Humour at its best
A scene from Thana Shagna Da
variegated hues—irreverent, self-mocking, robust and biting.
It revels in taking pot-shots at the rich and the powerful even
as it exposes various social evils at the grassroots level. If Jugnu
Hazir Hai and Kato Phullan Te (both MH1) target
schools and police stations, there are any number of comedies in
the video circuit that raise the roof in political satire. The
annual VCD series Chhankata has made a mark in this
genre. It features Jaswinder Bhalla and Balmukund Sharma as
stars—the latest has Ruby Malkit, too. Jaswinder Bhalla, as
Chacha Chatar Singh, has already been at the receiving end of
the ire of Amarinder Singh’s acolytes; now he targets the
Badal father-son duo.
from political satire there are social satires, too. The latest
is Thana Shagna Da. It’s a take on the current trend of
eloping couples getting solace in police stations. The plot is
simple—two friends are in love with the same woman. While one
wins her hand the other, heartbroken, leaves for Canada. Two
decades or so later the NRI friend’s son falls in love with
his old flame’s daughter triggering off a series of comic
situations. Jaspal Bhatti and Vivek Shauq impress as
rivals-in-love turned fathers-of-lovebirds. If Vinod Sharma’s
cameo as a jeweller raises chuckles, then Ruby’s histrionics
as a tough mother are entertaining. However it is the police
inspector duo of Yograj Singh and Nina Sidhu that comes as a
surprise package. Their antics as corrupt but golden-hearted thanedars
Going by the
quality of content, Doordarshan is still miles ahead of other
Punjabi channels. Yet it does precious little to
market/publicise its shows. While surfing channels one came
across one of the oldest and most interesting programs, Punjabi
Darpan, on DD National. It’s in a magazine format that
features literature as well as performing, folk and fine arts.
It does not appear to have a definite slot. Ages ago it used to
be telecast on Sunday mornings. Then it disappeared only to
resurface much later in the afternoons. And disappeared again!
Now, fortuitously one spotted it one evening. One wonders when
and where (or whether) it would be telecast next.
There was this
rather engaging discussion on the evolution of Punjabi short
story and folk literature—and the influence of history and
mythology. A fine distinction was made between Puranic
literature and the mythical one. While the former has historical
basis, the latter is a product of imagination. Another
interesting point raised was how certain compositions become so
popular that they become part and parcel of our daily life but
their authors somehow get pushed into oblivion. One of the names
cited was of Sardharam Phillauri, the composer of the aarti
sung in temples—Om Jai Jagdish. Then there were folk songs
sung with traditional instruments providing an ethereal charm.
We hope this program is given a decent slot.