Dutta Bhau Background Music 14

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Berry Spitsberg

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Jul 14, 2024, 10:37:21 PM7/14/24
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The film faced criticism during its run but the cinematography itself functions as another narrative thread: the molding of light and shadow, the flow between static and tracking shots and the dramatic use of medium and long shots in many of the films scenes evoke as much emotion as dialogue or music.
The scene where there is an untold acceptance of love between Suresh Sinha and Shanti, we see the lighting changes from lighted face and dark background to dark silhouetted face and lighted background.

dutta bhau background music 14


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In another scene from Kagaz ke Phool, when the director opens the door of the studio and a lonesome figure enters with the light beaming into the dark studio with him. His silhouette against the light conveys much more than words could ever say. The light falls on the actress sitting on a chair. Later, she walks up to him to light the cigarettes, we see that there is darkness all around and the frame has just the two forms that matter, while everything around is meaningless. And later, we see the two of them sitting and the studio lights capture their togetherness, a relationship showcased sensitively on a more humane plane with the magical camerawork using light and shadow. The camerawork becomes even more mysterious, sensitive and meaningful, adding depth to the song that follows.

In the genre of black and white cinema, Guru Dutt seems to have played with it the most in adding to the mood and depth. In Sahab Bibi Aur Gulam, the enigmatic beauty of Chhoti Bahu, her sensuality, and sexuality is enhanced not just by her dialogues and music playing in the background but also through the effect of light where one sees her half obscure image. A certain element of mystery and mystic, with her yearning and longing for her husband, the pain of neglect and humiliation, yet the determination to lure him, add layers to her character and gets beautifully portrayed by highlighting her moods and expressions through the effect of various shades from black to white.

One sees the starkest, breath-taking images of the contrasting black and white, be it the picturisation of the song, Jane woh kaise log thhey jinke pyaar ko pyaar mila, or the haunting Yeh mahalon yeh takhton yeh tajon ki duniya.

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Mr. Ashwini Kaul is a graduate from Film and Television Institute of India (FTII), Pune. He began his career by working on various advertising TVC and corporate films before he began his journey in films. He has worked on various award-winning fiction, non-fiction feature films, short films and also shot films in 3D. He went on to conduct workshops at FTII and Maharashtra Institute of Technology (MIT) and has authored article on photography for photography magazines. His association with Whistling Woods International has been more than a decade old where he heads the department of cinematography.CloseChandrashekar Iyer

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Raman S Iyer, alumni of FTII (Film & Television Institute of India, Pune) from the batch of 1994, has been working as a Director of Photography for audio-visual productions in Television and Film Industry since 1999. During the interim period he gained experience, as an assistant to ace cinematographers of the Indian film industry namely Mazhar Kamran, Vijay Khambatti, Attar Sing Saini, Anoop Jotwani, Anil Mehta, Santhosh Sivan, Ramachandra Babu and S. Kumar.

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Ms. Vedanti Chandrakant Dani holds a diploma in Film Directionfrom Whistling Woods International. She started her career as a writer, director, and editor working on Marathi feature films and continued to assist with various short films, web shows, and ads. She has written and directed 32 short films and two movies; at various film festivals, many of which have been awarded forbest screenplay, best director and best film. Vedanti Dani has been a panelist at the Jaipur International Film Festival and a member of the jury. She also takes workshops throughout in theater and screenwriting on an ongoing basis.CloseSahil Gada

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Vineeja Suresh is a wide-ranged media professional with experience in entertainment journalism, casting for ads and movies, script writing for fiction and non-fiction, ads, television and films, and creative producing for short format digital content. She specializes in all forms of creative writing, particularly in fiction. She, currently, works as a freelance writer, experimenting with the different ways storytelling can be effectively used in different fields of work. She runs 2 youtube channels; a food channel and a channel for storytelling.CloseMrinalini Tiwari

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