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Any encroachment of flood plain, reclamation of lakes or disconnection of lakes from river should be avoided; rather adjoining lakes/depressions may be de- silted to increase their storage capacities. The de- silting of lakes, etc., should be in such a manner that the sediment continuity is maintained and should not lead to head cut that creates safety issues for the river crossings, water intakes or river training works locally, downstream or upstream. Possibly river training, cut- off developments and provision of extra water way near the constrictions could be tried after proper assessment without impacting the morphology of river elsewhere. The area freed from the development in the form of oxbow lakes should be used for flood moderation rather than reclaiming it for other purposes. The dredged material may be dumped along the alternate channel which was to be closed to avoid bank erosion. Care shall be taken to develop stable channel which do not affect the flow either on upstream or downstream. Efforts should be made to provide silt continuity along the weirs and barrages. It should invariably be associated with sediment flux studies and morphological studies to confirm no significant adverse effect on downstream or upstream reach of the river including the safety and effectiveness of river crossings, water intakes, existing river bank / flood protection measures etc. This would require quantitative long term forecast with decision support system to be established for optimum reservoir operations. It shall be ensured that the head cut induced upstream should automatically de- silt the reach. The headcut induced should progress upstream slowly so that the flora and fauna will have sufficient time to re- adjust its habitat. River gravels/sands/silts could be used gainfully in construction works, including housing, roads, embankment and reclamation works. Under no circumstances, disposal should create any contamination of the water bodies, harmful to the flora and fauna existing adjacent to the disposal sites. It should also be ensured that disposed material should not come back into the river again. The sediment removed may be used for re- grading the Farakka Feeder Canal or may be used for strengthening the existing embankments around the barrage pond. Sediment sluicing may be incorporated to maintain sediment continuity from upstream to downstream reaches after carrying out necessary studies. The de- silting / dredging works of the barrage pond shall not cause any structural problem to the barrage by excessive erosion on the downstream. In view of this the dredging shall be restricted only up to original bed level or higher. It shall also be ensured that the concentrated sediment flux passed downstream will not create any major morphological changes on the downstream reaches. 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Amchem Noxib (Our Fate) – 1. This was just the second Konkani film ever produced, the first being Mogacho Aunddo (Love’s Craving) in 1. Amchem Noxib is a love story featuring the lovely Rita Lobo and the debonair Celestino Alvares (well known as C. Alvares), with some excellent comedy by Anthony Mendes and Antonette Mendes. It was director- musician Frank Fernand’s first movie, and gave a boost to the nascent Konkani film industry. Songs like Molbailo Dou (Dew from the Sky) and Don Kallzam (Two Hearts) became hits, and are sung even today at Goan parties and weddings. There’s also a lovely English song “I Lost My Heart To You’, written by Alfred Rose with Mike Machado on the piano. Nirmonn (Destiny) – 1. Buoyed by his first film, Frank Fernand, who hailed from Curchorem, belted out his second film with a star cast of Shalini Mardolkar, C. Alvares, comedian Jacint Vaz, Ophelia and others. Shalini plays Claudia, a woman whose husband is lost at sea. Faced with tough times for her children, she marries an insistent suitor, her husband’s wealthy friend, whom she doesn’t really like. Our shipwrecked C. Alvares returns but remains incognito until the finale of the film. The plot is definitely inspired by Alfred Tennyson’s narrative poem Enoch Arden (go Google it!). The film won several awards, three cheers for Konkani again! The teary song . Boglantt (False Accusation) – 1. Produced and directed by Muthukrishnan Das, this film featured the music and lyrics of the very talented Alfred Rose. It starred Prem Kumar, Rita Rose, Souza Ferrao and Rose himself, plus other tiatr artistes. The story was adapted from Prem Kumar’s tiatr . A young man Cedric and his destitute mother are persecuted by an evil uncle who rigs up false charges against Cedric, to alienate him from his beloved Marylyn. The magic of the Alfred Rose- Rita Rose duo resounds in songs like . Produced by Chripton Motion Picture (Chris Perry & Tony Coutinho), this is the saga of a criminal mastermind who operates from a cave in Goa’s hills. C. Alvares as the big- time baddy, Ivo Almeida (owner of Longuinhos Restaurant, Margao) as the good guy hero and Helen Pereira as the heroine acted in this classic. The title song is sung by Asha Bhosle, of Bollywood fame. Kiteak Kortai Nokre, Chup Chup Chup and Adeus are among the hit songs of this film. Paltadacho Munis (The Man Beyond The Bridge) – 2. We jump forward 3. Konkani film directed by Laxmikant Shetgaonkar, based on a story by Mahableshwar Sail. A forest ranger played by Chittaranjan Giri has just lost his wife. He finds a madwoman (Veena Jamkar) in the woods and thus begins a controversial relationship. The cast also includes Prasanthi Talpanker and Vasant Josalkar. Paltadacho Munis was shortlisted for several international film fests, winning many awards. Produced by National Film Development Corporation of India. Using beautiful and surreal Goan landscapes, Shetgaonkar examines our responsibility towards those in need, and also asks when the protection offered can enter questionable territory. O Maria – 2. 01. 0 Rajendra Talak’s fourth film focuses on Goa’s tourism industry and the pressures it puts on the state’s fragile land resources and its traditional village culture. Maria (Shernaz Patel) is a single woman living with her sick mother (Sulba Arya) at a beachside home, sustaining herself by renting out rooms to tourists. One of her nephews Kevin (Kevin D’Melo) is fond of her, but the other, Jack (Aryan Khedekar) conspires with his mother Philomena (Meenakshi Martins) to sell their ancestral property to a Gujarati builder Jitubhai (Tiku Talsania). Plilomena’s brother John (tiatrist Roseferns) has already agreed to this deal, and Maria is pressurized to sell too. Mike (Cory Goldberg), an American tourist staying as a guest with Maria, also gets entangled in this fracas. The villagers rise against the builder, echoing real life events in Goa of late. The music is by Remo Fernandes, with lyrics by Saish Pai Panandikar. Shernaz Patel’s Konkani pronunciation is a bit tacky, but the film is one of Talak’s better productions. There are many other great Konkani films of the 7. DVD. The tiatr industry also churns out many films, notably Prince Jacob’s Padri and Roddonaka. If you have enjoyed these 6 Konkani flicks, don’t miss the screening of new Konkani short and feature films at this year’s International Film Festival at Panjim in December. Kunal Ray on Nachom- ia Kumpasar, a Konkani movie that's made it to the Oscar list. His first feature film Nachom- ia Kumpasar (Dance to the Rhythm) has won three national awards, six international awards and made it to the Oscar list in the Best Picture and Best Original Score categories. When Bardroy Barretto was growing up in the Goa of the 1. Barretto vividly remembers watching his first Charlie Chaplin and Aa Gale Lag Jaa at these screenings. In Class IX, his brother gifted him an SLR camera and Barretto’s fascination with the moving image attained a new dimension. A self- confessed reluctant filmmaker, Bardroy Barretto came to Mumbai in 1. He says: “Those were the heady days of MTV and Channel V and I pretty much did everything; but I always wanted to be a cinematographer. Then I learnt editing and, finally, direction. Advertising was my honing ground. That’s where I learnt my craft but when I had to do something of my own, I always knew it had to be a feature. I wanted to make a Konkani film to convince myself that I could do long- format films.” Kunal Ray. Nachom- ia Kumpasar is the story of two unsung jazz musicians of Goa who were not only established names in the Bollywood circuit, they also played at nightclubs and jazz bars. Says Barretto, “I am a Goan at heart. I keep running back to Goa every three months. I wanted to give something back to where I came from. That’s how the idea of the film germinated. Konkani music playing on the radio was the mainstay of our growing- up years. It has an emotional connect like none other. This is the story I wanted to tell. He had initially planned it as a biopic but when he unearthed the tragic love story of the two jazz musicians, Chris Perry and Lorna, he realised it would be a perfect metaphor to talk about Konkani music and also acknowledge the substantial contribution made by Goan musicians to the Hindi film industry. Gonsalves delved deep into Hindustani classical music traditions. He would spend time with sarangi virtuoso Pandit Ram Narayan during their film recordings to learn the nuances of Hindustani classical music. The jazz player Chic Chocolate was the righthand man of C. Ramchandra and you may attribute the jazz influence in his songs to Chocolate. Sebastian D’Souza was an assistant to Shankar Jaikishan. So, this film is about these unsung heroes and it is also a moving image documentation of a way of life that has gone by, almost a seminal epoch in contemporary Goan history.”Nachom- ia Kumpasar is believed to have breathed new life into the nascent Konkani film industry. While films made by Laxmikanth Shetgaonkar and Rajendra Talak in the recent past have received critical acclaim and travelled to various festivals, none of them could make any profits. In the last two months, there have been at least four new releases in Goa. Let’s not be too finicky about quality at this point but making films in Konkani and sustaining them through local means is more important.”Interestingly, Barretto and his team has refrained from releasing the film in theatres. The idea, instead, was to have screenings for at least two years, like those old Hindi films that have had long runs at theatres. In Goa, they used government auditoriums and did a regulated release. Since 2. 01. 4, they have organised special screenings, with uniform ticket rates. Luckily for them, the film has proven to be immensely popular in Goa and elsewhere. The model has been viable. It is impossible for small, regional films to be sustained otherwise. After the National Award, the film has been declared tax- free in Goa.”Now, the team wants to take the film to other cities but is still working out the dynamics. Barretto made the film primarily for the Konkani- speaking audience in Goa. It is, however, clearly very gratifying to know that it has generated interest in other parts of the country and that people are clamouring to see it. Music is the obvious bedrock of the film. The narrative unfolds through 2. Konkani songs from the 1. All songs were recorded live, with musicians who played in the studio era of Hindi film music. Nothing was programmed at all. I wanted the . Everything was played live and it has a very organic feel.” Nachom- ia Kumpasar has 1. Barretto’s family and friends. The film also features several new actors and amateurs who face the camera for the first time. Says Barretto, “We made the film in a very democratic way. Nobody could dictate terms. Vijay Maurya, who plays the lead, was selected because of his uncanny resemblance to Chris Perry, and Palomi Ghosh came on board just 2. I couldn’t find anyone as convincing as her. Even the Mumbai part of the film was shot in Goa. It was just impossible to shoot in Mumbai. My friends and colleagues came over from Mumbai to help me in the making of the film. It is a huge collective effort.”The journey thus far has been impressive. Asked about what made it possible, Barretto replies, “Our film has survived and travelled this far purely on merit. I did not even seek government support. We have no muscle or monetary power or a strategy to push our prospects at the Oscars. Hopefully, merit will do the last bidding.”What next? Barretto wants to make another Konkani film. Why not Hindi, I ask. He replies that the quintessential Bollywood film is essentially quite a different animal. Kunal Ray teaches English Literature in Pune and writes on art and culture. Please Wait while comments are loading.. |
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September 2017
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