Ramchandra Gopal or Dadasaheb Torney - Revision history

HansaThapliyal at 05:41, 11 March 2016

2016-03-11T05:41:21Z

HansaThapliyal at 03:40, 11 March 2016

2016-03-11T03:40:12Z

HansaThapliyal at 15:12, 11 October 2014

2014-10-11T15:12:32Z

HansaThapliyal at 15:11, 11 October 2014

2014-10-11T15:11:09Z

HansaThapliyal at 03:51, 30 September 2014

2014-09-30T03:51:18Z

HansaThapliyal at 10:00, 29 September 2014

2014-09-29T10:00:29Z

HansaThapliyal at 09:54, 29 September 2014

2014-09-29T09:54:15Z

HansaThapliyal at 14:38, 21 October 2013

2013-10-21T14:38:05Z

HansaThapliyal at 16:28, 27 June 2013

2013-06-27T16:28:26Z

HansaThapliyal at 16:16, 27 June 2013

2013-06-27T16:16:26Z

@@ Line 4: / Line 4: @@
 A young man of 22 made a feature film in 1912 and had it released on the 18th of May, 1912, at the Coronation Cinema. Before Phalke's Raja Harishchandra.
-Ramchandra Gopal, or Dadasaheb Torney made a filmrecording called Pundalik which was released in May 1912. Pundalik was named after the man who brought Vithal to the shrine at Pandharpur, it was a staging of his story. As Phalke is venerated, he is also assigned an absolute position, of "The beginning', 'The father' and like all such absolute declarations, I imagine it would leave a smarting in the hearts and minds of many who feel they might be more rightful contenders.
+Ramchandra Gopal, or Dadasaheb Torney made a filmrecording called Pundalik which was released in May 1912. Pundalik was named after the man who brought Vithal to the shrine at Pandharpur, it was a staging of his story. Today Torney is quite forgotten.
-The following is an imagination of a film screening, organised by the archivists -scholars- hoarders against the forgettings of history ( and therefore the mentors of many a talented film maker who trusted them to save a print of their fine, forgotten film), PK Nair and Satish Bahadur and the space they created- the National Film Archives of India). Students from the Film and Television Institute, down the road, would often come there to watch films alongside film lovers from the city.
+Meanwhile, as Phalke is venerated, with reason, he is also assigned an absolute position, of "The beginning', 'The father' .  Like with all such absolute declarations, I imagine it would leave a smarting in the hearts and minds of many who feel they might be more rightful contenders.
@@ Line 16: / Line 18: @@
 The young really talk a lot as they stand about, waiting, their many words like noisy pebbles trying to hold down the sensation of being carried along like leaves.
-Ramachandra Gopal gets a small smile watching Satish Bahadur walk in with those lifted pajamas. He feels in his body that the smile relaxes many threads pulling at his mind, taut  with the decades old choking feeling of an unfairness done. Even if only in this land which is at some unknown juncture of possibilities,  these people before him at the Archive gate are lovers of the medium and he should be happy for that. He concentrates on the approaching archivist, staring at the now soaked ends of Mr. Bahadur's  pajama legs to keep himself from thinking further.
+Ramachandra Gopal gets a small smile watching Satish Bahadur walk in with those lifted pajamas. He feels in his body how his smile loosens many threads that are pulling at his mind, taut  with the decades old choking feeling of an unfairness done. The smile lets him breathe. He tells himself-  even if only in this land which is at some unknown juncture of possibilities,  these people before him at the Archive gate are lovers of the medium and he should be happy for that. He concentrates on the approaching archivist, staring at the now soaked ends of Mr. Bahadur's  pajama legs to keep himself from thinking further.
-He lets his mind think of what he hopes for ..  yes, he is hoping some regular locals will brave the rains and join the audience of film students and that they will appreciate what he did, more than these students with their sharp  judgements.He hopes he will not be asked to make a generous preliminary speech that will suggest that much can be forgiven, he thinks he might refuse if they make that cruel demand, he thinks he will go and say things as he felt them.  He wonders if Phalke might come, he might not, he is gone senile, is old, ailing, says mad things, he has heard. Maybe he, Ramachandra should feel sorry for Dhundiraj today.
+He lets his mind think of what he hopes for ..  yes, he is hoping some regular locals will brave the rains and join the audience of film students and that they will appreciate what he did, more than these students with their sharp judgements.He hopes he will not be asked to make a generous preliminary speech that will suggest that much can be forgiven, he thinks he might refuse if they make that cruel demand, he thinks he will go and say things as he felt them.  He wonders if Phalke might come, he might not, he is gone senile, is old, ailing, says mad things, he has heard. Maybe he, Ramachandra should feel sorry for Dhundiraj today.
 The rain is coming down in sheets of mist now, it is difficult to see, everyone has moved into the theatre, Ramachandra turns towards the gate and stops as he sees a silhouette of a large balding head in the pouring rain, an old man in a limp dhoti,  a face made of furrows.
-Ramachandra's breath catches, the indrawn breath vibrates a small string in his body which sets a small pulley in motion and he feels his eyes opening wider.
+Ramachandra's breath catches, the indrawn breath vibrates a delicate string in his body which launches a small pulley: his eyes open wider.

@@ Line 1: / Line 1: @@
 [http://www.hardnewsmedia.com/2013/06/5951]
 A young man of 22 made a feature film in 1912 and had it released on the 18th of May, 1912, at the Coronation Cinema. Before Phalke's Raja Harishchandra.
-Pundalik was the name of the film after the man who brought Vithal to the shrine at Pandharpur. He features as a shadow in the writing of the glorious early history of indian cinema. no one wants to be bitter, why would he? as time rolls by ( waiting with dread for someone to pick up the carpet and make it his story)...
+The following is an imagination of a film screening, organised by the archivists -scholars- hoarders against the forgettings of history ( and therefore the mentors of many a talented film maker who trusted them to save a print of their fine, forgotten film), PK Nair and Satish Bahadur and the space they created- the National Film Archives of India). Students from the Film and Television Institute, down the road, would often come there to watch films alongside film lovers from the city.
-The smell of the rain has seeped into the air and seed pods are everywhere on the roads around NFAI. Satish Bahadur is lifting the rims of his white pajama cylinders. Mr. Nair, dressed in blacks and greys, (with the rich black of a man in his prime at his sideburns), is all ready, waiting by the main screening room gate.
+There was a day in the future when the (unfair) results of the shabby race over coming first, (unfortunately one of the crucial ways of making it to the history that you deserve) was more forgotten, when film programmes were re arranging other  slivers of information in their pamphlets. This afternoon,   Dhundiraj Phalke' s Tukaram and Ramachandra Gopal' s Pundalik were part of a busy afternoon screening  programme at the Film Appreciation course in Pune.  The posters were not emphasising dates.
-Students are moving in, talking, opining, not sure of what they think or feel, the corners of their young eyes tinged with a brush dipped in romance, affected by each cool kiss of the breeze at their ears. Older people are easier: the weather toss is an old acquaintance, they recognize her and find themselves  laughing in  despair at her familiar ways.
+The smell of the rain has seeped into the air and seed pods are everywhere on the roads around NFAI. Satish Bahadur is lifting the rims of his white pajama cylinders. Mr. Nair, dressed in blacks and greys, (with the rich black  at his sideburns of a man in his prime), is all ready, waiting by the main screening room gate.
 The young really talk a lot as they stand about, waiting, their many words like noisy pebbles trying to hold down the sensation of being carried along like leaves.
-Ramachandra Gopal gets a small smile watching Satish Bahadur walk with those lifted pajamas and sees that the smile releases his mind for some time this afternoon, from the decades old choking feeling of an unfairness done. Even if only in this land which is at some unknown juncture of possibilities, someone's idle wish on the internet highway, these people before him at the Archive gate are lovers of the medium and he should be happy for that. He concentrates on the approaching man to not think further, he looks carefully at the now soaked ends of the pajama legs.
+Ramachandra Gopal gets a small smile watching Satish Bahadur walk in with those lifted pajamas. He feels in his body that the smile relaxes many threads pulling at his mind, taut  with the decades old choking feeling of an unfairness done. Even if only in this land which is at some unknown juncture of possibilities,  these people before him at the Archive gate are lovers of the medium and he should be happy for that. He concentrates on the approaching archivist, staring at the now soaked ends of Mr. Bahadur's  pajama legs to keep himself from thinking further.
-He concentrates on what he hopes for..  yes, he is hoping some regular locals will brave the rains and join the audience of film students..he hopes he will not be asked to make a generous preliminary speech that will suggest that much can be forgiven, he thinks he might refuse if they make that cruel demand, he thinks he will go and say things as he felt them.  He wonders if Phalke might come, he might not, he is gone senile, is old, ailing, says mad thing, he has heard. Maybe he, Ramachandra should feel sorry for Dhundiraj.
+He lets his mind think of what he hopes for ..  yes, he is hoping some regular locals will brave the rains and join the audience of film students and that they will appreciate what he did, more than these students with their sharp  judgements.He hopes he will not be asked to make a generous preliminary speech that will suggest that much can be forgiven, he thinks he might refuse if they make that cruel demand, he thinks he will go and say things as he felt them.  He wonders if Phalke might come, he might not, he is gone senile, is old, ailing, says mad things, he has heard. Maybe he, Ramachandra should feel sorry for Dhundiraj today.
 The rain is coming down in sheets of mist now, it is difficult to see, everyone has moved into the theatre, Ramachandra turns towards the gate and stops as he sees a silhouette of a large balding head in the pouring rain, an old man in a limp dhoti,  a face made of furrows.
-Ramachandra's breath catches and pulls at a pair of strings that open wider the lids of his eyes
+Ramachandra's breath catches, the indrawn breath vibrates a small string in his body which sets a small pulley in motion and he feels his eyes opening wider.

←Older revision		Revision as of 15:12, 11 October 2014
Line 3:		Line 3:
	A young man of 22 made a feature film in 1912 and had it released on the 18th of May, 1912, at the Coronation Cinema. Before Phalke's Raja Harishchandra.		A young man of 22 made a feature film in 1912 and had it released on the 18th of May, 1912, at the Coronation Cinema. Before Phalke's Raja Harishchandra.

−	Pundalik was the name of the film after the man who brought Vithal to the shrine at Pandharpur. He features as a shadow in the writing of the glorious early history of indian cinema. no one wants to be bitter, why would he? as time rolls by ( waiting for someone to pick up the carpet and make it his story)...	+	Pundalik was the name of the film after the man who brought Vithal to the shrine at Pandharpur. He features as a shadow in the writing of the glorious early history of indian cinema. no one wants to be bitter, why would he? as time rolls by ( waiting with dread for someone to pick up the carpet and make it his story)...

@@ Line 1: / Line 1: @@
 [http://www.hardnewsmedia.com/2013/06/5951]
-A young man of 22 made a feature film in 1912 and had it released on the 18th of May, 1912, at the Coronation Cinema. Before Raja Harishchandra.
+A young man of 22 made a feature film in 1912 and had it released on the 18th of May, 1912, at the Coronation Cinema. Before Phalke's Raja Harishchandra.
 there was a day in the future when the (unfair) results of the shabby race over coming first, (unfortunately one of the crucial ways of making it to the history that you deserve) was more forgotten, when other bits slivers of information  had long replaced naming the first film in indian film history.. This afternoon, without assigning dates,  Dhundiraj Phalke' s Tukaram and Ramachandra Gopal' s Pundalik were part of a busy afternoon screening  programme at the Film Appreciation  course in Pune.

@@ Line 3: / Line 3: @@
 A young man of 22 made a feature film in 1912 and had it released on the 18th of May, 1912, at the Coronation Cinema. Before Raja Harishchandra.
-Pundalik was the name of the film after the manP who brought Vithal to the shrine at Pandharpur.
+Pundalik was the name of the film after the man who brought Vithal to the shrine at Pandharpur.
 The story itself:
-there was a day in the future when the shabby race over coming first, (unfortunately one of the crucial ways of making it to the history that you deserve) was more forgotten, other firsts had long replaced being the first film in indian film history.. This afternoon, without assigning dates,  Dhundiraj Phalke' s Tukaram and Ramachandra Gopal' s Pundalik were part of a busy afternoon screening  programme at the Film Appreciation  course in Pune. The smell of the rain has seeped into air and seed pods are everywhere on the roads around NFAI. Satish Bahadur is lifting the rims of his white pajama cylinders. Mr. Nair, dressed in blacks and greys, (with the rich black of a man in his prime at his sideburns), is all ready, waiting by the main screening room gate.
+there was a day in the future when the (unfair) results of the shabby race over coming first, (unfortunately one of the crucial ways of making it to the history that you deserve) was more forgotten, when other bits slivers of information  had long replaced naming the first film in indian film history.. This afternoon, without assigning dates,  Dhundiraj Phalke' s Tukaram and Ramachandra Gopal' s Pundalik were part of a busy afternoon screening  programme at the Film Appreciation  course in Pune.
-Students are moving in, talking, opining, not sure of what they think or feel, the corners of their young eyes tinged with a brush dipped in romance, affected by each cool kiss of the breeze at their ears. Older people are easier: the weather toss is an old acquaintance, they recognize her and find themselves sometimes shaking their heads is laughing despair as she shakes them about.
+The smell of the rain has seeped into the air and seed pods are everywhere on the roads around NFAI. Satish Bahadur is lifting the rims of his white pajama cylinders. Mr. Nair, dressed in blacks and greys, (with the rich black of a man in his prime at his sideburns), is all ready, waiting by the main screening room gate.
 The young really talk a lot as they stand about, waiting, their many words like noisy pebbles trying to hold down the sensation of being carried along like leaves.
-Ramachandra Gopal gets a small smile watching Satish Bahadur walk with those lifted pajamas and sees that the smile releases his mind for some time this afternoon, of the decades old feeling of unfairness. Even if only in this land which is at some unknown juncture of possibilities, someone's idle wish on the internet highway, these people before him at the Archive gate are lovers of the medium and he should be happy for that. He concentrates on the approaching man to not think further, he looks carefully at the now soaked ends of the pajama legs. He concentrates on what he hopes for..  yes, he is hoping some regular locals will brave the rains and join the audience of film students..he hopes he will not be asked to make a preliminary speech to emphasize the point that 'so much can be forgiven', he thinks he might refuse if they make that cruel demand, he thinks he will go and say things as he felt them.  He wonders if Phalke might come, he might not, he is gone senile, is old, ailing, says mad thing, he has heard. Maybe he, Ramachandra should feel sorry for Dhundiraj and forgive him. The rain is coming down in sheets of mist now, it is difficult to see, everyone has moved into the theatre, Ramachandra turns towards the gate and stops as he sees a silhouette of a large balding head in the pouring rain, an old man in a limp dhoti,  a face made of furrows.
+Ramachandra Gopal gets a small smile watching Satish Bahadur walk with those lifted pajamas and sees that the smile releases his mind for some time this afternoon, from the decades old choking feeling of an unfairness done. Even if only in this land which is at some unknown juncture of possibilities, someone's idle wish on the internet highway, these people before him at the Archive gate are lovers of the medium and he should be happy for that. He concentrates on the approaching man to not think further, he looks carefully at the now soaked ends of the pajama legs.
 Ramachandra's breath catches and pulls at a pair of strings that open wider the lids of his eyes

@@ Line 8: / Line 8: @@
 there was a day in the future when the shabby race over coming first, (that was the crucial way of being remembered) was more forgotten, other firsts had long replaced the film first.. and Dhundiraj Phalke' s Tukaram and Ramachandra Gopal' s Pundalik were part of a busy afternoon screening  programme at the Film Appreciation in Pune. The smell of the rain has seeped into air and seed pods are everywhere on the roads around NFAI. Satish Bahadur is lifting the rims of his white pajama cylinders. Mr. Nair in blacks and greys with the color of a man in his prime at his sideburns,is all ready waiting by the main screening room gate. Students are moving in, talking, opining, not sure of what they think or feel,  the corners of their young eyes tinged with a brush dipped in romance. The older ones are easier as the weather toss is an old acquaintance, they recognize her and find themselves sometimes shaking their heads is despair as she shakes them about.  They stand around.  The young really talk a lot. so many words like little stones trying to hold down the sensation of being carried along like leaves.
-Ramachandra Gopal gets a small smile watching Satish Bahadur walk with those lifted pajamas and sees therefore that his mind is letting go for some time this afternoon, of the feeling of decades of unfairness.. Even if only in this land at some unknown juncture of possibilities or just somebody's wish,  these people are the Archive gate are still, lovers of the medium. He concentrates on the approaching man to not think further, he looks carefully at the now soaked ends of the pajama legs. He concentrates on what he hopes for..  yes, he is hoping some locals will brave the rains and join the audience of mostly film students..he hopes he will not be asked to make a preliminary speech to emphasize the point that so much can be forgiven, he thinks he might refuse, he thinks he will go and say things as he felt them.  he wonders if Phalke might come, he might not come at all, he is gone senile, is old ailing says mad thing. Maybe he, Ramachandra should feel sorry for Dhundiraj and forgive him. The rain is coming down in sheets of mist now, it is difficult to see, everyone is in, Ramachandra turns away and stops as he sees a silhouette of a large balding head in the pouring rain, an old man in a limp dhoti,  a face made of furrows.
 Ramachandra's breath catches and pulls at a pair of strings that open wider the lids of his eyes

@@ Line 7: / Line 7: @@
 Pundalik is who brought Vithal to Pandharpur
-there was a day in the future when the shabby race over coming first, (that was the crucial way of being remembered) was more forgotten, other firsts had long replaced the film first.. and Dhundiraj Phalke' s Tukaram and Ramachandra Gopal' s Pundalik were part of a busy afternoon screening  programme at the Film Appreciation in Pune. The smell of the rain has seeped into air and seed pods are everywhere on the roads around NFAI. Satish Bahadur is lifting the rims of his white pajama cylinders. Mr. Nair in blacks and greys with the color of a man in his prime at his sideburns,is all ready waiting by the main screening room gate. Students are moving in, talking, opining, not sure of what they think or feel,  the corners of their young eyes tinged with a brush dipped in romance. The older ones are easier as the weather toss is an old acquaintance, they recognize her and find themselves sometimes shaking their heads is despair as she shakes them about.  They stand around.  The young talk a lot. so much talk trying to hold down the sensation of being like leaves carried along.
+there was a day in the future when the shabby race over coming first, (that was the crucial way of being remembered) was more forgotten, other firsts had long replaced the film first.. and Dhundiraj Phalke' s Tukaram and Ramachandra Gopal' s Pundalik were part of a busy afternoon screening  programme at the Film Appreciation in Pune. The smell of the rain has seeped into air and seed pods are everywhere on the roads around NFAI. Satish Bahadur is lifting the rims of his white pajama cylinders. Mr. Nair in blacks and greys with the color of a man in his prime at his sideburns,is all ready waiting by the main screening room gate. Students are moving in, talking, opining, not sure of what they think or feel,  the corners of their young eyes tinged with a brush dipped in romance. The older ones are easier as the weather toss is an old acquaintance, they recognize her and find themselves sometimes shaking their heads is despair as she shakes them about.  They stand around.  The young really talk a lot. so many words like little stones trying to hold down the sensation of being carried along like leaves.
-Ramachandra Gopal watching Satish Bahadur walk with those lifted pajamas, gets a small smile and sees his mind is letting go for some time this afternoon, of the decades of unfairness.. even if in ghost land, well, so be it, these are still, lovers of the medium. he concentrates on the approaching man to not think further, at the now soaked ends of the pajama legs. he concentrates on what he hopes for..  yes he is hoping some locals will brave the rains and join the audience of mostly film students.he hopes he will not be asked to make a preliminary speech to drive home the point that so much be forgiven, he thinks he might refuse, he thinks he will go and say things as he felt them. he wonders if Phalke might come, he might not come at all, he is gone senile, is old ailing says mad things: maybe he, ramachandra should feel sorry for dhundiraj and forgive him. The rain is coming down in sheets of mist now, it is difficult to see, everyone is in, Ramachandra turns away and stops as he sees a silhouette of a large balding head in the pouring rain, an old man in a limp dhoti,  a face made of furrows.
+Ramachandra Gopal gets a small smile watching Satish Bahadur walk with those lifted pajamas and sees therefore that his mind is letting go for some time this afternoon, of the feeling of decades of unfairness.. Even if only in this land at some unknown juncture of possibilities or just somebody's wish,  these people are the Archive gate are still, lovers of the medium. He concentrates on the approaching man to not think further, he looks carefully at the now soaked ends of the pajama legs. He concentrates on what he hopes for..  yes, he is hoping some locals will brave the rains and join the audience of mostly film students..he hopes he will not be asked to make a preliminary speech to emphasize the point that so much can be forgiven, he thinks he might refuse, he thinks he will go and say things as he felt them.  he wonders if Phalke might come, he might not come at all, he is gone senile, is old ailing says mad thing. Maybe he, Ramachandra should feel sorry for Dhundiraj and forgive him. The rain is coming down in sheets of mist now, it is difficult to see, everyone is in, Ramachandra turns away and stops as he sees a silhouette of a large balding head in the pouring rain, an old man in a limp dhoti,  a face made of furrows.
 Ramachandra's breath catches and pulls at a pair of strings that open wider the lids of his eyes