PRODUCTION HOUSE / CELLULOID SERVICES
KMPL’S MAIDEN TELESERIAL VENTURE SUPER HIT T. V. SERIAL FOR DOORDARSHAN
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KMPL contemplated to make its mark in the world of make believe by launching a set of Television Serials, Motion Pictures and Music Albums for the Indian as well as international markets. KMPL’s maiden venture was a TV serial titled “BIKHRI AAS NIKHRI PREET” which was aired at 9 PM every Sunday on Doordarshan – DD1/National, since 27th Apr. 2008 with bumper response. Based on a classic Hindi Novel (Vyavdhaan) penned by Late Smt. Shanti Kumari Bajpai (erstwhile Hindi Professor from Banaras Hindu University). This super-hit serial directed by Lekh Tandon with music by Khayyam enjoyed huge countywide popularity. It has since then had numerous repeat telecasts on popular demand.
With this unique path breaking Serial, amidst all the tawdry, glitter, glamour and sensationalism of the tedious most exhausting Saas-Bahu genre, KMPL had endeavored in its own modest way to bring back the glory of the golden period of Teleserials – the era of “Humlog”, “Buniyad”, “Farmaan” and “Phir Wohi Talash” etc. This television series was based on the celebrated Hindi novel “Vyavdhaan” penned by the late Smt Shanti Kumari Bajpai, (an erstwhile Professor of Hindi in Banaras Hindu University) which published in the year 1963 received rave reviews and was heralded as a literary classic. The serial was a family social mounted on a truly ambitious scale of a magnum opus. It was an exclusive and sentimental project – an emotional saga epitomizing boundless love and unfathomable devotion exuded by true to life and down to earth real characters ably portrayed by handpicked talent. The serial embodies a message which was pure and simple – “In duty bound renunciation lies the beauty of life and connectivity to God.” The serial encapsulates on celluloid the rare cultural values, dignity of emotions, sense of renunciation and immaculate morality exhibited by the principal characters in the unfolding story line replete with captivating dramatic content. The episodes exposed viewers to real life drama enacted by credible, down to earth, identifiable and lovable characters. The Series adopts the novel’s own subtitle “Bikhri Aas Nikhri Preet” as its titular emblem.
KMPL had entrusted the direction of this prestigious venture to the renowned film / television Director Lekh Tandon, a veteran of 27 films including “Professor”, “Amrapali”, Jhuk Gaya Aasmaan”, “Prince”, “Jahan Pyar Milay”, “Andolan”, “Dulhan Wohi Jo Piya Man Bhaaye”, “Ek Baar Phir”, “Sharda”, “Agar Tum Na Hote”, “Khuda Kasam” and “Doosri Dulhan” etc. and 18 T.V. Serials viz. “Farmaan”, “Phir Wohi Talash”, “Daraar”, “Adhikar”, “Kahan se Kahan Tak”, “Milan”, “Aisa Des Hai Mera” etc., just to name a few. Celebrated emeritus Composer Khayyam had composed the musical score of “Bikhri Aas Nikhri Preet”, tuning lyrics of Naqsh Lyallpuri, Maya Govind and Ahmed Wasi which had been sung by Jaspinder Narula, Alka Yagnik, Roop Kumar Rathore, Madhushree, Kanika Bajpai and Mohammad Vakil. Lilting music was a highlight of “Bikhri Aas Nikhri Preet” and music director Khayyam’s unmistakable touch was in full evidence in the eight brand new songs recorded:
Suitable Lyrics of famous departed poets viz. Late Sahir Ludhianvi and Late Nazir Banarasi were also being used apart from the couplets from the Novel itself penned by the late Smt. Shanti Kumari Bajpai. Folklore / traditional lyrics relevant to the narrative were being provided by Pt. Hari Ram Dwivedi. A unique feature of the Serial was in inclusion of some vintage, Hindi film songs in the narrative under an arrangement with IPRS. Several past hits of great composers and singers had been included (See Nostalgia).
The story / Scenario concept based on “Vyavdhaan” had been developed by Anshula Bajpai, who had also written the Screenplay. Dialogue were by Anshula Bajpai, S.Farhan and Anupama Mishra Concept creation support had been provided by Pt. Reoti Saran Sharma, the well known literature. A team of highly experience Cinematographers including Indrajeet Bansal, Faroukh Mistry and Tribhuvan Babu had photographed the Serial. Pt. Madhav Kishan had choreographed the dances along with Kanika Bajpai.
Experienced Editor Javed Sayyad was editing the Serial with audiography by Ramesh Sartape / Iqbal Malik and art direction by Chokkas Bharadwaj. Famous Veteran Dada Pandhari Juker was the make – up artist. A Select band of experienced performing artistes had been chosen to portray the numerous fascinating characters. The cast includes Kanika Bajpai, Divya Dwivedi, Bharat Kapoor, Arun Bali, Avinash Tiwary, Prithvi Zutshi, Poonam Bharti, Masood Akhtar, Rajshree Seem, Ankush Bali, Swapnali Kadam, Rockky, Noynikka, Piyoosh Sahdev and Jatin Sial.
Famous names viz. Ameen Sayani and Ali Peter John were handling the Publicity of this prestigious serial. This Teleserial had been conceived as an emotional saga of “Love” and “Loss” displayed through the passion and perils of two families and their bond which carries across different generations. The treatment of the unfolding story line was fast paced lending a post modern look to the contents of the novel. Deft directorial touches of the celebrated director Lekh Tandon, lilting music by the emeritus composer Khayyam, crisp dialogue by Anshula Bajpai and brilliant performances by the entire cast were highlights of the serial.
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TELESERIAL BADA AADMI
This Comical thriller is based on the quasi surreal fateful happenings in the life of a small town young lad who by virtually divine intervention attains name and fame worthy of his famous lineage despite being a habitually lazy spoiled brat. Each Episode has been designed to create ribtickling mirth, boisterous hilarity and thrills. Veteran Director Lekh Tandon had been contracted to direct this teleserials also. Lalit Sen tuned the lyrics by Nida Fazil.
Produced by Kanika Bajpai and Trinetra Bajpai with story by Lekh Tandon and Screenplay / Dialogue by Anshula Bajpai, the Tele-Serial starred Rahul Nanda, Ratan Rajput, Vineeta Malik, Arun Bali, Prithvi Zutshi etc. Editing by Siddharth Patil, Make-up by Pandhari Juker, Art Direction by Chokkas Bhardwaj, Lighting by Akbar Ali and Cinematography by Tony were the other credits.
TELESERIAL KOI MEER BHI THA
AVANT GARDE MOTION PICTURE
Singularly the most hotly debated topical subject in current times in India is the issue of “Triple Talaq” which features in social and media circles regularly ---- a tidal wave of public opinion which refuses to ebb. Much before the “Triple Talaq” became the flavour of drawing room gossip and the street corner chats “Chai peCharcha”, Octogenarian veteran Director LekhTandon(“Professor”, “Amrapali”, “Jhuk Gaya Asmaan”, “JahanPyar Mile”, “DulhanWohi Jo Piya Man Bhaye”, “Prince”, “Agar Tum Na Hote”, “EkBaarKaho”, “Andolan”, “Sharda”, “DoosriDulhan” “KhudaKasam” and “Mil GayiManzilMujhe”etc. and numerous tele-serials fame) had toyed with the idea of making an avant-gardemotion picture on the subject and launchedthe film in the name and style of “PhirUssi Mod Par (Back to Square One)”.The uniqueness of the subject so captivated the veteran Director that he not only completed the script in record time but also commenced shooting at a break-neck speed in association with KanikaMultiscopePvt. Ltd. (KMPL) and completed the film in a record time of six months.
CRUCIAL SCENES OF “PHIR USSI MOD PAR”
Unfortunately the prolific legendary film maker sadly made his heavenward ascent on October 15, 2017 shortly after completing this path breaking motion picture. The film is now been released by producers Trinetra / Kanika / AnshulaBajpai under the auspices of their banner KanikaMultiscope. The Producers are well-known names in their respective fields – TrinetraBajpai is an internationally renowned Technocrat and Author, KanikaBajpai is a celebrated theatre / television and musical artiste whereas AnshulaBajpai is a writer of repute. Without bothering to spend precious time in signing a huge star cast LekhTandon had opted for assembling a team of dedicated artistes who fitted the respective powerful roles like a glove. The carefully selected artistes included many LekhTandon regulars viz. Kanwaljit Singh. ParmeetSethi, S. M. Zaheer, GovindNamdeo, SmitaJaykar, KanikaBajpai, Rajeev Varma, Arun Bali, Haider Ali, Vineeta Malik, Sanjay Batra,DiveeyaDwivediand newcomer Jividha as the main protagonist. Renowned Cinematographer JehangirChowdhury (who had been associated with Lekhji in six films),accomplished ChoreographersMadhavKrishan / Jojo, Editor Awadh Narayan Singh, Art Director ChokkasBhardwajand Co-Director / Writer SureshPremvatiBishnoietc. contributed their bit to make this movie a real tribute to the mastery of Director LekhTandon over the Film making medium.This notable movie will hit the cinematheatres shortly after a World Premiere at the Berlin Film Festival on February 18, 2018. The story-line of the film is replete with contemporary thought provoking content aimed at placing in perspective the rationale and / or otherwise of the relevance and validity of the “Triple Talaq”. The title of the movie “PhirUssi Mod Par (Back to Square One)” silhouettes the futility and unsavoury repercussions of the prevalent practice of the Talaq against the socio-religious relevance of the practice juxtaposed with the real time honoured beliefs and modern way of life. The film endeavours to convey the practicality to be associated with the basic modus operandi of the practice of “Triple Talaq” which though present in abundance in religious under-currents is selfishly camouflaged and purposely misinterpreted to meet personal ends. The ethos of the very basis of the denouement takes a back seat in the process. It is the story of a woman of substance and fortitude who gets duped in love facing unjustified selfish “Triple Talaq”, raises her son against all odds only to see him subject her Bahu to the same fate in a most unjustifiable manner. The woman rises to the occasion squarely meeting the daunting challenges of society / clerics to ensure that justice prevails. An unconventional post-modern treatment of this sensitive subject makes “PhirUssi Mod Par (Back to Square One)” special as the movie espouses the cause of social justice in no uncertain terms.
THE CLIMAX OF “PHIR USSI MOD PAR”
LekhTandon films have been known to be embellished with memorable musical scoreslyrically meaningful and nostalgically tuneful. Lekhjiused Lyrics by the lateNaqshLyallpuri, Ahmed Wasi andIrshaadKamil and drafted well known Technocrat TrinetraBajpai (Writer of the celebrated Coffee Table Book “Those Magnificent Music Makers” and Producer of the LekhTandon directed super hit serial “BikhriAasNikhriPreet”) in conception and evolution of a unique musical score befitting the theme. The songs sung mainly by KanikaBajpai and Javed Ali create captivating sonorous music reminiscent of the era “When Melody was Queen” with a post-modern touch and are a major highlight.
SONG RECORDINGS / PICTURIZATION FOR “PHIR USSI MOD PAR”
The contemporary subject of “Phir Ussi Mod Par (Back to Square One)” deftly directed by the veteran legendary Lekh Tandon has evoked avid interest among the viewers for some time and expectations are running high. The Late Director Lekh Tandon was keen to make an emphatic social statement with “Phir Ussi Mod Par” with the hope that the filmgoers will be regaled with a quality motion picture of contemporary values with an important topical message.
With “Phir Ussi Mod Par (Back to Square One)” hitting the cinema screens to be enjoyed by a legion of his admirers and cinegoers; the dream of the great Lekh Tandon has come true. The Pan India release shall be followed by the film hitting silver screens in the Middle East, Europe and USA.
प्रेस विज्ञप्ति इस वर्ष के महिला दिवस (मार्च ८, २०१९) में एक विशेष आयोजन चार चाँद लगानेवाला हैं - सुविख्यात महान निर्देशक स्वर्गीय लेख टंडन की चिरप्रतीक्षित फिल्म "फिर उसी मोड़ पर . . . तलाक़" संपूर्ण भारत के चलचित्रपटों पर प्रदर्शित हो रही हैं |
SONG RECORDINGS / PICTURIZATION FOR “PHIR USSI MOD PAR”
The contemporary subject of “PhirUssi Mod Par (Back to Square One)” deftly directed by the veteran legendaryLekhTandon has evoked keen interest among the viewers and expectations are running high.The Late Director LekhTandonwas keen to make and emphatic social statement with “PhirUssi Mod Par” with the hope that the filmgoers will soon be regaled with
a quality motion picture of contemporary values with an important topical message. With “PhirUssi Mod Par (Back to Square One)” now complete the dream of the greatLekhTandon has come true and his last cinematic creation is soon to be enjoyed by a legion of his admirers and cinegoers.
PRESS RELEASE “CONTENT IS BACK” & “MELODY RETURNS” AS AVANT-GARDE LAST CINEMATIC CREATION OF LEGENDARY LEKH TANDON “PHIR USSI MOD PAR . . . TALAQ” RELEASES ON WOMEN’S DAY – MARCH 8, 2019
This year the Women’s Day (March 8, 2019) shall assume special significance as the last cinematic creation of legendary director Lekh Tandon “Phir Ussi Mod Par . . . Talaq” which emphatically espouses the cause of Muslim Women will hit the Silver Screens all over India. It is an avant-garde motion picture based on singularly the most hotly debated topical subject in current times in India, the issue of “Triple Talaq” which features in social and media circles regularly ---- a tidal wave of public opinion which refuses to ebb.
Much before the “Triple Talaq” became the flavour of drawing room gossip and the street corner chats “Chai pe Charcha”, Octogenarian veteran Director Lekh Tandon (“Professor”, “Amrapali”, “Jhuk Gaya Asmaan”, “Jahan Pyar Mile”, “Dulhan Wohi Jo Piya Man Bhaye”, “Prince”, “Agar Tum Na Hote”, “Ek Baar Kaho”, “Andolan”, “Sharda”, “Doosri Dulhan” “Khuda Kasam” and “Mil Gayi Manzil Mujhe” etc. and numerous tele-serials fame) had toyed with the idea of making an avant-garde motion picture on the subject and launched the film in the name and style of “Phir Ussi Mod Par (Back to Square One)”. The uniqueness of the subject so captivated the veteran Director that he not only completed the script in record time but also commenced shooting at a break-neck speed in association with Kanika Multiscope Pvt. Ltd. (KMPL) and completed the film in a record time of six months. This path breaking movie promotes the expedient social cause of doing away with “Triple Talaq” so very adroitly promoted in current times. The thematic treatment of “Phir Ussi Mod Par . . . Talaq” effectively ensures that “Content is back” on celluloid.
CRUCIAL SCENES OF “PHIR USSI MOD PAR”
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Unfortunately the prolific legendary film maker sadly made his heavenward ascent shortly after completing this path breaking motion picture. The film is now being released by producers Trinetra / Kanika / Anshula Bajpai under the auspices of their banner Kanika Multiscope. The Producers are well-known names in their respective fields – Trinetra Bajpai is an internationally renowned Technocrat and Author, Kanika Bajpai is a celebrated theatre / television and musical artiste whereas Anshula Bajpai is a writer of repute.
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Without bothering to spend precious time in signing a huge star cast Lekh Tandon had opted for assembling a team of dedicated artistes who fitted the respective powerful roles like a glove. The carefully selected artistes included many Lekh Tandon regulars viz. Kanwaljit Singh. Parmeet Sethi, S. M. Zaheer, Govind Namdeo, Smita Jaykar, Kanika Bajpai, Rajeev Varma, Arun Bali, Haider Ali, Vineeta Malik, Sanjay Batra, Diveeya Dwivedi and newcomer Jividha as the main protagonist. Renowned Cinematographer Jehangir Chowdhury (who had been associated with Lekhji in six films), accomplished Choreographers Madhav Krishan / Jojo, Editor Awadh Narayan Singh, Art Director Chokkas Bhardwaj and Co-Director / Writer Suresh Premvati Bishnoi etc. contributed their bit to make this movie a real tribute to the mastery of Director Lekh Tandon over the Film making medium. The film was showcased at the Berlin Film Festival to a rousing response and also received a Certificate of Merit at the 3rd Golden Triangle International Film Festival at Bhubaneswar.
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The story-line of the film is replete with contemporary thought provoking content aimed at placing in perspective the rationale and / or otherwise of the relevance and validity of the “Triple Talaq”. The title of the movie “Phir Ussi Mod Par . . . Talaq (Back to Square One)” silhouettes the futility and unsavoury repercussions of the prevalent practice of the Talaq against the socio-religious relevance of the practice juxtaposed with the real time honoured beliefs and modern way of life. The film endeavours to convey the practicality to be associated with the basic modus operandi of the practice of “Triple Talaq” which though present in abundance in religious under-currents is selfishly camouflaged and purposely misinterpreted to meet personal ends. The ethos of the very basis of the denouement takes a back seat in the process.
_
It is the story of a woman of substance and fortitude who gets duped in love facing unjustified selfish “Triple Talaq”, raises her son against all odds only to see him subject her Bahu to the same fate in a most unjustifiable manner. The woman rises to the occasion squarely meeting the daunting challenges of society / clerics to ensure that justice prevails. An unconventional post-modern treatment of this sensitive subject makes “Phir Ussi Mod Par (Back to Square One)” special as the movie advocates the cause of social justice in no uncertain terms.
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THE CLIMAX OF “PHIR USSI MOD PAR”
_
Lekh Tandon films have been known to be embellished with memorable musical scores lyrically meaningful and nostalgically tuneful. Lekhji used Lyrics by the late Naqsh Lyallpuri, Ahmed Wasi and Irshaad Kamil and drafted well known Technocrat Trinetra Bajpai (Writer of the celebrated Coffee Table Book “Those Magnificent Music Makers” and Producer of the Lekh Tandon directed super hit serial “Bikhri Aas Nikhri Preet”) in conception and evolution of a unique musical score befitting the theme. The songs sung mainly by Kanika Bajpai and Javed Ali create captivating sonorous music reminiscent of the era “When Melody was Queen” with a post-modern touch and are a major highlight – “Melody Returns”.
