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Re:Kahaani

I have not seen the film, likely going to watch tomorrow. Have not read the whole article due to spoiler!! After that I will definitely try to work on it. Everyone is saying the film is excellent. How are you?--Dwaipayan (talk) 01:45, 15 March 2012 (UTC)

Hey good to hear from you! It's been awhile...I'm on again, off again here at the WP but otherwise all is well. Watch the film first, definitely and then let me know what you think. Personally, I thought it was an excellent film on many levels - and offers an excellent "tour" of Kolkata far different from most films. One of Vidya Balan's best roles I think ... and outstanding supporting cast from the Bengali film and tv industry. Also a great girl power film, which we haven't seen much of really since Chak De India -- anyway, looking forward to hearing your response to it. -Classicfilms (talk) 01:54, 15 March 2012 (UTC)

Oh yes, I am waiting eagerly to see my home town with all its people, color, festivities, obnoxiousness and nuances.--Dwaipayan (talk) 02:03, 15 March 2012 (UTC)

lol. I'm laughing ... -Classicfilms (talk) 02:04, 15 March 2012 (UTC)

Hi. I left you a message here. -Msrag (talk) 13:05, 15 March 2012 (UTC)

Sure. I responded there. -Classicfilms (talk) 15:48, 15 March 2012 (UTC)

Yes, saw it. Liked it except the last two-three minutes (the emotion shown after the plot is revealed). It keeps you riveted all along. So, any specific wish/plan for the article?--Dwaipayan (talk) 02:09, 16 March 2012 (UTC)

Lol. Fair enough... I see a GA/FA in the future for this article though it may take quite awhile to collect enough information. And award ceremonies are still in the future. Here are LONG TERM ideas to be developed over time and they are just brainstorms to get ideas going - we all have real world lives away from the Wikipedia so this is not meant to create a lot of work. But they are areas I've been thinking about:

1. Representation of Kolkata in film generally, and in non-Bengali cinema more specifically. I was quite taken with the documentary - like way in which Kolkata was represented, far from the patronizing methods used in City of Joy (film) and the like. This could also bring in more discussion about the cinematography which I at least felt was quite good.

2. Use of the Durga motif. There are a few levels here. For readers not familiar with Hinduism, India, or the specific relationship between Durga and Bengalis - and Kolkata itself, I think there is potentially an interesting section here. I don't think we have to give away too much in doing this, but the article could be enhanced by particularly a discussion of the Durga Puja and why Kolkata is famous for it. Also the use of the Durga image in Bengali cinema (or conflate with the more generic "Devi" image).

3. This leads to the female hero motif which is starting to come up - and again I don't believe we have to give away too much by introducing a discussion of female-centric films particularly ones that have action heroes.

4. It also may lead to a discussion of interesting choices by the director. It was a risk to surround Balan with stars from the Bengali film/tv industry who are not known nation - wide and yet it worked wonderfully, adding a level of authenticity that could have not happened otherwise. This could lead to a discussion of Bengali culture. In terms of what might for some be almost cliche (but for an audience not familiar with Bengali film, literature, or culture) Tagore is referenced with "Ekla Cholo Re" and I felt that the style of filmmaking reminiscent of a Satyajit Ray film. Might be interesting to throw in something about Vidya Balan's debut role in "Parineeta."

5. Maybe other articles could also be generated - I noticed that there is no article for "Triangular Park" for example, a place that people unfamiliar with Kolkata will not know about.

Just some ideas in the first few days of the film. Over time, more will come up. -Classicfilms (talk) 02:59, 16 March 2012 (UTC)

Wow! That's an impressive to-do list. Please save this list somewhere, may be in article talk page. It will take time to gather references for these, probably several months. The use of Durga motif will be discussed I am sure, but discussion of Bengali culture with reference to the film—not sure how much will be discussed. I do not anticipate a book on the flm soon; newspaper articls (besides the usual reviews) will be our base. It would be great if the director gives some good interview. I will keep an eye. Problem is I do not see TV, and it is highly likely some good interviews might be aired in TV.--Dwaipayan (talk) 03:10, 16 March 2012 (UTC)

In fact, I already read read in some reviews about the detailed portrayal of Kolkata. We should start a section on that. I will also read the Bngali newspaper reviews and keep them as references as thos are even more likely to comment on the portrayal of Kolkata.--Dwaipayan (talk) 03:25, 16 March 2012 (UTC)

Moved Kahaani discussion

Dwai - I've moved the discussion here: User:Classicfilms/sandbox

-Classicfilms (talk) 03:39, 16 March 2012 (UTC)

Yes, Bengali newspapers can be referenced in English newspaper, that is not a problem. I just started a section in the artice, referencing from just one review. That just the start.--Dwaipayan (talk) 03:45, 16 March 2012 (UTC)

That was fast. I added one hyperlink which I think is deserved for the section. Great start. Let's keep on it. Am signing off for tonight! -Classicfilms (talk) 03:47, 16 March 2012 (UTC)

I do not know if a subtitled version is available, bt I would urge you to see Baishe Srabon if you get a chance. A fantastic whodunit. --Dwaipayan (talk) 03:59, 16 March 2012 (UTC)

Very cool and I think I know just the place where I can find it. Will let you know if I see it - detective fiction is one of my favorite genres... -Classicfilms (talk) 13:56, 16 March 2012 (UTC)

Research time

Dwai - give me a few days to research and track down some sources - perhaps you can do the same. I have some pressing RL deadlines but that should clear in a bit. Also, I think it would be a good place to begin to start going through the massive amount of information already online. I'll start to keep a list of URLs in my sandbox and then we can use that and what you find to start breaking down themes. -Classicfilms (talk) 13:59, 16 March 2012 (UTC)

Great idea. User:Msrag is also working on the article. --Dwaipayan (talk) 14:01, 16 March 2012 (UTC)

Cool. -Classicfilms (talk) 14:01, 16 March 2012 (UTC)

Reply on Kahaani allusions

There may be many allusion/influences. Not sure how to write them though, especially in this early stage. The use of many R.D. Burman numbers (both Hindi and Bengali) in the background (the director is a great fan of Burman, and his first film Jhankaar Beats was a tribute to Burman). The fake pregnancy may be inspired by Taking Lives. Use of Durga motif and portrayal of some aspects of Bengali culture (ululating ladies, sindur-play during Durga immersion etc) will need to be expanded later. Again, there is at least one factual inaccuracy—Satyaki was Arjun's friend, not charioteer.--Dwaipayan (talk) 17:42, 18 March 2012 (UTC)

Now, this interview was what I was hoping for, as a starter. We have loads of information here. There are several Bengali sentences, but not that important ones. :)--Dwaipayan (talk) 18:16, 18 March 2012 (UTC)

Terrific. Will be back on Tuesday and go through this and the links you've posted - great work! -Classicfilms (talk) 23:15, 18 March 2012 (UTC)

I have looked through this article and all the ones we've posted. A lot of information already to save for the future. I've selected what seems to be useful quotes from some to develop a few sections. I'll paste them here to start - if we begin to hone down, I'll move what we come up with to the film talk page. I don't like to just dump brainstorming on a public page. Let me know if you have ideas. I also asked a box office question on the film talk page:

http://www.telegraphindia.com/1120314/jsp/entertainment/story_15245793.jsp

THEMES: "it shows the mental preconditioning of the males around her too."

ALLUSIONS: "My model was The Sixth Sense. It never confused me… the revelation at the end only enhanced the beauty. I wanted to achieve that." "See, you interpret a story according to your experience. If you are 20-21 you don’t know anything about pregnancy — not to say they should! — so you assume things. Also, you see images of her past only when she is narrating her kahaani to someone else."

"we followed a few principles. It’s like a game of chess. You play a few basic moves first before you go for it. So my idea was to go for an “undercover” principle."

Q: "That Nayak thing we never would have known but Joi Baba Felunath is pretty obvious… the running hot water bit. And Charulata maybe? In the way Vidya looks out and moves from window to window? A: Yes, yes Charulata that! There are loads. Framing comes from Mahanagar. But then I would call most of them my schooling. Ei shob dekhei toh aamra shikhechhi. The formula I have learnt in maths… that’s what I am going to apply, tai naa? Like I remember an interview of Ray’s where he had said that in Aranyer Dinratri he wanted the audience to be inside the car with the four guys all the time. So the camera never leaves the car. It stuck in my head. The same thing I have done here. Tui dekhbi camera kokhono baire jaye naa. You are like Vidya’s fellow passenger. The moment you take the camera out, you become a third party objective. Like how Khan sees it when Vidya goes past in the car. These are the things I have imbibed from The Master." Q Besides Ray, any other references? A There are many others. See, the films I grew up watching in the ’70s and ’80s, they were visually striking. I remember the scene in Deewaar when Shashi Kapoor walks in, sees Nirupa Roy and takes his cap off and she breaks her bangles. Nothing more, nothing less. Just images. I have used that here. Vidya comes down the stairs and sees Param standing there… he takes his cap off... just before the morgue scene. See, throughout I have kept the mother as a subtext. Whether Rana saying: “Ashchhi Maa!” or whether Bishnu (the boy in Monalisa Guest House) is doing something for his mother figure (Vidya). Did you ever feel that the plot’s getting too complicated? Yes, I did. So we cut out a lot.

KOLKATA "Aamar pokhhe shombhob hoto naa. Others might have… I don’t know. When I was writing… I had never been to Venice or Bhutan or Chennai. See there’s the basic fact that I wanted to come back and shoot in Calcutta. But that’s not the issue. You have to be pragmatic at the end of the day. Love for Calcutta doesn’t mean jor-jobordosti ekta chhobi banabo. I know this city re… bibhotsho bhabe chini. And I knew I could use the ambience of this city for a film like this. You take it for granted that this city is peaceful, intellectual… lokera porashuno kore… that there can be a dark side here is very interesting. Also, I needed an environment where Vidya can stick out as a sore thumb. Plus, I wanted to choose a time when 90 per cent of the people’s mental state is tuned to the same zone… Durga pujo! Chhuthi, notun jaama, bairey jabo… everybody is in the happy zone. Now there’s this woman going against the crowd… which was the first-look poster. Like Midnight Express, you are walking against the circle. And then I want you to see Calcutta through Vidya’s eyes… discovering this city of extremes… rickshaw vs Metro. That old-school charm. Also, Calcutta people are very personal… not like Mumbai."

=======

http://www.indianexpress.com/news/she-belongs-to-the-city/925371/0

KOLKATA The visual pleasures of Calcutta (as it was then) were once afforded us not just by Bangla cinema, but by many Hindi films, too: think of Guru Dutt’s Pyaasa, Shakti Samanta’s Chinatown, Sombhu Mitra’s Jaagte Raho or the immensely enjoyable 1959 noir Howrah Bridge (with that terrific song, “Kahin Mukherjee kahin Banerjee, kahin Ghosh kahin Datta hai, Suno ji yeh Kalkatta hai”). These days, though, the few filmmakers for whom the texture of the urban experience is important — Ram Gopal Varma, Anurag Kashyap, Dibakar Banerjee, Raj Kumar Gupta, Habib Faisal, Maneesh Sharma — focus on Bombay/ Mumbai, the uncrowned First City of Hindi cinema, and increasingly, Delhi.

THEMES To set it in context: any wandering through cities by women in contemporary Hindi movies is one of two types. The first is in foreign locales, where such wanderings are deemed safe, and good upper middle class Indian girls can thus liberate unhappy boys: refer to Katrina Kaif’s carpe diem diving instructor in Zindagi Na Milegi Dobara, teaching Hrithik Roshan’s uptight banker how to truly live (through holidays in Spain), or Kareena Kapoor in Ek Main Aur Ekk Tu, speeding through Los Angeles (and life) on a pink electric scooty in a happy haze that couldn’t be more different from Imran Khan’s unhappy plodding. The second type of girl-in-the-city scenario is a spree that takes place before arranged marriage to a suitable boy. Here the safety of the wild-child heroine is ensured by her being in the company of a man (usually the boy-we-know-she’s-actually-falling-in-love-with) — think Nargis Fakhri in Rockstar, giggling through a “morning show” with her Jatboy BFF Ranbir Kapoor, or Katrina in Mere Brother ki Dulhan knocking back beers with Imran the night before she marries his brother. Of course, there are exceptions to this typology — No One Killed Jessica (Vidya Balan again, criss-crossing Delhi to get justice for her murdered sister), The Girl in Yellow Boots (Kalki Koechlin traversing seedy city underbelly, but she’s British and psychologically damaged) and Delhi Belly where Poorna Jagannathan plays a journalist caught up in a crazy urban adventure. But rarely, if ever, have we had a protagonist like Vidya Bagchi, a woman who travels alone to a new city and takes it as her right that she should be able to stay as long as she likes, alone and unharassed, in a cheap hotel. Whether she is drinking tea at a street stall, or haunting a particular police station until they respond to her request for help, she is neither setting out to be radical, nor on some temporary joyride. She is simply doing what all women, everywhere, ought to be able to do — but so rarely feel confident enough to. In a country in which a spate of rapes only spurs the administration to suggest curfews for women, a film like Kahaani feels like a collective dream — the unvoiced dream all women have, in which the city might belong to us as much as it does to men.

=========

http://www.thehindu.com/arts/cinema/article3006073.ece

KOLKATA A thriller is not a genre one associates with the City of Joy. Did you choose Kolkata since you were familiar with it? Precisely. Mumbai and Kolkata are the two cities I am familiar with. I chose Kolkata to show how the city can be warm and menacing at the same time for this woman who is in search of her husband. For any thriller, the location is very important. I wanted to tell this story during the time of Durga puja. When 90 per cent of the city is regaling in festivities, here is one woman going against the grain. Was it a conscious effort not to present a touristy picture of Kolkata? How did you shoot in crowded areas? The Hindi film audience is used to seeing Kolkata in a certain way with iconic images. The other filmmakers view the city as outsiders. I wanted to take people into the narrow alleys and make them be a part of the city and the story. I wanted to shoot in real locations to get a feel of the pulsating crowd. If you try to re-create it in a studio, it would appear artificial. It wasn't easy. It helped to have someone like Vidya. She never hesitated to walk into the crowds.

-Classicfilms (talk) 18:15, 20 March 2012 (UTC)

No new 'Kahaani ?

Hi Classicfilms, hope you doing good. I was just wondering to not hear any new 'Kahaani' from you.. I mean any no new updates from you on the article since the time we brainstormed those points. Though I tried my best to bring it in some shape, there are very few editors visiting or expanding the article. The way that article progressed after release made me believe it to be one of the fastest to reach GA but it has considerably slowed down past one week. Anyways hope to see some action soon till then I'll just keeping adding stuffs I come across. Have a good one !!! --Msrag (talk) 12:49, 27 March 2012 (UTC)

Hi Msrag - you've been doing a great job!! The article is expanding nicely. It's much, much, much too soon to talk about brining the article to a GA level since the film opened a few weeks ago. I've been actually waiting for better articles to come out though I'm really impressed by how much work you've been putting in. I've never pushed an article to GA prior to at least award ceremonies and we need to wait awhile for it. Remember GA comes after the topic has also proved its own importance and we need to wait and see if the excitement over Kahaani still remains. So I haven't gone anywhere, just waiting a bit - Chak De India, one article I pushed to GA took quite some time before enough coverage happened to justify a GA request. So remember that as a key for the GA and later FA process, there is the element of time. I also think it's great that so many editors are adding to the article, that is one of the great things about the Wikipedia. I wouldn't worry too much about GA issues at the moment - though we will get to that lately - but please do continue (as I do daily) to check for useful sources on the film -- that is what will bring it to the GA level eventually. -Classicfilms (talk) 15:13, 27 March 2012 (UTC)

Thanks CF. I know the article has a long way to go before GA, may be another couple of months but why till the award ceremonies? The film has just released and would not be awarded any before Jan 2013. Its too late for that. I'll try finishing it up by another 3-4 months. BTW, I didn't knew that the topic also has to prove its importance to be a GA. As per my understanding and what I was told is someday even a "Baigan ka bharta" could become a GA based on the quality of the article and Riya Sen (God knows how and why on earth she deserved a GA ) is one such fine example (the article should be treated equal to a National Award for her). Anyways I am also not worried for a GA now for Kahaani but just trying to complete the article in every sense by adding all the relevant and missing sections first, and then would polish it later to nominate for GA. --Msrag (talk) 09:57, 28 March 2012 (UTC)

Navboxes on author pages

Since you are the leading registered editor in terms of edits at Sarat Chandra Chattopadhyay, you might want to participate in the discussion at Wikipedia_talk:WikiProject_Novels#Derivative_works_and_cultural_references_templates regarding including navigation boxes for adaptations of and related subjects to an authors works on the author's bio page.--TonyTheTiger (T/C/BIO/WP:CHICAGO/WP:FOUR) 17:53, 25 June 2013 (UTC)

 Done. -Classicfilms (talk) 06:55, 26 June 2013 (UTC)

TemplateData is here

Hey Classicfilms

I'm sending you this because you've made quite a few edits to the template namespace in the past couple of months. If I've got this wrong, or if I haven't but you're not interested in my request, don't worry; this is the only notice I'm sending out on the subject :).

So, as you know (or should know - we sent out a centralnotice and several watchlist notices) we're planning to deploy the VisualEditor on Monday, 1 July, as the default editor. For those of us who prefer markup editing, fear not; we'll still be able to use the markup editor, which isn't going anywhere.

What's important here, though, is that the VisualEditor features an interactive template inspector; you click an icon on a template and it shows you the parameters, the contents of those fields, and human-readable parameter names, along with descriptions of what each parameter does. Personally, I find this pretty awesome, and from Monday it's going to be heavily used, since, as said, the VisualEditor will become the default.

The thing that generates the human-readable names and descriptions is a small JSON data structure, loaded through an extension called TemplateData. I'm reaching out to you in the hopes that you'd be willing and able to put some time into adding TemplateData to high-profile templates. It's pretty easy to understand (heck, if I can write it, anyone can) and you can find a guide here, along with a list of prominent templates, although I suspect we can all hazard a guess as to high-profile templates that would benefit from this. Hopefully you're willing to give it a try; the more TemplateData sections get added, the better the interface can be. If you run into any problems, drop a note on the Feedback page.

Thanks, Okeyes (WMF) (talk) 22:06, 28 June 2013 (UTC)

I responded on your talk page.-Classicfilms (talk) 06:14, 29 June 2013 (UTC)

Nomination of List of independent bookstores for deletion

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October 2013

Hello, I'm BracketBot. I have automatically detected that your edit to Bess Myerson may have broken the syntax by modifying 1 "[]"s. If you have, don't worry: just edit the page again to fix it. If I misunderstood what happened, or if you have any questions, you can leave a message on my operator's talk page.

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• //www.amuseum.org/jahf/virtour/page34.html Bess Myerson on the Jewish-American Hall of Fame site]</ref>

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 Done-Classicfilms (talk) 15:20, 1 October 2013 (UTC)

Pather Panchali peer review

Hi! How are you? If you have time, could you please have a look into this? Your comments will be highly appreciated in this peer review. Regards.--Dwaipayan (talk) 14:21, 4 December 2013 (UTC)

Hi Dwai, good to hear from you. I'm a big fan of the Apu Trilogy. I'll leave a few comments on the Peer Review page. -Classicfilms (talk) 18:35, 4 December 2013 (UTC)

New England Wikipedia Day @ MIT: Saturday Jan 18

NE Meetup #4: January 18 at MIT Building 5

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A Dobos torte for you!

7&6=thirteen (☎) has given you a Dobos Torte to enjoy! Seven layers of fun because you deserve it. To give a Dobos Torte and spread the WikiLove, just place {{subst:Dobos Torte}} on someone else's talkpage, whether it be someone you have had disagreements with in the past or a good friend.

7&6=thirteen (☎) 22:27, 12 January 2014 (UTC)

Thank you! I appreciate it! -Classicfilms (talk) 22:30, 12 January 2014 (UTC)

I also appreciated your comments. 7&6=thirteen (☎) 23:45, 12 January 2014 (UTC)

Again thanks! -Classicfilms (talk) 23:48, 12 January 2014 (UTC)

Adrianne Wadewitz Memorial edit-a-thons

Adrianne Wadewitz edit-a-thons in Southern New England

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Global account

Hi Classicfilms! As a Steward I'm involved in the upcoming unification of all accounts organized by the Wikimedia Foundation (see m:Single User Login finalisation announcement). By looking at your your account, I realized that you don't have a global account yet. In order to secure your name, I recommend you to create such account on your own by submitting your password on Special:MergeAccount and unifying your local accounts. If you have any problems with doing that or further questions, please don't hesitate to ping me with {{ping|DerHexer}}. Cheers, —DerHexer (Talk) 00:49, 30 December 2014 (UTC)

I responded on your talk page. -Classicfilms (talk) 01:58, 30 December 2014 (UTC)

February 2015

Hi there! Thank you for your contributions to Wikipedia.

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Please use the edit summary to explain your reasoning for the edit, or a summary of what the edit changes. Thanks! bojo1498 talk 19:18, 9 February 2015 (UTC)

Thanks for the reminder - the first edit at 19:13 does have a summery - the following were a few clean ups and fixes added on to it, and yes I forgot to add summaries to those. -Classicfilms (talk) 19:21, 9 February 2015 (UTC)

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Nomination of Maia Sethna for deletion

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Nina Davuluri

Hello, you removed an edit that I made under a different IP address today, I have included it back in as the article describes what I initially published. I have also kept your inclusion because that's also in the article. (110.148.163.153 (talk) 04:32, 30 November 2015 (UTC))

Ok. I reread the portion of the article that you are referring to - that section initially sounded like it happened during her Feb. 2014 speech at Yale -which is described below:

https://en.wikipedia.org/wiki/Nina_Davuluri#Platform

However, on a second read, I now see that it happened when she won. -Classicfilms (talk) 06:02, 30 November 2015 (UTC)