Thursday, 31 July 2025

EAST GERMANY

 The Deutsche Demokratische Republik (German Democratic Republic) was a European state that was created in 1949 when the northeastern zone of occupied Germany under Soviet control became its own country after World War II. Accordingly, it was Commie Land.


The leaders of the freshly founded GDR were Walter Ulbricht ("the guy with the Lenin beard"), Wilhelm Pieck ("the guy with the potbelly") and Otto Grotewohl ("the guy with the glasses"—not this one, obviously). As early as 1953, shortly after Josef Stalin's death, the state had its first big crisis when workers rose against the government on June 17th. It didn't end too well. Even Communist author Bertolt Brecht criticized the government in his poem The Solution: "Would it not be simpler then for the government/To dissolve the people and elect another?"


Under considerable Soviet influence (and with a huge Soviet military presence, the Group of Soviet Forces in Germany), East Germany is best known for the massive amount of surveillance carried out on its citizens by its Secret Police, the Ministerium für Staatssicherheit (Ministry for State Security), known as "The Stasi". Its police force, the Volkspolizei (People's Police, known as "Vopos" for short) were also fairly notorious. It built the Berlin Wall and heavily fortified the Iron Curtain to stop its people from fleeing to the West (officially, it was to prevent Western spies going East—it probably did that, toonote ).


Like any proper People's Republic of Tyranny, the German Democratic Republic did have elections, and other parties than the Marxist-Leninist SED, but they were far from democratic. East Germans called this voting "Falten gehen" (going to fold), because anybody who did anything but fold their ballot (like crossing out candidates, or even staying at home) and put it in the urn immediately became suspicious. As the East Germans said, the only way to vote was "by foot", i.e., leaving the GDR for West Germany. Well, until 1961 that is, afterwards this was less of an option.


During its early years, the conservative West German government did everything they could not to acknowledge East Germany's existence; breaking off diplomatic relations with every state (other than the USSR, which was too big to ignore) that acknowledged the GDR, calling it derogatory names like "Ostzone" (east zone), "Sowjetische Besatzungszone" (Soviet-occupied Zone), "so-called GDR" and "Undeutsche Undemokratische Diktatur" (Un-German Undemocratic Dictatorship), and generally claiming that western Germany was the only legitimate German state. The GDR rulers did the same, just the other way round. Later, in 1971, under Social Democrat Willy Brandt, inter-German relationsnote  improved (the so-called Neue Ostpolitik, "New Eastern Policy") and relations with the Eastern Bloc were established. However, all the way until 1990 there was a lot of Insistent Terminology on the part of West Germany when it came to the East. For instance, the "embassy" in East Berlin was not called a Botschaft ("Embassy") but a "ständige Vertretung" (idiomatically, "Permanent Mission") and maps went to absurd lengths when describing the de facto borders of Europe with terms like "administered by Poland" for the former German territories east of Oder and Neiße.


East Germany was one of the economic success stories of Commie Land, with a decent agricultural system and enough manufacturing to put consumer goods within reach of many; their flag reflects this with its hammer and pair of compasses surrounded by wheat instead of the ubiquitous sickle. They achieved this even though their government, like all the others of Commie Land, invested far more than was necessary into the military and heavy industry. In fact, while the 1989 protesters had popular support for doing away with the oppressive regime, many East Germans were proud of their state and were not happy with the way that East Germany "became part of the effective area of the Basic Law of Germany" quite so summarily.note  At least not after realising that reunification did not bring them an instant paradise, and that the now-ruling Western leaders weren't shy about handing out pink slips.note 


The Eastern side did have a pretty good military, getting the full Soviet versions of military tech rather than the weaker export versions. Planned the one or other raid on West Germany too, but the unification stopped the plan before it could be executed. Their uniforms, though... Due to Germany still being, in many regards, an occupied country with two separate and independent governments, the Western powers (US, UK, France) had Military Liaison Missions in the GDR, allowing them to observe Soviet forces in action.


It allowed churches to operate freely, provided they didn't get political. It also treated the LGBT Community in the most progressive way of the Eastern Bloc nation. This dates back to the German Communist Party's support of Magnus Hirschfeld's policies in the Weimar Republic (which preceded Stalin's homophobic reversal). The Paragraph 175 homophobic legislation from Imperial Germany remained on the books in both West and East Germany, but East Germany stopped enforcing it in The '50s and took a far more moderate approach albeit it absolutely forbade the creation of any public Gayborhood and kept the closet in force. In sharp contrast to West Germany, where the Churches opposed LGBT rights, in East Germany, Protestant Churches helped nurture the underground gay community. In The '80s, East Germany reversed homophobia and opened the first state-owned gay disco while the Supreme Court of East Germany affirmed, that "homosexuality, just like heterosexuality, represents a variant of sexual behavior. Homosexual people do therefore not stand outside socialist society, and the civil rights are warranted to them exactly as to all other citizens." In some respects, East Germany was a lot more progressive than West Germany on this issue, albeit the latter's development of free society and free speech allowed for openly gay artists and gay communities to develop, which did not quite happen behind the Wall.


East Germany also did quite well in sporting events... largely because many of its athletes were doped up to the eyeballs with the latest performance-enhancing drugs, in an effort to make the Communist regime look like it was working on the international stage. Most would suffer serious health problems as a result. In American TV of the 1970s and '80s, look for many jokes about East German sportswomen not really being women due to the Brawn Hilda-esque features that the drugs produced in female athletes. On the flip side to this, no one could accuse figure skater Katarina Witt, who won two Olympic golds in 1984 and 1988 along with a string of other titles, of being male; her elaborate and revealing costumes (which the the International Skating Union would change their rules to ban) led to her being dubbed "the most beautiful face of socialism" by TIME Magazine and who posed nude for a sell-out Playboy after the Wall came down. Less amusingly, some female athletes were so badly messed up by the doping regimen (which in some cases started at the age of ten) that they had to undergo a full sex change operation, while others found themselves unable to properly bear children.


The country's sole native ethnic minority were the Sorbs/Wends, located around the eastern border. Whenever someone needed a Token Minority for a piece of media or a public display to contrast the progressive nature of the state with its predecessors, they were the ones to go for (on the other hand, they had been treated badly since the Middle Ages, so that's a significant step upwards).


Most of East Germany could pick up West German TV networks, which helped undermine the regime. The channels couldn't be jammed since it would also jam West Germany and that would be bad diplomatically. The Dresden and Rügen areas couldn't, so were dubbed "The Valley of the Clueless". This was done a) because GDR television was full of propaganda and b) it appears not to have been that good. The only programmes that Wikipedia discusses in its English version are:


Der schwarze Kanal ("The Black Channel"—derived from a German plumbing term for sewer): Think of a Communist MSTing of West German television news, only without the humour. Or the popularity.note  (May fall under So Bad, It's Good, though.) Or, basically, you'd have clips of West German news programmes and presenter Karl-Eduard von Schnitzlernote  providing pro-regime, anti-Western commentary on those clips in an attempt to undermine beliefs that Western news was more accurate than the Eastern offering...

Aktuelle Kamera—the East German TV news broadcast, which was pretty much Propaganda. (After 1953 at least, prior to which it was even quite critical of the regime until coverage of the Uprising in that year put paid to that.)

In Good Bye, Lenin!, several real-life clips from the show are shown alongside edited-in fake reports made by the main character and his budding filmmaker friend in order to fool the former's mother into thinking communism never fell.

Ein Kessel Buntes ("A Kettle of Colour")—A Variety Show, shown six times a year. Hollywood production standards and (usually past their prime) Western celebrities. Continued into the Berlin Republic and still turns up in re-runs.

Das Spielhaus ("The Playhouse")—a popular puppet thing.

Sandmännchen—A children's show which holds the world record for most episodes (over 22,000 and counting). This time it was West Germany which created a copy which never reached the popularity of the original.

Polizeiruf 110 ("Police call 110")—A Police Procedural, originally the Alternate Germany Equivalent of ARD's Tatort (albeit one that averted Always Murder in an attempt to "educate" the people), this series moved to Das Erste after reunification and basically became indistinguishable from its new inspiration (and stablemate).

East Germany's most famous consumer products were the Exacta and Praktica cameras (the Praktica brand still exists; it was part of the Kombinat Volkseigener Betrieb Zeiss Jena (how's that for a company name, eh?) that invented the prism SLR design which is still the standard for cameras today—one of the few Communist inventions to have an impact in the West), MZ motorcycles (whose engine technology gave Suzuki quite a boost early in The '60s after one of MZ's factory riders defected to join Suzuki) and the Trabant car, which was, by Western standards, obsolete before the '60s were over but gave many a Worker and his family the opportunity to move themselves about a bit, trailing a blue two-stroke smoke cloud. It pretty much disappeared from the East German streets as soon as the Wall opening brought other choices, but it's now considered a classic car. Some drivers have succeeded in making their Trabants capable of passing the MoT, Britain's strict government-mandated roadworthiness test; divine intervention is suspected. However the Trabant, suitably renovated, is making a bit of a comeback today among enthusiasts, who rebuild them into customized hotrods or simply restore them to better-than-new conditions. Probably the most visible East German product on modern store shelves is Vita Cola, the de facto official soft drink of the DDR. While it went insolvent like most East German companies following reunification, the lingering memory of it proved viable enough that it was revived in 1994, and today it is sold on store shelves across Germany, particularly in the former East. It rivals the Hamburg-based Fritz Cola as being Germany's most popular homegrown soft drink. It is known for its strong lemon and citrus flavor.


The GDR was also famous for its bureaucratic nomenclature. Coffins for example were named Erdmöbel (literally: ground furniture), or the term Sättigungsbeilage (literally: Well, it is difficult to translate, really. It would be something like "a filling side dish", and means stuff like potatoes, dumplings or rice as a supplement to a proper mealnote ). Even more hilarious were the words they invented for religious symbols, like Frühjahrsschokoladenhohlkörper (hollow chocolate article of spring—a chocolate Easter Bunny) and Jahresendflügelpuppe (winged doll of the year's end—a Christmas angel for the Christmas tree and the like). The reason: Religion wasn't verboten in the GDR, but the ruling people didn't like it too much either. To what extent anybody ever actually and seriously used any of those words is still debated, much like alleged Berlin slang terms for several landmarks in Berlin that only tourists and guidebooks actually seem to use.


The East Germans had their own state airline. They originally called it Deutsche Lufthansa, but the West Germans complained and got awarded that trademark, so it adopted the name of a separate charter airline: Interflug.


On the other hand, the East German rail network retained the pre-1945 name of Deutsche Reichsbahn ("German Imperial Railways"), while the West Germans renamed theirs Deutsche Bundesbahn ("German Federal Railways"). This may have been done since several treaties dating to the end of World War II mentioned special privileges—particularly relating to trackage rights in West Berlin, including the right to run the S-Bahn there—given by name to Deutsche Reichsbahn that might not have transferred automatically to VEB Bahn der DDR or some such, so it was best not to risk it. In 1994 the two were unified to form the new "Deutsche Bahn AG", though the name "Bundesbahn" somehow still sticks around in the minds of many West-Germans. The GDR-Reichsbahn is famous among many a Rail Enthusiast because steam died very late in the GDR. Until well into the 1980s, steam was employed on main lines which was mostly due to the lack of electrification (all pre-war electrification was taken to the Soviet Union as war reparation) and the fact that the GDR had lignite in abundance but hardly any oil deposits (up until the 1980s, however, the GDR was able to get plentiful cheap oil from the Soviet Union; as a result, diesel locomotives and oil-fired steam locomotives were in common use until the 1980s, when the Soviet Union began demanding that other Comecon countries pay for oil with hard currency; as a result, in that decade, an ambitious electrification program was undertaken, with hundreds of new electric locomotives being built). Steam's main downsides (inefficiency and need for a lot of human labor) were of no major concern to the GDR authorities, as they wanted everybody to have a job (and only got it done by having a lot of people work less than full jobs, but paying them as if they were) and lignite was cheap and plentiful. As to speed, the horrible condition of most tracks allowed no more than 120 km/h on most lines, which was well within reach of pre-war era steam locomotives anyway. Also, after unification, the Meiningen Steam Locomotive Works, proved quite useful for steam locomotive restoration projects in Europe due to possessing the appropriate facilities and machinery of constructing new boilers and the knowledge of maintaining steam locomotives.


The GDR was allocated an ISO 3166-1 code, but it never got a full domain code. Had it survived to get one, it would have been .dd. It had the international calling code +37, now divided up among some former Soviet states.


There is a degree of "Ostalgie" ("Eastalgia") in The Berlin Republic, including GDR-themed parties. Indeed, some GDR era architecture and murals still remain iconic parts of the ex-Eastern Germany, and memorabilia is still openly sold in "Ost-Shops". Some of these GDR symbols like the Berlin tower and Amplemann traffic light have even graduated to being icons of reunified Germany as a whole. Basically, if you want a good example of Ostalgie, visit a DDR museum in the East where you will learn about various atrocities of the regime. Once that tour ends, you'll be subject to a big Mood Whiplash where a tourist shop sells a whole bunch of DDR-themed souvenirs and snacks which (most) East Germans find amusing more than insulting. While obviously ex-East Germans hate the wall and oppression, many are more partial to cultural DDR symbols and memorabilia compared to their Western counterparts who have an aversion to it like it was the Third Reich all over again.


The German abbreviation for "German Democratic Republic" is "DDR" ("Day-Day-Air" in the German pronounciation), but has nothing to do with DanceDanceRevolution (or with double-data-rate synchronous dynamic random-access memory).


In a curious note, the DDR also did not own an island off the coast of Cuba as a gift from Castro, although some incredibly funny people like to twist facts to make it look that way.


One holdover from the DDR era is that some traffic lights have a green arrow under them. What does this mean? As long as the coast is clear, you can turn off even if the light is red. When West Germans found this out after reunification, they loved it (but it didn't catch on over there). If you don't spot it, be prepared for some honks from impatient drivers behind you.


Since approximately 1990 "Ossi" is the German slang term for a former East German, "Wessi" being the West Germany counterpart. Until then, "Zoni"note  was used for people from the GDR, "Wessi" was used by the people in West Berlin for those from West Germany and "Ossi" was used in jokes about people from East Frisia.


The German Democratic Republic (GDR), German: Deutsche Demokratische Republik (DDR), often known in English as East Germany, existed from 1949 to 1990.[1] It covered the area of the present-day German states of Mecklenburg-Vorpommern, Brandenburg, Berlin (excluding West Berlin), Sachsen, Sachsen-Anhalt, and Thüringen. This area was occupied by the Soviet Union at the end of World War II excluding the former eastern lands annexed by Poland and the Soviet Union, with the remaining German territory to the west occupied by the British, American, and French armies. Following the economic and political unification of the three western occupation zones under a single administration and the establishment of the Federal Republic of Germany (FRG, known colloquially as West Germany) in May 1949, the German Democratic Republic (GDR or East Germany) was formally founded on 7 October 1949 as a sovereign nation.


East Germany's political and economic system reflected its status as a part of the Eastern Bloc of Soviet-allied Communist countries, with the nation ruled by the Socialist Unity Party of Germany (SED) and operating with a command economy for 41 years until 3 October 1990 when East and West Germany were unified with the former being absorbed into the latter's existing system of liberal democracy and a market economy.


Creation, 1945–1949

Division of Germany


Occupation zone borders in Germany, 1947. The territories east of the Oder-Neisse line, under Polish and Soviet administration/annexation, are shown as white, as is the likewise detached Saar protectorate. Berlin is the multinational area within the Soviet zone.

The Yalta Conference

At the Yalta Conference, held in February 1945, the United States, United Kingdom, and the Soviet Union agreed on the division of Germany into occupation zones. Soviet leader Joseph Stalin favored the maintenance of German unity, but supported its division among the Allies, a view that he reiterated at Potsdam.[2] Estimating the territory that the converging armies of the western Allies and the Soviet Union would overrun, the Yalta Conference determined the demarcation line for the respective areas of occupation. It was also decided that a "Committee on Dismemberment of Germany" was to be set up. The purpose was to decide whether Germany was to be divided into several nations, and if so, what borders and inter-relationships the new German states were to have. Following Germany's surrender, the Allied Control Council, representing the United States, Britain, France, and the Soviet Union, assumed governmental authority in postwar Germany. Economic demilitarization however (especially the stripping of industrial equipment) was the responsibility of each zone individually.



The Oder-Neisse Line

The Potsdam Conference

The Potsdam Conference of July/August 1945 officially recognized the zones and confirmed jurisdiction of the Soviet Military Administration in Germany (German: Sowjetische Militäradministration in Deutschland, SMAD) from the Oder and Neisse rivers to the demarcation line. The Soviet occupation zone included the former states of Brandenburg, Mecklenburg-Vorpommern, Saxony, Saxony-Anhalt, and Thuringia. The city of Berlin was placed under the control of the four powers. The German territory east of the Oder-Neisse line, equal in size to the Soviet occupation zone, was handed over to Poland and the Soviet Union for de facto annexation. This territory transfer was seen as a compensation for Nazi German military occupation of Poland and parts of the Soviet Union. The millions of Germans still remaining in these areas under the Potsdam Agreement were over a period of several years expelled and replaced by Polish settlers (see Expulsion of Germans after World War II), while millions of ethnic Germans from other Eastern European countries poured into Allied-occupied Germany. This migration was to such an extent that by the time the German Democratic Republic was founded, between a third and a quarter of the population of East Germany was Heimatvertriebene, i.e. ethnic German migrants who fled or were expelled as part of a wider trend of population transfer among the countries and regions of Eastern Europe following World War II.[3]



Map showing the different borders and territories of Poland and Germany during the 20th century, with the current areas of Germany and Poland in dark gray


1951 East German stamp commemorating the Treaty of Zgorzelec establishing the Oder-Neisse line as a "border of peace", featuring the presidents Wilhelm Pieck (GDR) and Bolesław Bierut (Poland)

Reparations


Allocation policy for "surplus" German heavy industry under the "Level of Industry" plans

Each occupation power assumed rule in its zone by June 1945. The powers originally pursued a common German policy, focused on denazification and demilitarization in preparation for the restoration of a democratic German nation-state. Over time, however, the western zones and the Soviet zone drifted apart economically, not least because of the Soviets' much greater use of disassembly of German industry under its control as a form of reparations. Reparations were officially agreed among the Allies from 2 August 1945, with 'removals' prior to this date not included. According to Soviet Foreign Ministry data, Soviet troops, organised in specialised "trophy" battalions, removed 1.28m tons of materials[clarification needed] and 3.6m tons of equipment, as well as large quantities of agricultural produce).[4] No agreement on reparations could be reached at the Potsdam Conference, but by December 1947 it was clear that Western governments were unwilling to accede to the Soviet request for $10bn in reparations (which the Soviets placed into perspective by calculating total war damage of $128bn).[5] (In contrast the Germans estimate a total loss of German property, due to the border changes promoted by the USSR and the population expulsions, of 355.3 billion Deutschmarks).[6] As a result, the Soviets sought to extract the $10bn from its occupation zone in eastern Germany, in addition to the trophy removals[clarification needed]; Naimark (1995) estimates that $10bn was transferred in material form by the early 1950s, including in 1945 and 1946 over 17,000 factories, amounting to a third of the productive capital of the eastern occupation zone.[7]


In the western zones, dismantling and/or destruction of German industry continued until 1951 in accordance to the (several times modified) "German level of industry" agreement connected with the Potsdam Conference whereby Germany was to be treated as a single unit and converted into an "agricultural and light industry economy". By the end of 1948 the US had dismantled or destroyed all war-related manufacturing capability in its occupation zone.[8] In accordance with the agreements with the USSR, shipment of dismantled industrial installations from the west began on March 31, 1946. Under the terms of the agreement the Soviet Union would in return ship raw materials such as food and timber to the western zones. When the Soviets did not fulfil their side of the agreement, the US temporarily halted shipments east, and they were never resumed. It was later shown that although these events were subsequently used for cold war propaganda purposes against the Soviet Union, the main reason for halting shipments east was not the behaviour of the USSR but rather the recalcitrance of France.[9] Material received by the USSR included equipment from the Kugel-Fischer ballbearing plant at Schweinfurt, the Daimler-Benz underground aircraft-engine plant at Obrigheim, the Deschimag shipyards at Bremen-Weser, and Gendorf power station.[10][11]


Military industries and those owned by the state, by Nazi activists, and by war criminals were confiscated by the Soviet occupation authority. These industries amounted to about 60% of total industrial production in the Soviet zone. Most heavy industry (constituting 20% of total production) was claimed by the Soviet Union as reparations, and Soviet joint stock companies (German: Sowjetische Aktiengesellschaften—SAG) were formed. The remaining confiscated industrial property was nationalized, leaving 40% of total industrial production to private enterprise.


Agrarian reforms

The agrarian reform (Bodenreform) expropriated all land belonging to owners of more than 100 hectares of land as well as former Nazis and war criminals and generally limited ownership to 1 square kilometre (0.39 sq mi). Some 500 Junker estates were converted into collective people's farms (German: Landwirtschaftliche Produktionsgenossenschaft—LPG), and more than 30,000 square kilometres (12,000 sq mi) were distributed among 500,000 peasant farmers, agricultural laborers, and refugees. State farms were also set up, called Volkseigenes Gut (State-owned Property).


Political tensions

Growing economic differences combined with developing political tensions between the US and the Soviet Union (which would eventually develop into the Cold War) were manifested in the refusal in 1947 of the SMAD to take part in the USA's Marshall Plan. In March 1948, the United States, Britain and France met in London and agreed to unite the Western zones and to establish a West German republic. The Soviet Union responded by leaving the Allied Control Council, and prepared to create an East German state. The division of Germany was made clear with the currency reform of 20 June 1948, which was limited to the western zones. Three days later a separate currency reform was introduced in the Soviet zone. The introduction of the Deutsche Mark to the western sectors of Berlin, against the will of the Soviet supreme commander, led the Soviet Union to introduce the Berlin Blockade to try to gain control of the whole of Berlin. The Western Allies decided to supply Berlin via an airbridge. This lasted 11 months until the Soviet Union lifted the blockade on 12 May 1949.


Political developments

An SMAD decree of June 10, 1945 allowed the formation of antifascist democratic political parties in the Soviet zone; elections to new state legislatures were scheduled for October 1946. A democratic-antifascist coalition, which included the KPD, the SPD, the new Christian Democratic Union (Christlich-Demokratische Union—CDU), and the Liberal Democratic Party of Germany (Liberal Demokratische Partei Deutschlands—LDPD), was formed in July 1945. The KPD (with 600,000 members, led by Wilhelm Pieck) and the SPD in East Germany (with 680,000 members, led by Otto Grotewohl), which was under strong pressure from the Communists, merged in April 1946 to form the Socialist Unity Party of Germany (Sozialistische Einheitspartei Deutschlands—SED) under pressure from the occupation authorities. In the October 1946 elections, the SED polled approximately 50% of the vote in each state in the Soviet zone. However, a truer picture of the SED's support was revealed in Berlin, which was still undivided. The Berlin SPD managed to preserve its independence and, running on its own, polled 48.7% of the vote while the SED, with 19.8%, was third in the voting behind the SPD and the CDU.


In May 1949, elections were held in the Soviet zone for the German People's Congress to draft a constitution for a separate East German state. Members of the Nazi party were drawn and elections were held from the slate of candidates drawn from different organizations of the anti-fascist coalition. Communists won this election, thereby holding a majority of seats in the People's Congress. According to official results, two-thirds of voters approved the unity lists.


The SED was structured as a Soviet-style "party of the new type". To that end, German communist Walter Ulbricht became first secretary of the SED, and the Politburo, Secretariat, and Central Committee were formed. According to the Leninist principle of democratic centralism, each party body was controlled by its members, meaning that Ulbricht, as party chief, theoretically carried out the will of the members of his party.


Incidentally, the party system was designed to allow re-entry of only those former NSDAP adherents who had earlier decided to join the National Front, which was originally formed by emigrants and prisoners of war in the Soviet Union during World War II. Political denazification in the Soviet zone was thus handled rather more transparently than in the Western zones, where the issue soon came second to considerations of practicality or even just privacy.[citation needed]


In November 1948, the German Economic Commission (Deutsche Wirtschaftskomission—DWK), including antifascist bloc representation, assumed administrative authority. Five months after declaration of the western Federal Republic of Germany (better known as West Germany), on October 7, 1949, the DWK formed a provisional government and proclaimed the establishment of the German Democratic Republic (East Germany). Wilhelm Pieck, a party leader, was elected first president. On October 9, the Soviet Union withdrew her East Berlin headquarters, and subsequently it outwardly surrendered the functions of the military government to the new German state.

School Master is a 1958

 



School Master is a 1958 Indian Kannada language film, produced and directed by B. R. Panthulu. The film starred B.R. Panthulu himself in the lead role along with Dikki Madhava RaoM. V. RajammaUdaykumarSivaji GanesanGemini Ganesan and B. Saroja Devi in important roles. It was the first Kannada film to complete a Silver Jubilee Celebration. This film had its children's dance drama in Gevacolor, taken by cinematographer W. R. Subba Rao. It was later remade into various other languages including TeluguMalayalam and Hindi.

Panthulu came up with film versions of this story in various languages. In 1958, School Master was directed by him. It was dubbed in Tamil and Telugu as Engal Kudumbam Perisu and Badi Pantulu, respectively. In 1959, ALS Productions remade the story in Hindi as School Master, again directed by Panthulu.

The Malayalam version School Master was released in 1964, directed by Puttanna Kanagal and starring Prem NazirK. BalajiThikkurissi Sukumaran NairSivaji GaneshanRaginiAmbikaSowcar JanakiAranmula Ponnamma, and Bahadur.The film was a super hit.

In 1972, the movie was remade in Telugu as Badi Pantulu, starring NTR. In 1973 the same story was again filmed in Tamil with the same name, School Master, starring Gemini Ganesan.

It was the first Kannada movie to be remade in four languages.[1] The movie is based on 1937 English movie Make Way for Tomorrow [2] which had already been adapted in Japanese in 1953 as Tokyo Story, in Marathi in 1954 as Oon Paus by Raja Paranjpe, in Tamil as Varavu Nalla Uravu (which went on to be remade in Telugu as Dabbu Bhale Jabbu and in Malayalam as Achan Kombathu Amma Varampathu) , in Pakistani as Samaj (1972) and in Hindi twice as Zindagi and Baghban ( which was remade in Kannada again in 2007 as Ee Bandhana).



The story revolves mostly around the producer/director B. R. Panthulu who plays the role of school master, and his wife. Uncommonly for Balkrishna, he plays a positive role in the film. Bustling actor Narasimharaju is also present.

A humble school teacher with his two sons and a daughter arrives at a new place. He finds that the school building is in bad shape and his staff are not motivated to teach. He is a strict disciplinarian, which is shown in a humorous way.

His elder son gets into fight with a ruffian student, Vaasu. Vaasu is punished, but his innate goodness wins over his teacher. He is given special care, to become a good student.

The teacher has to fight against village politics, when he wishes to build a new building to the school. Undeterred, he motivates his students and villages to amass enough funds to build it.

However, henchmen in the village burn down his house. His pet student Vaasu gathers all his friends and builds a small house for his teacher.

Years pass and Vaasu tops his matriculation exams.

The teacher's sons get married, much against the wishes of their parents, but the teacher takes it in his stride. Their beautiful daughter is married to a simpleton business man.

When the teacher retires, his sons are averse to take their parents. With no savings of his own, the teacher has to rely on his sons to lead a retired life. The elder son takes his father, while the younger one takes his mother. The teacher is thus separated from his wife.

Things take such a bad turn, that teacher cannot even read his wife's letter, because his sons will not provide him with spectacles.

In the climax, the teacher's erstwhile house, which was painfully constructed by his students, has to be auctioned off. Vaasu (Sivaji Ganeshan), now the Superintendent of Police, happens to pass by in the car and notices the auction. Distraught with pain, he confides to his wife, this is the very house, he built with his fellow students for the teacher, who led him to the garden path. He is overcome by emotions, on seeing the auction. Vaasu's wife immediately removes all her jewellery and urges Vaasu to use them to stop the auction and pay the bank. Vaasu is filled with joy and does so.

The teacher is filled with happiness on seeing his once ruffian student becoming a role model. His journey of being a teacher has met a satisfactory end.

Soundtrack[edit]

The film's score was composed by T. G. Lingappa.

Kannada version[edit]

School Master Playback singers are A. M. RajahT. G. LingappaPithapuram Nageswara RaoSoolamangalam RajalakshmiP. SusheelaA. P. KomalaK. Rani and K. Jamuna Rani.


No.SongSingersLyricsLength (m:ss)
1"Ati Madhuraa Anu Raaga"A. M. Rajah & K. Jamuna Rani03:27
2"Ellaru Nammavare"A. P. Komala03:06
3"Raadhaa Maadhava Vinodha Haasa"T. G. Lingappa & P. Susheela03:12
4"Innenu Aananda"Soolamangalam Rajalakshmi03:02
5"Swami Devane Loka Paalane"T. G. Lingappa, A. P. Komala & K. Rani02:39
6"Bannirai Bannirai"A. P. Komala & K. Rani02:58
7"Naanu Neenu Jodi"Pithapuram Nageswara Rao & Soolamangalam Rajalakshmi03:23
8"Bhaameya Nodalu"Soolamangalam Rajalakshmi03:12
9"Sompaada Sanjevele"T. G. Lingappa & P. Susheela03:27
10""A. P. Komala & K. Rani06:48

GULZAR RAKKI

 








சம்பூரன் சிங் கல்ரா (பிறப்பு 18 ஆகஸ்ட் 1934), தொழில் ரீதியாக குல்சார் அல்லது குல்சார் சாப் என அழைக்கப்படுகிறார், ஒரு இந்திய பாடலாசிரியர், கவிஞர், எழுத்தாளர், திரைக்கதை எழுத்தாளர் மற்றும் திரைப்பட இயக்குனர் ஆவார். [1] அவர் தனது வாழ்க்கையை இசையமைப்பாளர் எஸ்.டி. பர்மன் 1963 திரைப்படமான பாண்டினியில் பாடலாசிரியராக இருந்தார் மற்றும் ஆர்.டி. பர்மன், சலில் சவுத்ரி, விஷால் பரத்வாஜ் மற்றும் ஏ.ஆர்.ரஹ்மான் உட்பட பல இசை இயக்குனர்களுடன் பணியாற்றினார். அவருக்கு 2004 ஆம் ஆண்டில் பத்ம பூஷன், இந்தியாவின் மூன்றாவது உயரிய குடிமகன் விருது, [2] சாகித்ய அகாடமி விருது, மற்றும் தாதாசாகேப் பால்கே விருது-இந்திய சினிமாவின் மிக உயர்ந்த விருது. அவர் 5 இந்திய தேசிய திரைப்பட விருதுகள், 22 பிலிம்பேர் விருதுகள், ஒரு அகாடமி விருது மற்றும் ஒரு கிராமி விருது ஆகியவற்றை வென்றுள்ளார். [3] [4]


குல்சார் கவிதை, உரையாடல் மற்றும் வசனங்களையும் எழுதுகிறார். அவர் 1970 களில் ஆந்தி மற்றும் மusசம் போன்ற படங்களையும் 1980 களில் மிர்சா காலிப் என்ற தொலைக்காட்சித் தொடர்களையும் இயக்கியுள்ளார். அவர் 1993 இல் கிர்தார் இயக்கியுள்ளார்.




ஆரம்பகால வாழ்க்கை [தொகு]

குல்சார் ஒரு சீக்கிய குடும்பத்தில் சம்பூரன் சிங் கல்ராவாக, மகான் சிங் கல்ரா மற்றும் சுஜன் கவுர் ஆகியோருக்கு, பிரிட்டிஷ் இந்தியாவில் (தற்போதைய பாகிஸ்தான்) ஜீலம் மாவட்டத்தின் தினாவில் பிறந்தார். பள்ளியில், அவர் தாகூரின் படைப்புகளின் மொழிபெயர்ப்புகளைப் படித்தார், அதை அவர் தனது வாழ்க்கையின் பல திருப்புமுனைகளில் ஒன்றாகக் குறிப்பிட்டார். பிரிவினையால், அவரது குடும்பம் பிளவுபட்டது, மேலும் அவர் தனது படிப்பை நிறுத்திவிட்டு மும்பைக்கு (பின்னர் பம்பாய் என்று அழைக்கப்பட்டு) தனது குடும்பத்தை ஆதரிக்க வேண்டியிருந்தது. பெல்லாசிஸ் சாலையில் (மும்பை) விசாரே மோட்டார்ஸில் உள்ள ஒரு கேரேஜில் ஒரு வாழ்க்கை உட்பட சம்பூரன் மும்பையில் பல சிறிய வேலைகளை மேற்கொண்டார். [5] அங்கு அவர் விபத்தில் சேதமடைந்த கார்களை வண்ணப்பூச்சு நிழல்களைக் கலந்து தொடுவதை வழக்கமாக கொண்டிருந்தார், அவருடைய சொந்த வார்த்தைகளில் 'எனக்கு வண்ணங்களில் ஒரு திறமை இருந்தது'. ஆரம்பத்தில் எழுத்தாளராக இருந்ததற்காக அவரது தந்தை அவரை கண்டித்தார். அவர் குல்சார் தீன்வி மற்றும் பின்னர் குல்சார் என்ற புனைப்பெயரை எடுத்தார். [6] ராஜ்யசபா தொலைக்காட்சிக்கு அளித்த பேட்டியில், அவர் ஒரு ஓவியராக தனது வேலையை அனுபவித்ததை விவரித்தார், ஏனெனில் இது ஒரே நேரத்தில் படிக்கவும், எழுதவும், கல்லூரியில் சேரவும் மற்றும் PWA (முற்போக்கு எழுத்தாளர்கள் சங்கம்) உடன் ஈடுபடவும் நிறைய நேரம் அனுமதித்தது. [1] [7] 


பாடலாசிரியர் [தொகு]

PWA ஞாயிறு கூட்டங்களில் அவர் உரையாடியபோதுதான் ஷைலேந்திரா மற்றும் பிமல் ராய் அவரை படங்களில் சேர ஊக்குவித்தனர். குல்சார் திரைப்பட இயக்குனர்கள் பிமல் ராய் மற்றும் ஹ்ரிஷிகேஷ் முகர்ஜியின் கீழ் தனது வாழ்க்கையைத் தொடங்கினார். அவரது ரவி பார் என்ற புத்தகத்தில் பிமல் ராய் மற்றும் படைப்பின் வேதனை பற்றிய கதை உள்ளது. பாண்டினி (1963) திரைப்படத்திற்காக இசை அமைப்பாளர் சச்சின் தேவ் பர்மனுடன் பாடலாசிரியராக தனது வாழ்க்கையைத் தொடங்கினார். திரைப்படங்களில், அவர் பணிபுரிந்த குழுவில் இலக்கியத்துடன் தொடர்புடைய சூழலைக் கண்டார், பிமல் ராய் உட்பட, பெரும்பாலான படங்கள் இலக்கியப் படைப்புகளை அடிப்படையாகக் கொண்டவை. [9] படத்தில் மீதமுள்ள பாடல்களை எழுதிய ஷைலேந்திரா, லதா மங்கேஷ்கர் பாடிய 'மோரா கோரா அங் லைல்' பாடலை எழுத குல்சரிடம் கோரிக்கை விடுத்தார். [3] [4] [10]


ஹ்ரிஷிகேஷ் முகர்ஜி இயக்கி தயாரித்த, 1968 திரைப்படம் ஆசீர்வாத் குல்சார் எழுதிய உரையாடல்கள் மற்றும் பாடல்கள். குல்சார் எழுதிய பாடல் வரிகள் மற்றும் கவிதைகள் கவிதை பண்பு மற்றும் 'மிகவும் தேவையான கூடுதல் பரிமாணம்' [11] படத்தில் அசோக்குமாரின் பாத்திரத்திற்கு கொடுத்தது. இந்த பாத்திரத்திற்காக அசோக்குமார் பிலிம்பேர் மற்றும் தேசிய திரைப்பட விருதுகளில் சிறந்த நடிகரைப் பெற்றார். [11] இருப்பினும், குல்சாரின் பாடல் 1969 கமோஷி வரை அதிக கவனத்தை ஈர்க்கவில்லை, அங்கு அவரது பாடல் 'ஹம்னே தேகி ஹை உன் ஆன்கோன் கி மெஹேக்தி குஷ்பூ' (வெளிச்சம், 'அந்த கண்களின் வாசனையை நான் பார்த்தேன்') பிரபலமடைந்தது. கணேஷ் அனந்தராமன் தனது புத்தகமான பாலிவுட் மெலடிஸ் குல்சாரின் பாடல் வரிகளை, உணர்வுபூர்வமான கலவையுடன், 'தைரியமாக மீறல்' என்று விவரிக்கிறார். மன் கி சக்தி தேனா 'என்பது இந்தியாவின் பல பள்ளிகளில் இன்றும் பாடப்படும் ஒரு பிரார்த்தனை. [14]


ஒரு பாடலாசிரியராக, குல்சார் இசை அமைப்பாளர் ராகுல் தேவ் பர்மனுடன் நெருங்கிய தொடர்பைக் கொண்டிருந்தார். அவர் சச்சின் தேவ் பர்மன், சங்கர் ஜெய்கிஷன், ஹேமந்த் குமார், லஷ்மிகாந்த் - பியாரேலால், மதன் மோகன், ராஜேஷ் ரோஷன் மற்றும் அனு மாலிக் ஆகியோருடன் பணியாற்றியுள்ளார். [3] [4] [10] [15] குல்சார் சலீல் சdத்ரியுடன் ஆனந்த் (1971) மற்றும் மேரே அப்னே (1971) ஆகிய படங்களில் பணியாற்றினார். மவுசத்தில் மதன் மோகன் (1975), மற்றும் சமீபத்தில் விஷால் பரத்வாஜுடன் மாச்சிஸ் (1996), ஓம்காரா (2006) மற்றும் காமினி (2009); தில் சே .. குல்சார் அமீர் குஸ்ரோவின் 'ஏய் சர்பதே ஆஷிகி' யிலிருந்து உத்வேகம் பெற்று மணிரத்னத்தின் 2007 ஆம் ஆண்டின் ஹிந்தி திரைப்படமான குருவுக்காக 'ஏ ஹைரதே ஆஷிக்கி' எழுத, ஏ.ஆர்.ரஹ்மான் இசையமைத்திருந்தார். [16] மற்றொரு ரத்னம்-ரஹ்மான் ஹிட், தில் சேவின் 'சாய்யா சய்யா' .. கவிஞர் புல்லே ஷாவின் பாடல்களுடன், 'தாய் தைய்யா' என்ற சூஃபி நாட்டுப்புற பாடலை அடிப்படையாகக் கொண்டு குல்சார் எழுதிய பாடல்களும் இருந்தன. [17] டேனி பாயலின் 2007 ஆம் ஆண்டு ஹாலிவுட் படமான ஸ்லம்டாக் மில்லியனருக்காக ரஹ்மானுடனான மற்றொரு ஒத்துழைப்புக்காக, ரஹ்மானும் குல்சாரும் 81 வது அகாடமி விருதுகளில் 'ஜெய் ஹோ' சிறந்த அசல் பாடலுக்கான அகாடமி விருதை வென்றனர். இந்தப் பாடல் சர்வதேசப் பாராட்டைப் பெற்றது மற்றும் மோஷன் பிக்சர், தொலைக்காட்சி அல்லது பிற விஷுவல் மீடியாவுக்காக எழுதப்பட்ட சிறந்த பாடலுக்கான கிராமி விருது என்ற பிரிவில் அவருக்கு கிராமி விருதை (ரஹ்மானுடன் பகிரப்பட்டது) வென்றது. [3] [4] [18] [19] அவர் பாகிஸ்தானிய நாடகமான ஷெஹ்ரியார் ஷெஷாதிக்கு ஒரு பாடலை எழுதினார், மேலும் இந்த பாடல் தெரி ராசா, ரேகா பரத்வாஜ் பாடியது மற்றும் விஷால் பரத்வாஜ் இசையமைத்தார்.


திசை [தொகு]

ஆசீர்வாத், ஆனந்த் மற்றும் காமோஷி போன்ற படங்களுக்கு உரையாடல்கள் மற்றும் திரைக்கதை எழுதிய பிறகு, குல்சார் தனது முதல் படமான மேரே அப்னே (1971) ஐ இயக்கினார். இந்த படம் தபன் சின்ஹாவின் வங்காள திரைப்படமான அபஞ்சனின் (1969) ரீமேக். மீனா குமாரி ஆனந்தி தேவியின் முக்கிய வேடத்தில் நடித்தார், வேலையில்லாத மற்றும் துன்புறுத்தப்பட்ட இளைஞர்களின் உள்ளூர் சண்டைகளுக்கு இடையில் பிடிபட்ட ஒரு வயதான விதவை. ஒரு சண்டையில் ஆனந்தி தேவியின் மரணம் வன்முறையின் பயனற்றதை அவர்களுக்கு உணர்த்துகிறது. இந்த படம் பாக்ஸ் ஆபிஸில் 'சராசரிக்கு மேல்' என மதிப்பிடப்பட்டது. [10] [20] பின்னர் அவர் பரிச்சய் மற்றும் கோஷிஷ் இயக்கினார். பரிச்சய் ஒரு பெங்காலி நாவலை அடிப்படையாகக் கொண்டது, ராஜ் குமார் மைத்ராவின் ரங்கீன் உத்தரேன் மற்றும் ஹாலிவுட் திரைப்படமான தி சவுண்ட் ஆஃப் மியூசிக் மூலம் ஈர்க்கப்பட்டது. [21] காது கேளாத தம்பதியர் சந்தித்த போராட்டத்தின் அடிப்படையில் அவர் கோஷிஷின் கதையை எழுதினார், அதில் சஞ்சீவ் குமார் சிறந்த நடிகருக்கான தேசிய திரைப்பட விருதை வென்றார். [22] 1973 ஆம் ஆண்டில், 1958 ஆம் ஆண்டு கொலை வழக்கு கேஎம் நானாவதி வி மஹாராஷ்டிரா மாநிலத்தால் ஈர்க்கப்பட்ட அச்சனக்கை அவர் இயக்கினார், மேலும் கதை எழுத்தாளர் குவாஜா அகமது அப்பாஸ் சிறந்த கதைக்கான பிலிம்பேர் பரிந்துரையைப் பெற்றார். [10] [23] பின்னர் அவர் கமலேஸ்வரின் இந்தி நாவலான 'காளி ஆந்தி'யை அடிப்படையாகக் கொண்டு ஆனந்தியை இயக்கினார். பல்வேறு வெற்றிகள் மற்றும் பரிந்துரைகளுடன், இந்த திரைப்படம் சிறந்த திரைப்படத்திற்கான பிலிம்பேர் விமர்சகர்கள் விருதையும் வென்றது. இந்த படம் முன்னாள் இந்தியப் பிரதமர் இந்திரா காந்தியின் வாழ்க்கையை அடிப்படையாகக் கொண்டது என்று நம்பப்பட்டாலும், இந்தப் படம் தர்கேஸ்வரி சின்ஹாவின் வாழ்க்கையை அடிப்படையாகக் கொண்டது. 1975 இன் அவசரகாலத்தில், படம் திரையரங்குகளில் இருந்து தடை செய்யப்பட்டது. [10] [21] [24] அவரது அடுத்த படம் குஷ்பு, சரத் சந்திர சட்டோபாத்யாயின் பண்டிட் மஷேயை அடிப்படையாகக் கொண்டது. 2 வது சிறந்த திரைப்படத்திற்கான தேசிய விருதை வென்ற அவரது மusசம், [25] பிலிம்பேர் சிறந்த திரைப்படம் மற்றும் பிலிம்பேர் சிறந்த இயக்குநர் விருதுகள், மற்ற ஆறு ஃபிலிம்ஃபேர் பரிந்துரைகளுடன், நாவலான தி ஜூடாஸ் ட்ரீயின் 'வானிலை' கதையை தளர்வாக அடிப்படையாக கொண்டது. , AJ மூலம் க்ரோனின். அவரது 1982 திரைப்படமான அங்கூர் ஷேக்ஸ்பியரின் நாடகமான தி காமெடி ஆஃப் எரர்ஸை அடிப்படையாகக் கொண்டது



அவரது படங்கள் சமூகப் பிரச்சினைகளில் சிக்கிய மனித உறவுகளின் கதைகளைச் சொன்னது. லிபாஸ் ஒரு நகர்ப்புற தம்பதியரின் திருமணத்திற்குப் புறம்பான கதை. ஆட்சேபனைக்குரிய பொருள் காரணமாக, படம் இந்தியாவில் வெளியிடப்படவில்லை. [26] தனது விபச்சாரியான மகளின் வாழ்க்கையை மேம்படுத்த முயற்சிக்கும் ஒரு தந்தையின் கதையை மusசம் சித்தரித்தார். மச்சீஸில், ஒரு பஞ்சாபி சிறுவன் பயங்கரவாதத்தில் ஒரு மோசமான சூழ்நிலையை எதிர்த்து அதன் தற்காலிக இயல்பை உணர மட்டுமே போராடுகிறான். ஹு து து இந்தியாவில் ஊழல் மற்றும் அதை எதிர்த்து போராட ஒரு மனிதன் எப்படி முடிவு செய்கிறான். [4] [10] [27] [28]


குல்சார் தனது கதைகளின் விவரிப்பில் 'ஃப்ளாஷ்பேக்' ஐ மிகவும் திறம்பட பயன்படுத்துகிறார் (ஆந்தி, மusசம், இஜாசாத், மச்சிஸ், ஹு து து). அவர் பல்வேறு நடிகர்கள் மற்றும் பிற குழுவினருடன் பரஸ்பர கூட்டு வைத்திருக்கிறார். குல்சார் - சஞ்சீவ் குமார் கூட்டாண்மை சில சிறந்த படங்களில் விளைந்தது (கோஷிஷ், ஆந்தி, மusசம், அங்கூர், நாம்கீன்) இது ஒரு நடிகராக சஞ்சீவ் குமாரின் மிகச்சிறந்த படைப்பை பிரதிபலிக்கிறது. [28] ஜீதேந்திரா (பரிச்சாய், குஷ்பூ, கினாரா), வினோத் கன்னா (அச்சனக், மீரா, லேகின்) மற்றும் ஹேமா மாலினி (குஷ்பு, கினாரா, மீரா) போன்ற நடிகர்கள் குல்சருடன் கலைஞர்களாக மரியாதை பெற வேலை செய்தனர் மற்றும் அவர்களின் சிறந்த மற்றும் மிகவும் உள்நோக்க வேலைகளை படங்களில் வழங்கினர் . [28] ஆர் டி பர்மன் 1970 கள் மற்றும் 1980 களில் இயக்கிய கிட்டத்தட்ட அனைத்து திரைப்படங்களுக்கும் (பரிச்சாய், குஷ்பு, ஆந்தி, அங்கூர், இஜாசாத், லிபாஸ்) பாடல்களை இயற்றினார். அவர்களின் பல பிரபலமான பாடல்கள் கிஷோர் குமார், லதா மங்கேஷ்கர் மற்றும் ஆஷா போஸ்லே ஆகியோரால் பாடப்பட்டன. இவற்றில் 'முசாஃபிர் ஹூன் யாரோன்' (பரிசாய்), 'தேரே பினா ஜிந்தகி சே கோய்' (ஆந்தி), மற்றும் 'மேரா குச் சமான்' (இஜாசாத்) ஆகியவை அடங்கும். [28]


1988 ஆம் ஆண்டில், குல்சார் ஒரு பெயரிடப்பட்ட தொலைக்காட்சித் தொடரான ​​மிர்சா காலிப்பை இயக்கினார், இதில் நசீருதீன் ஷா நடித்தார் மற்றும் தூர்தர்ஷனில் ஒளிபரப்பப்பட்டது. பின்னர் அவர் பிரேம்சந்தின் நாவல்கள் பற்றி தஹ்ரீர் முன்ஷி பிரேம்சந்த் கி இயக்கினார். [4]


கவிதை [தொகு]

குல்சார் முதன்மையாக உருது மற்றும் பஞ்சாபியில் எழுதுகிறார்; பிரஜ் பாஷா, கரிபோலி, ஹரியன்வி மற்றும் மார்வாரி போன்ற பல மொழிகளைத் தவிர. அவரது கவிதை திரிவேணி வகை சரணத்தில் உள்ளது. [4] அவரது கவிதைகள் மூன்று தொகுப்புகளில் வெளியிடப்பட்டுள்ளன; சந்த் புக்ராஜ் கா, ராத் பாஷ்மினே கி மற்றும் பாண்ட்ரா பாஞ்ச் பச்சட்டர். அவரது சிறுகதைகள் ரவி-பார் (பாகிஸ்தானில் டஸ்ட்காட் என்றும் அழைக்கப்படுகிறது) மற்றும் துவான் (புகை) ஆகியவற்றில் வெளியிடப்பட்டுள்ளன. [4]


அமைதி பிரச்சாரத்திற்காக அமன் கி ஆஷா, இந்தியாவின் மற்றும் பாகிஸ்தானின் முன்னணி ஊடக நிறுவனங்களால் கூட்டாகத் தொடங்கப்பட்டது, குல்சார் சங்கர் மகாதேவன் மற்றும் ரஹத் ஃபதே அலி கான் ஆகியோரால் பதிவு செய்யப்பட்ட 'நாசர் மைன் ரெஹ்தே ஹோ' என்ற கீதத்தை எழுதினார். [29] குஜார் கஜல் மேஸ்ட்ரோ ஜக்ஜித் சிங்கின் ஆல்பங்களான 'மராசிம்' (1999) மற்றும் 'கோய் பாத் சேலே' (2006) கஜல்களை எழுதியுள்ளார். [30]


பிற பங்களிப்புகள் [தொகு]

குல்சார் ஜங்கிள் புக், ஆலிஸ் இன் வொண்டர்லேண்ட், ஹலோ ஜிந்தகி, குச்சே மற்றும் விஷால் பரத்வாஜுடன் போட்லி பாபா கி உள்ளிட்ட பல தூர்தர்ஷன் தொலைக்காட்சி தொடர்களுக்கு பாடல் மற்றும் உரையாடல்களை எழுதியுள்ளார். கராடி டேல்ஸ் என்ற குழந்தைகளுக்கான ஆடியோ புத்தகத் தொடருக்காக அவர் சமீபத்தில் எழுதி விவரித்தார். [4] [31] குல்சார் ஆருஷியுடன் தொடர்புடையவர், [32] ஏக்லாவ்யா அறக்கட்டளை கல்வித் துறையில் பணிபுரியும் மத்திய பிரதேசத்தின் போபாலில் அமைந்துள்ள ஒரு தன்னார்வ தொண்டு நிறுவனம். [32] [33] [34] சக்மக் இதழுக்கு கதைகள் மற்றும் கவிதை எழுதியுள்ளார். குல்சார் ஆனந்த், மேரே அப்னே, ஓம்காரா மற்றும் பல பாலிவுட் திரைப்படங்களிலும் பணியாற்றியுள்ளார்.


கல்வி [தொகு]

ஏப்ரல் 2013 இல், குல்சார் அசாம் பல்கலைக்கழகத்தின் அதிபராக நியமிக்கப்பட்டார். [35]


தனிப்பட்ட வாழ்க்கை [தொகு]

குல்சார் நடிகை ராக்கியை மணந்தார். இந்த தம்பதிக்கு மேகனா குல்சார் என்ற மகள் உள்ளார். மேக்னா குல்சார் தனது தாய் மற்றும் தந்தையுடன் வளர்ந்தார், குல் சார் இரு  வருட மண வாழ்விற்கு பின் தன் மனைவியை 

விட்டு பிரிந்தார் .என்றாலும் விவாகரத்து செய்து கொள்ளவில்லை .   நியூயார்க் பல்கலைக்கழகத்தில் திரைப்படத் தயாரிப்பில் பட்டப்படிப்பை முடித்த பிறகு, ஃபில்ஹால், ஜஸ்ட் மேரிட், டஸ் கஹானியன், தல்வார், ராஜி, மற்றும் சபாக் போன்ற படங்களின் இயக்குநரானார் [36] ( அதற்காக குல்சார் பாடல் வரிகளை எழுதினார்) [37] மற்றும் அவரது தந்தை குல்சாரின் வாழ்க்கை வரலாற்றை 2004 இல் எழுதினார். [38]


விருதுகள் மற்றும் பரிந்துரைகள் [தொகு]

முக்கிய கட்டுரை: குல்சார் பெற்ற விருதுகள் மற்றும் பரிந்துரைகளின் பட்டியல்

2019 ஆம் ஆண்டு நிலவரப்படி, குல்சார் 5 தேசிய திரைப்பட விருதுகள், 22 ஃபிலிம்ஃபேர் விருதுகள், சிறந்த அசல் பாடலுக்கான 1 அகாடமி விருது (2008), 1 கிராமி விருது (2010), 2002 உருதுக்கான சாகித்ய அகாடமி விருது உட்பட மொத்தம் 36 விருதுகள் மற்றும் கெளரவங்களை வென்றுள்ளார். பத்ம பூஷன் (2004), மற்றும் 2013 தாதாசாகேப் பால்கே விருது

Sampooran Singh Kalra (born 18 August 1934), known professionally as Gulzar or Gulzar Saab, is an Indian lyricist, poet, author, screenwriter, and film director.[1] He started his career with music director S.D. Burman as a lyricist in the 1963 film Bandini and worked with many music directors including R. D. BurmanSalil ChowdhuryVishal Bhardwaj and A. R. Rahman. He was awarded Padma Bhushan in 2004, the third-highest civilian award in India,[2] the Sahitya Academy Award, and the Dadasaheb Phalke Award — the highest award in Indian cinema. He has won 5 several Indian National Film Awards, 22 Filmfare Awards, one Academy Award and one Grammy Award.[3][4]

Gulzar also writes poetry, dialogues and scripts. He directed films such as Aandhi and Mausam during the 1970s and the TV series Mirza Ghalib in the 1980s. He also directed Kirdaar in 1993.


Early life[edit]

Gulzar was born in a Sikh family as Sampooran Singh Kalra, to Makhan Singh Kalra and Sujan Kaur, in DinaJhelum DistrictBritish India (present-day Pakistan). In school, he had read translations of the works of Tagore which he recounted as one of his life's many turning points. Due to the partition, his family split and he had to stop his studies and come to Mumbai (then called Bombay) to support his family. Sampooran took up many small jobs in Mumbai to eke out a living, including one at a garage at Vichare motors on Bellasis road (Mumbai).[5] There he used to touch up accident-damaged cars by mixing shades of paint, in his own words "I had a knack for colours". His father rebuked him for being a writer initially. He took the pen name Gulzar Deenvi and later simply Gulzar.[6] In an interview with Rajyasabha TV, he recounted enjoying his work as a painter as it allowed him a lot of time to simultaneously read, write, attend college and be involved with the PWA (Progressive Writers Association).[1][7][8]

Career[edit]

Lyricist[edit]

It was during his interactions in the PWA Sunday meetings that Shailendra and Bimal Roy encouraged him to join films. Gulzar began his career under film directors Bimal Roy and Hrishikesh Mukherjee. His book Ravi Paar has a narrative of Bimal Roy and the agony of creation. He started his career as a songwriter with the music director Sachin Dev Burman for the movie Bandini (1963). In films, he found an environment associated with literature in the group he worked with, including Bimal Roy, most of whose films were based on literary works.[9] Shailendra, who has penned the rest of the songs in the movie requested Gulzar to write the song "Mora Gora Ang Layle", sung by Lata Mangeshkar.[3][4][10]

Directed and produced by Hrishikesh Mukherjee, the 1968 film Aashirwad had dialogues and lyrics written by Gulzar. Song lyrics and poems written by Gulzar gave the poetic attribute and the "much-needed additional dimension"[11] to Ashok Kumar's role in the film. Ashok Kumar received the Best Actor at the Filmfare and at the National Film Awards for this role.[11] Gulzar's lyrics, however, did not gain much attention until 1969's Khamoshi, where his song "Humne Dekhi Hai Un Aankhon Ki Mehekti Khushboo" (lit., "I have seen the fragrance of those eyes") became popular. Ganesh Anantharaman in his book Bollywood Melodies describes Gulzar's lyrics, with the purposeful mixing of the senses, to be "daringly defiant".[12][a][13] For the 1971 film Guddi, he penned two songs, of which "Humko Man Ki Shakti Dena" was a prayer which is still sung in many schools in India.[14]

As a lyricist, Gulzar had a close association with the music director Rahul Dev Burman. He has also worked with Sachin Dev BurmanShankar JaikishanHemant KumarLaxmikant–PyarelalMadan MohanRajesh Roshan, and Anu Malik.[3][4][10][15] Gulzar worked with Salil Chowdhury in Anand (1971) and Mere Apne (1971); Madan Mohan in Mausam (1975), and more recently with Vishal Bhardwaj in Maachis (1996), Omkara (2006) and Kaminey (2009); A. R. Rahman in Dil Se.. (1998), Guru (2007), Slumdog Millionaire (2008) and Raavan (2010) and Shankar–Ehsaan–Loy in Bunty Aur Babli (2005).[3][4][10] Gulzar took inspiration from Amir Khusrow's "Ay Sarbathe Aashiqui" to pen "Ay Hairathe Aashiqui" for Mani Ratnam's 2007 Hindi film Guru, which had music composed by A. R. Rahman.[16] Another Ratnam-Rahman hit, "Chaiyya Chaiyya" from Dil Se.. also had lyrics written by Gulzar, based on the Sufi folk song "Thaiyya Thaiyya", with lyrics by poet Bulleh Shah.[17] For another collaboration with Rahman for Danny Boyle's 2007 Hollywood film Slumdog Millionaire, Rahman and Gulzar won the Academy Award for Best Original Song for "Jai Ho" at the 81st Academy Awards. The song received international acclaim and won him a Grammy Award (shared with Rahman) in the category of Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media.[3][4][18][19] He also wrote a song for the Pakistani Drama Shehryar Shehzadi, and this song Teri Raza, has been sung by Rekha Bhardwaj and was composed by Vishal Bhardwaj.

Direction[edit]

After writing dialogues and screenplay for films such as AashirwadAnand and Khamoshi, Gulzar directed his first film Mere Apne (1971). The film was a remake of Tapan Sinha's Bengali film Apanjan (1969). Meena Kumari played the lead role of Anandi Devi, an old widow caught in between the local fights of unemployed and tormented youngsters. Anandi Devi's death in one of the fights makes them realise the futility of violence. The film was rated "Above Average" at the box office.[10][20] He then directed Parichay and KoshishParichay was based on a Bengali novel, Rangeen Uttarain by Raj Kumar Maitra and inspired from the Hollywood film The Sound of Music.[21] He wrote the story of Koshish based on the struggle faced by a deaf-dumb couple wherein Sanjeev Kumar won National Film Award for Best Actor.[22] In 1973, he directed Achanak, inspired by the 1958 murder case KM Nanavati v State of Maharashtra, and the story writer Khwaja Ahmad Abbas earned a Filmfare nomination for Best Story.[10][23] Later he directed Aandhi, based on the Hindi novel "Kaali Aandhi" by Kamleshwar. Along with various wins and nominations, the film also won Filmfare Critics Award for Best Movie. Although the film was believed to be based on the life of former Indian Prime Minister Indira Gandhi, the film was based on life of Tarkeshwari Sinha. In the 1975's emergency, the film was banned from theatres.[10][21][24] His next film Khushboo was based on Sharat Chandra Chattopadhyay's Pandit Mashay. His Mausam, which won the National Award for 2nd Best Feature Film,[25] Filmfare Best Movie and Filmfare Best Director awards, along with other six Filmfare nominations, was loosely based on the story "Weather", from the novel, The Judas Tree, by A.J. Cronin. His 1982 film Angoor was based on Shakespeare's play The Comedy of Errors.[4][10]

His films told stories of human relationships entangled in social issues. Libaas was a story of an extra-marital affair of an urban couple. Due to its objectionable subject, the film never got released in India.[26] Mausam pictured a story of a father who tries to improve the life of his prostitute-daughter. In Maachis, a young Punjabi boy engages in terrorism to fight a bad situation only to realise its temporary nature. Hu Tu Tu dealt with corruption in India and how a man decides to fight it.[4][10][27][28]

Gulzar uses "flashback" in the narration of his stories very effectively (Aandhi, Mausam, Ijaazat, Machis, Hu Tu Tu). He also has mutual partnerships with various actors and other crew. The Gulzar – Sanjeev Kumar partnership resulted in few fine films (Koshish, Aandhi, Mausam, Angoor, Namkeen) which represent Sanjeev Kumar's finest work as an actor.[28] Actors like Jeetendra (Parichay, Khushboo, Kinara), Vinod Khanna (Achanak, Meera, Lekin) and Hema Malini (Khushboo, Kinara, Meera) worked with Gulzar to gain respectability as artists and delivered some of their best and most introspective work in films.[28] R D Burman composed songs for almost all the movies directed by him in the 1970s and the 1980s (Parichay, Khushboo, Aandhi, Angoor, Ijaazat, Libaas). Many of their popular songs were sung by Kishore KumarLata Mangeshkar and Asha Bhosle. These include "Musafir Hoon Yaron" (Parichay), "Tere Bina Zindagi Se Koi" (Aandhi), and "Mera Kuch Samaan" (Ijaazat).[28]

In 1988, Gulzar directed an eponymous television serial Mirza Ghalib, starring Naseeruddin Shah and broadcast on Doordarshan. Later he also directed Tahreer Munshi Premchand Ki about the novels of Premchand.[4]

Poetry[edit]

Gulzar primarily writes in Urdu and Punjabi; besides several other languages such as Braj BhashaKhariboliHaryanvi and Marwari. His poetry is in the Triveni type of stanza.[4] His poems are published in three compilations; Chand Pukhraaj KaRaat Pashminey Ki and Pandrah Paanch Pachattar. His short stories are published in Raavi-paar (also known as Dustkhat in Pakistan) and Dhuan (smoke).[4]

For the peace campaign Aman ki Asha, jointly started by India's and Pakistan's leading media houses, Gulzar wrote the anthem "Nazar Main Rehte Ho", which was recorded by Shankar Mahadevan and Rahat Fateh Ali Khan.[29] Gulzar has written ghazals for Ghazal Maestro Jagjit Singh's albums "Marasim" (1999) and "Koi Baat Chale" (2006).[30]

Other contributions[edit]

Gulzar has written lyrics and dialogues for several Doordarshan TV series including Jungle BookAlice in WonderlandHello ZindagiGuchche and Potli Baba Ki with Vishal Bhardwaj. He has more recently written and narrated for the children's audiobook series Karadi Tales.[4][31] Gulzar is also associated with Aarushi,[32] Eklavya foundation an NGO based in Bhopal, Madhya Pradesh working in the field of education.[32][33][34] He has written stories and poetry for the magazine Chakmak. Gulzar has also worked in Bollywood movies like Anand , Mere Apne , Omkara and many more.

Academic[edit]

In April 2013, Gulzar was appointed as the Chancellor of the Assam University.[35]

Personal life[edit]

Gulzar is married to actress Raakhee. The couple has a daughter, Meghna Gulzar. Meghna Gulzar grew up with her mother and father and, after completing her graduation in filmmaking from New York University, went on to become a director of films such as FilhaalJust MarriedDus KahaniyaanTalvarRaazi, and Chhapaak[36] (for which Gulzar wrote the lyrics)[37] and authored the biography of her father Gulzar, in 2004.[38]

Awards and nominations[edit]

As on 2019, Gulzar has won a total of 36 awards and honours, including 5 National Film Awards, 22 Filmfare Awards, 1 Academy Award for Best Original Song (2008), 1 Grammy Award (2010), 2002 Sahitya Akademi Award for UrduPadma Bhushan (2004), and 2013 Dadasaheb Phalke Award.