They just don't make Movies or Songs like this anymore in India...

[00:00:00]Ladies and gentlemen, we are doing a Mahabarata marathon. Woohoo.

[00:00:04]>> So that will be dropping this weekend for all Fitcher Friday Uncut members.

[00:00:10]However, as [music] a summer sale happening right now, if you'd like to get access and you've always wondered what is it like to be inside the club?

[00:00:19]What is it like to be a member? Do you want to watch some album reviews? Do you want to watch the season one of Mahabarat? But maybe it's a little bit expensive. But for the summer sale for $1.99 for a limited time of 5 days, 17th, 18th, 19th, and 20th, 4 days, you can get access to everything in tier 1, which is Mahabarat season 1, Kabir Singh, Sara, and a bunch more other album reviews for $1.99. They just don't make movies like this, do they?

[00:00:52]Um, it's really interesting and we're falling in love and we think that in India the best films are the historical ones.

[00:00:58]>> I agree with that statement. Some people might argue they might not be the most historically accurate, but they are visually the most cinematically beautiful >> time pieces. Look at that shot.

[00:01:09]>> Look at that. Look at that shot.

[00:01:12]>> Wow.

[00:01:15]>> They just don't >> they don't do this stuff anymore.

[00:01:17]>> They just don't. And it's so incredible to watch. Mugal E Aan the 1960s version.

[00:01:23]Let's watch a song for that. If you'd like to get access to this, this will also be included in the summer sale by becoming a member. And if you're part of the higher tier, you get access to [ __ ] everything.

[00:01:34]>> Oh, cuz they've remastered the videos.

[00:01:37]>> That's freaking awesome. Look at that set.

[00:01:44]>> Wow. Oh my god.

[00:01:55]>> [music] [screaming] >> Are you joking?

[00:02:10][music] We are [music and singing] [music] >> wow.

[00:02:32]What a scene.

[00:02:33]>> What a number.

[00:02:34]>> Yes, I agree. They really don't do films like this anymore.

[00:02:37]>> They really don't. It's It's quite It's quite sad actually.

[00:02:40]>> And I don't think it's a lack of talent.

[00:02:41]There are the dancers who can do this in the industry. There there are there are the names.

[00:02:48]>> She goes in this world when a person falls in love with someone then he lives with that pain. Then he dies with that pain. Why fear if you're in love? Why fear if you're in love? You're in love is not a crime. You're in love is not a crime. Why should we hide in sight and sigh? Why fear if you're in love?

[00:03:04]Today I'll recite the story of my heart.

[00:03:06]Even if the world takes my life, today I'll recite the story of my heart.

[00:03:09]>> That's why she's staring. Even if the world takes my life, a death is great if it's witnessed by the world. Why suffocate and die in this way? Why fear if you're in love? The desire for him will remain in my heart. The delight will remain in this gathering. The desire for him will remain in my light in my heart. The light will remain in this gathering. Um it continues to say why fear if you're in love. Our love can't be hidden. It can be seen everywhere.

[00:03:34]When you don't hide anything from God, then one hide it from human. Why fear if you're in love? Why fear if you're in love?

[00:03:53]Yeah. I don't know.

[00:03:54]>> Yeah. Um it it is slightly sad that we don't make movies like this anymore or India doesn't make movies like this anymore.

[00:04:01]>> They they they really long time to make and for a good damn reason, you know.

[00:04:06]>> Yeah. Well, I mean, for example, this one.

[00:04:18]>> 14 years in the making. Oh, wow.

[00:04:21]Yes. It took 14 years to complete this one film. The film was started in the late 1950s by Kamal Amroi. His he cast his wife Mina Kumari as the lead. At the time they were deeply in love.

[00:04:32]Everything about the film felt magical.

[00:04:34]The story, the music, the vision, it all came from a place of passion. But slowly things began to change. Their personal relationship started facing problems.

[00:04:40]Misunderstandings grew. Distance increased. And one day everything stopped. Shooting of Pakiza was completely halted. The sets were left unfinished. The dream of their film almost disappeared. Years passed. For a long time, it felt like this film would never be completed. But life had other plans. After years of separation, Mina Kumari returned to finish the film. Not because everything was fixed, but because some stories deserved to be completed. By this time, her health was getting worse. She was going through deep emotional and physical struggles.

[00:05:08]Still, she stood in front of the camera.

[00:05:10]Still, she performed. Still, she gave her heart to the film. After 14 long years, the film was completely finished and released in 1972.

[00:05:19]Here's the most heartbreaking part. When the film was released, the response was not very strong at first. It was slow, almost unnoticed. And then just weeks later, Mina Kumari passed away at the age of 38. After her death, people started watching the film again. This time, they didn't just see a movie. They saw her pain. They felt her emotions.

[00:05:37]They understood her story. Well, let's have a look at this song.

[00:05:44][music] >> Wow. Tough entry. What the [ __ ] Let it go until it [music] [music] [singing] is [music] >> [music] >> Oh my god, what a scene.

[00:06:37]>> That's proper >> that had you know what that first opening shot of her just sort of like whispering >> the the lyrics. Oh, it's just absolute cinema. This is this is why I think the the principles of theater were very well executed in the in the analog era of Bollywood.

[00:07:00]>> Look at that post I did.

[00:07:02]>> Come on, >> Tooth. I agree >> because some of this some of these principles that I learned in theater like stillness and and minimalist movements and that tell a much more emotional story, a much more uh heavy weight in the scene. They did it so well for her.

[00:07:22]>> Also, do excuse um that you know we are seeing this through a translated lens.

[00:07:28]Um it's the best we can do for the time being until you know I guess artificial intelligence even gets better. That's actually one of the benefits of that.

[00:07:34]While walking while walking that's chal I met someone by chance I met someone by chance walking around the path right there it stood still this night of mine which is fading away.

[00:07:48]What I was unable to say the world is saying that a story a story has been created for those words of mine. I met someone by chance walking around the path. I met someone by chance walking around the path. The night of waiting, we laughter all short and soon were after all short and soon. These lamps these lamps are dying as they burn alongside me. Jesus Christ. As they burn alongside me.

[00:08:16]>> It did feel like a bit like a memorial performance, you know? You know, like the sort of the things you do in grief.

[00:08:25]>> Yeah.

[00:08:26]>> It also felt like a farewell. It's as if she's grieving herself though in a weird way.

[00:08:30]>> As it's like she's preparing for death.

[00:08:32]That's what it felt. It felt as though they were all sort of indulging in one last great song before death approached.

[00:08:40]>> Jesus Christ.

[00:08:41]>> That was heavy, bro. What a beautiful scene. [music] In my opinion, he's the only one. And he's so masterful, especially the female hero, the heroine.

[00:09:22]>> Yes, I agree. He's such a [ __ ] what an interesting lad.

[00:09:26]>> He chooses really interesting stories when it comes to the female main charact. I love that idea of cinema >> and they are unorthodox. They they are really pushing boundaries every single time that he drops a film to in my opinion he is our favorite Indian uh music composer. People don't know that, but he's our favorite music composer from India.

[00:09:50]>> And for sure the best film director I've seen in a long time.

[00:09:54]>> Yep.

[00:09:58]>> That's a new era, I guess.

[00:09:59]>> The animated Yeah, the animated stories.

[00:10:04]>> Listen to the song, though.

[00:10:20]Kuru shetta.

[00:10:23]That's Mahabarat.

[00:10:29]>> That's so cool.

[00:10:30]>> That's my Mahabarat. It's a historical drama series available on Netflix inspired by the epic Mahabaratra Mahabarata which tells the story of the great Kuru Kuruketra war fought between the Pandavas and the Kuravas set in ancient India and centered around the battlefield of Kurukhetra where powerful warriors like Arjuna Bimma Karna and Bishma I love Bishma take part in an 18-day war. Holy [ __ ] I don't want to read more just in case it spoils. Let us know if you'd like us to do this. I'd love to watch the animated side of India. We have seen some animated films. We're obviously very much looking forward to Bahubali the um animated version. So let us know it. It will be something that you know there will be a free version available but obviously the indepth complete experience will be available for our members.

[00:11:21]>> Oh my god, she's dancing with her eyebrows.

[00:11:29]You had so many of these capable dancers back in the day anyway.

[00:11:32]>> You had to. I think you had to. You couldn't just not be that great.

[00:11:38]>> Like, can we let go of the whole commercial [ __ ] for a while?

[00:11:41]>> It just was so good. Like, the fact that they could do the commercial movies at the time, but also, you know, these numbers that are so demanding.

[00:11:50]>> Well, it became a dying breed because like Mury Dixit could do commercial stuff, she could also do classical. I swear I could do [ __ ] classical stuff, but she could also do commercial stuff. So I also feel like we moved away from doing these sort of films. They became like special occasions throughout the cinematography of the world.

[00:12:06]>> Yeah. Well, I guess that's also the bullyification of things.

[00:12:08]>> Yes, >> that's a hard word, isn't it?

[00:12:12]>> Polywoodification.

[00:12:16]>> The stop stop motion.

[00:12:18]>> Stop motion. That would have taken [ __ ] months.

[00:12:22]>> That definitely took them forever.

[00:12:25]How cool. I don't like no films like this.

[00:12:34][music] That's great.

[00:12:36]>> How?

[00:12:37]>> Oh my god.

[00:12:41][music] >> How do that?

[00:12:46]>> Thank you. That's awesome. So, one of the most famous sequences in Mayabazar is the Vivaha Bchnamu song where SV Langaro magically eats gigantic amounts of food. The scene still feels impossible today because multiple practical effects techniques were combined to together inside the frame.

[00:13:04]What the >> nobody knows what techniques because that somebody knows about filming techniques. I would love somebody to break it down. It was about physically altering perspective, the scale relationship between the actor and the surrounding objects. Smaller props and miniature set pieces were strategically placed near the camera while the actor moved towards the lens creating the illusion that he has grown in size. The flying laddus, moving plates, and magical food movements were created using stop motion animation and reverse photography where objects were moved frame by frame and later projected continuously to appear alive. For shots where sweet seemingly fly into Gat Gatcha's mouth, the filmmakers likely filmed the objects moving away from him and then reverse the film reel during the editing, creating the illusion that the food was magically being pulled towards him. Another major technique used throughout the film was multiple exposure photography where the same strip of film was exposed multiple times while carefully masking different portions of the frame. This allowed magical appearances, disappearances, ghostlike transformations, and layered imagery to exist within a single shot.

[00:14:09]The film also relied heavily on miniatures and scaled down models for palaces, giant objects, and fantasy environments.

[00:14:15]>> That is awesome.

[00:14:16]>> Which appeared massive through careful lighting and depth of field control.

[00:14:20]Since there were no digital monitors or instant playback systems, every effect required extreme mathematical precision because even a small mistake could ruin the original negative. The handcraft precision and creativity are why the visual effects of Maya Bazar still feel magical even decades later. This was originally posted by Stan Leon Cinema uh which is an outstanding post and we highly recommend you go follow them because just do this level of a research and still bring this through you know to the current and modern audiences because this was originally posted in 1957.

[00:14:54]Uh is is quite quite ridiculous. You know what's actually really interesting about analog film is that they they physically had to cut and paste and overlay things like literally like collaging, bro.

[00:15:11][music] >> Yeah, there are some scenes where like the music and the scene just magic. Look at those eyes.

[00:15:22]>> Girl, come on. Look at that shot.

[00:15:24][music] >> [music] >> I think they're all Tamil uh actresses.

[00:15:35]>> They're awesome.

[00:15:37]>> Yeah, there there are certain examples at the moment where I I I think they're really good pieces in terms of, you know, cinematography and they're really special.

[00:15:49]>> I just I just think that unfortunately >> in the modern times with modern stories.

[00:15:53]Yes, I agree.

[00:15:54]>> I I just feel like unfortunately like what you said is true. I don't I don't think the caliber of actresses and you know, especially in this case because it's basically seems to be all about women actresses the the caliber of actresses you needed then was a lot higher than the caliber of caliber of actresses that you need now.

[00:16:10]>> Yes, you needed you needed really well-rounded performers. And I think a lot of actresses of the modern time aren't performers.

[00:16:17]>> They are rounded.

[00:16:18]>> They are rounded and they're they're great at what they do. They really are because of new standards, different perspectives and expectations of films.

[00:16:27]Absolutely. But I also feel like you you required a lot more physicality that nowadays you can get away with.

[00:16:34]>> Well, it's like the Yeah, that's interesting because in a weird way there's more physicality involved now.

[00:16:39]Hence why that depicts have to look like a basically like an athlete to certain extent. An athlete of a interesting sport, but an athlete nonetheless. and they have to be in tip-top shape and they jump on pharmarmacology and there's never been more stringency about diets and gym and taking care of your health.

[00:16:55]But in another way, it's like none of that really matters >> if you're not a worldass dancer.

[00:17:01]>> Yeah.

[00:17:02]>> Like that should have been a byproduct of you being a world-class dancer.

[00:17:05]>> And and by being a world class dancer, that means that you understand the nuance of the emotion to an extent that nobody else will be able to communicate it better. That's the difference between an athlete and a dancer.

[00:17:17]>> Yes.

[00:17:18]>> Like athletes don't we don't we don't have to convey emotion. As a matter of fact, you get taught to [ __ ] be as cold as possible. You know, the regiment that the dancers go through are athletic for sure. But the difference between an artist and a [ __ ] sportsman. They're vast. And at the moment, I feel like we're creating athletes and we're creating like professionals and not artists.

[00:17:40]>> Yeah. Well, we're sort of losing the artistry. I sort of agree with that.

[00:17:43]kind of weird, isn't it? And this is not just a problem in India, but it's a problem everywhere. And and it's because >> because there are certain commodities that facilitate artistry without actually the the the person having to >> break themselves in the process.

[00:17:58]>> [ __ ] hell. Look, look at look at the example of of Pakisa. That didn't sell well. It sold well after you're dead.

[00:18:04]So, what the [ __ ] it good for? You know, but it's because if you you know, if you focus so much on the money and the selling and stuff, you become the rock. you become the SRKs of the world.

[00:18:13]You know, it's like it will he take a really complicated difficult acting role if he wants to >> but not for the love of the [ __ ] art, you know. That's why I really respect Amitab Bachan to a certain extent because >> like we just >> very challenging very challenging roles and that he took for the love of the art because he really didn't need any of these roles because by the way, >> by the way, these weren't films that were supposed to sell.

[00:18:35]>> Yeah, they weren't films that were supposed to be popular. I don't think black. I don't give a [ __ ] about Black for a while >> or Piku.

[00:18:40]>> Yeah. Yeah. Or >> they became called classics actually later. Yeah. So it's like I like I like to pick up Dukon for those reasons. She takes on roles that are difficult.

[00:18:48]>> Yes.

[00:18:48]>> For the sake of [ __ ] being difficult.

[00:18:50]>> Yeah. Yeah. Yeah. Just for the sake of doing something that is stimulating for them.

[00:18:54]>> Her husband Ramir Singh another great example of that. It's like I I miss these artists. I really miss them. And there's some present in the industry but they're rare and few >> and let and let the quality of the product actually dictate how well it performs. I think that's the reason why >> that's why India is cursed with the remake curse >> because nothing ever hits the same [laughter] >> and that's why nostalgia drives the most numbers in India who film oh beautiful color grading Oh, great song.

[00:19:56]Oh, what a cool integration of modern and old.

[00:20:04]>> That's so cool. The inclusion of the 808 is so nasty.

[00:20:12]>> That's crazy.

[00:20:13]>> That's the Tamil classic uh pony pony, right?

[00:20:18]um really really popular at the time.

[00:20:21]Well, let us know what you guys thoughts about it and obviously let us know if you'd like us to go more in depth like this as we sometimes do. Um thank you so much for your support.

[00:20:29]>> We'll see you soon.

[00:20:29]>> Hope you enjoy the summer sale and goodbye.