The Power of Unintentional effect(s)

Last week I happened to read a book by Shri R. Gpalkrishnan – ‘……. The bonsai manager’.
The book has very succinctly narrated the impact of ‘inintentional effect’. The author has very aptly taken up the ‘poltico-constitutional implementation strategy’ of propagating Hindi as National Language a very effective example to explain this concept. Since the implementation strategy, probably, did not take into account all factors, the ill-effect on Southern States was so grave that nation had reached the brink of being permanently divided. But same Hindi was lapped through the medium of Hindi movies, since the prime motive was not that of promoting Hindi. But, the popularity of Hindi cinema, as much as those of the regional cinema [ a product which was competing, but was not appearing to or being promoted to compete, did, in fact, make Hindi , if not popular, acceptable as a language. This was the power of inintentional effect.
Incidentally, I saw a Hindi movie today, which had the similar potential power to create a permanent lasting impression – hence sparking the process of much necessary overhaul of socio-judiciary reforms.
In movie ‘Jaago – Directed by Mehul Kapoor , 2004 – a simply stated, but very high potential inintetional impact – has been placed through an underworld king – ‘The [common] man will not have trust in the Judiciary till the justice is not delivered in as much time as it takes to commit the crime’.
Unfortunately, the movie has not met with the commercial success. Hence, alas, such a powerful dialogue is also lost in layers of anonymity, unlike the getting the famous glory of Gabbar Singh dialogue of Sholay or Raj Kumar dialogues of Waqt or Pakeezah.
With this, I now recall some of the very strong message Hindi movies – Raj Kapoor’s Shri 420, Aawara, Jaagte Raho, Jis Desh Mein Ganga Baheti Hai, No One Killed Jessica, Dhoop, Amitabh starrer Paa etc.
Imagine the scenario where individuals and organizations engaged in the larger public-welfare fields of social, political, judicial, economic reforms use such powerful inintentional media to further their [planned / intentional ] cause of creating a lsting impression on the minds of the target audience with a view to create either a permanent change or to ignite a spark of the change process!

Plagiarism or Creative Plagiarism or ‘Inspired’ Creation

Almost all music directors of ‘golden era’ of Hindi Film Music have been, to a varying degree, accused of plagiarizing! Whether, by design or by chance, their either ‘best’ or very popular compositions are being claimed to be [so called] ‘plagiarized’.

The factual truths have always been in the hotly debated grey zone of “Plagiarism or Creative Plagiarism or ‘Inspired’ Creation”.

Many articles have been written on the subject in the past, quite a few of them have been to enlighten the subject quite effectively, both in terms of the typical tendencies of the respective music director or exact classification of the specific composition into one of the three tags.

I will add to the great debate, after having listened to the posting   ‘Songs_in_Raag_Bhairavi_with_Lata_ji_and_Shankar_Jaikishen’  on Youtube.

This video has assembled first the original tune – by legendary Arab chanteuse Aasmahan [1018-1944], which was so creatively adapted to ‘Ghar Aaya mera pardesi’ of Awara (1951), but set to our classic Bhairavi. The video clip then adds more Bhairavi gems of the duo – ‘Kisi ne apana – Patita (1953), ‘Main Piya Teri – Basant Bahar (1956), title song of ‘Dil Apna Aur Preet Parai’ (1960), Khushiyon Ke Chand muskarayere – Mayur Pankh (1954).

If this be Plagiarism or Creative Plagiarism or ‘Inspired’ Creation, who cares!