from remaking it."

Arundhati agrees with Mandanna. "If Shankar were to make it today, I don't know if he would try it," she says. "I don't think you can recreate what he did in 1987." That became obvious when director Kavita Lankesh remade the series in 2006. Those episodes, which are also included in this package, lacked the full original cast and were shot in a bustling Agumbe that was twice removed from the sleepy village of Nag's time. No wonder they failed to impress audiences when they aired on Doordarshan.

Here are some excellent captures from Agumbe... almost 25 years after Malgudi Days was shot... courtesy Photographer Aniruddha Chowdhury (link).

For more on John Devraj... Art Director for 'Malgudi Days'... for its 56 episodes, shot on 35mm film format, (English and Hindi): Link.

About Shankar Nag: Shankar Nag's foray into TV would be memorable with the classic Malgudi Days on Doordarshan, which would be familiar to many viewers. Can any one of us forget Swami? I still remember, on listening to the brilliant opening musical score by L. Vaidyanathan... the 'Ta na na tana na na naaaaaaaa' title song/melody, I would just drop everything and rush towards the TV. Such was the attraction it held. For the next 30 minutes or so, I would just lose myself in the story of Swami. In these days of mindless Saas Bahu serials, how much I miss the endearing simplicity and brilliance of Malgudi Days...

Shankar Nag originally known as Shankar Nagarkatte... and lovingly called Shankar Anna ('Anna' means elder brother in Kannada) - by the people of Karnataka... was the younger of the Nag brothers. His elder brother Anant Nag, was a leading actor in Kannada cinema, and also familiar to Hindi audiences via offbeat movies like Ankur, Nishant, Kalyug, Bhumika to name a few. Shankar Nag initially was a theatre artiste, and started his career with the Marathi Theatre in Mumbai. Hailing from the Uttara Kanara region, he was fluent in Kannada, Konkani and Marathi. It was during his theatre days, that he met his future wife Arundhati, who later went on to become a well-known actress in her own right.

Born on 9 November 1954 in Karnataka (in Mallapur village from Honnavar taluk (Near Kumta) of Uttara Kannada district)... Shankar Nag acted as a lead actor in more than 90 Kannada movies from 1978-1990. He co-wrote "22 June 1897", an Indian National Award winning Marathi film.

Girish Karnad offered him the role of a mercenary in the epic movie, "Ondanondu Kaaldalli" (which literally means Once Upon a Time). This 1978 movie was loosely based on Akira Kurosawa's 1954 masterpiece, "Seven Samurai", and was directed by Girish Karnad. One of the finest movies ever made, the movie has some fascinating stunt scenes, involving Kalaripayattu.

His debut film (as an actor) fetched Shankar a National Award at the Delhi International Film Festival. Thus began his film career, where, in a span of 12 years (from 1978 to 1990) he acted in some 90 Kannada movies, as a leading man, besides co-producing (with actor-brother Anant Nag) and directing some films like "Minchina Ota" (a rare example of a heist movie in Kannada) "Janma Janmada Anubandha" and "Geetha" (both of which had melodious music by South Indian music maestro Ilayaraja).

Commercial film producers took notice of Shankar Nag and he began acting in typical masala movies. Shankar was an unconventional hero with an unshaven face, distinct swagger, dark eyes and a rough voice. Although he had never undergone any martial arts training, he earned the sobriquet of 'Karate King'. His popular films include Auto Raja, Geetha, CBI Shankar, S.P. Sangliana, Accident and Minchina Ota.

Shankar's role in the masala flick "Auto Raja", made him the darling of the auto drivers in Bangalore... and he earned yet another sobriquet... that of 'Auto Raja'. It is quite a common sight, to see his potrait on auto rickshaws in Bangalore. Apparently... to this day, in Bangalore, auto drivers would not accept any money from Arundathi Nag (née Rao), whenever she goes to Ranga Shankara (in Bangalore).

Even in "Apoorva Sangama", where he co-starred with Kannada matinee idol Dr. Rajkumar, he made an impact, not a mean feat, considering Annavaru's (tr: beloved elder brother) legendary charisma. He was one of the very few actors who could straddle both the commercial and parallel/art house cinema, without appearing to compromise. But then that was Shankar Nag. He was not a man who cared for labels or someone who craved for recognition. He was a person totally passionate about whatever he did, and whatever he believed in. He was as comfortable in a total masala flick, as he was in a more serious venture.

Apart from TV and movies, Shankar's greatest contribution would be to the cause of Kannada Theatre. Even during the peak of his stardom, he never forgot his theatre roots, and always took an active part in it. He co-founded Sanket, an amateur theatre group with his wife. His group bought famous Kannada plays like Anju Mallige, Barrister, Sandhya Chaya, to stage. His last stage production was Girish Karnad's famous play Naga Mandala, which he co-directed along with Surendra Nath. The Ranga Shankara in Bangalore, is a testimony and a tribute to his vision. Along with Girish Karnad, Anant Nag and B.V. Karanth he would forever be recognized as one of the giants of Kannada Theatre.

Shankar Nag died in a car crash at Anagodu village on the outskirts of Davanagere town on the morning of 30 September 1990, while proceeding to Dharwad with his wife Arundhati Nag and daughter Kavya, for the shooting of his film "Jokumaraswamy". His untimely death in 1990, was a great loss... not only to the Kannada movie industry and Kannada theatre. It was a great loss... to performing arts in general... and to viewers like you and me. 'Coz it is hard to find such a versatile and talented genius.

For more info please visit Shankar Nag's home on the net (Link)

Note: Some info courtesy link.

Photograph: A caricature of people seated at the foot of a statue of a man. Two birds are hovering above the statue, a bicycle is parked at its side, a cow is roaming by near it, and a bus is seen in the backdrop. The people at the foot of the statue include a street vendor, an old man and two others; they are engaged in conversation. Pic courtesy link.

My Reflections on 'Malgudi Days'.

This is my second blog and I am enjoying blogging already!

I guess blogging came about when folks moved away from their 'Dear Diary' moments onto the web. I wish Anne Frank had lived to see this day.

I read somewhere that if you own a blog, it better be something special. I have also read that if one is not putting up something useful or interesting, they are not blogging, they are 'blagging'. Needless to say, I have no intention of doing the latter! Who would want to read about boring and sub-standard stuff? Not me, for sure. I feel thats a criminal misuse of sacred space.

But, this being my blog, I will write about things/events/situations that affected me.

I want to write about 'Malgudi Days' today.

Last year, Sir Jeffrey Archer, the well known English novelist, playwright and short story writer was on a trip to India to promote his latest book 'A Prisoner of Birth'. During one of his interactions with the press and public, he mentioned about his regret for not having read R.K. Narayan's works before. I am sure he must be doing everything within his powers to get himself acquainted with the same, including the classic 'Malgudi Days'.

The 'creator' of 'Malgudi Days' - R. K. Narayan (October 10, 1906 - May 13, 2001) shortened from Rasipuram Krishnaswami Ayyar Narayanaswami at the behest of Graham Greene, was one of the best-known and widely read Indo-English writers. He created the imaginary town of Malgudi, located on the banks of the river Sarayu and surrounded by the Mempi Hills, where realistic characters in a typically Indian setting lived amid unpredictable events. These characters have proved to be timeless. 'Malgudi Days' was my introduction to R.K. Narayan... and I love this classic author! I really enjoyed this collection... they are the kind of stories that will stay with you for several days after reading them.

There is a saying 'Don't judge a book by its movie' or for that matter, serial, if I may say so. 'Malgudi Days' proved to be an exception. The serial was directed by the late Kannada actor/director, Shankar Nag in 1987, and was shot entirely near Agumbe in Shimoga district of Karnataka. Who can forget the famous 'Ta na na tana na na naaaaaaaa'....the title song/melody (by L. Vaidyanathan) of the serial? It was as popular, if not more, than the stories dramatized by the serials themselves. One could almost feel the aroma of the lyrics!

Here is the link to this evergreen song:

http://in.youtube.com/watch?v=bEq0tC3djcg&feature=related

Although television had arrived in India in the 1950's, albeit in its black and white avatar, it wasn't a mass media due to its high cost, logistics and other technical issues. The Government of India undertook several steps to popularize the medium. The 1970s and 1980s saw a boom in television programming. The Ministry of I & B - Government of India... invited independent producers and directors to shoot TV serials on a regular basis. 'Hum log', 'Buniyaad', 'Neem ka ped', 'Waghle ki duniya', 'Mungerilal ke haseen sapne', 'Nukkad', 'Karamchand Jasoos', 'Byomkesh Bakshi', 'Office Office', etc., were some of the memorable serials of this era. These serials have eluded the calls of father time. 'Malgudi Days' was also one such TV serial which left an indelible mark on the Indian television scenario.

The stories revolve around the protagonist, ten-year old Swaminathan. 'Swami'... to his friends and family. Swami portrays the growing pangs of a boy who despises school, as he makes excuses and roams around Malgudi with his friends, playing cricket and day dreaming along the way. Swami's father works in a government office (of the British Raj era) and his mother is a housewife. At home, Swami shares his adventures with his aged granny, who lovingly addresses him as 'Chamy'. Swami also has two close friends - the hotheaded Mani and the son of the Police Superintendent, Rajam - a cocky, brash, rich kid. Master Manjunath enacted Swami's character while the sketches for the serial were done by R.K. Narayan's younger brother and acclaimed cartoonist, R.K. Laxman. There were about 39 episodes in all. 'Swami and Friends', 'Vendor of Sweets', 'The Undelivered Mail', 'A Hero', 'The Hoard', 'Leela's Friend', to name a few. No one has captured the essence of rural India like R.K. Narayan and 'Malgudi Days' is a glittering example. Each story stands out for its simplicity, innocence and Indian ness. A must and a thorougly enjoyable read. The TV series of the same name... has done complete justice to the original book.

Following is the link to these episodes for everyone who would love to relive their happy childhood and keep it for posterity:

http://in.youtube.com/watch?v=R7xvU95eXLk

'Malgudi Days' has been an integral part of my growing up years. I still remember the excitement and the scramble to grab vantage spots in front of the television everytime the serial came on air. As they say... 'Old is gold'. Does that mean 'New is silver' or 'new is bronze' or 'new is brass' or 'new is carbon?'... Hmmm. Food for thought. What say?

After the liberalization of the economy, with the advent of the cable TV, we were flooded with channels and thought we would be spoilt for choice! Since a mere DD telecasted so many good nay great serials, not to forget the two mythological epics 'Ramayan' and 'Mahabharat' we were about to see several high quality ones from every channel, each vying for the viewers attention.

Or so we thought. And were quickly brought down to terra firma, left to reminisce about the past glories of television serials. 'Quality' and 'Quantity' do not go hand-in-hand any more. Sadly.

Photograph: The house in which 'Malgudi Days' was shot in Agumbe, Karnataka (India).