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sitanshi talati-parikh

sitanshi talati-parikh

Author Archives: sitanshi talati-parikh

The fear of the sabbatical

11 Saturday Sep 2010

Posted by sitanshi talati-parikh in Musings

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Thoughts

As the days inch closer to quitting nearly a decade of work – I can’t help but battle a strange queasiness. Since my sabbatical wouldn’t mean exotic travel and exciting new opportunities, but just a whole new phase of my life; I feel increasingly anxious – will this mean that I will change as a person? We identify ourselves so much with our work that will it give me a separate identity or a non-identity? Will I be able to take the opportunity to explore new avenues of thought and writing…or will the creative juices just dry up? We often wonder, worry about the things we cannot control or cannot predict and it possibly is a massively futile exercise.

Ignore or Delete?

10 Friday Sep 2010

Posted by sitanshi talati-parikh in Musings

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Today, after really long, I looked at my personal email account and really, really cleaned it up; as opposed to scanning for urgent and ignoring all else, because my work email keeps me so caught up. And I realised a lot of things:

1. We hoard a lotta junk!!! It’s easier to ignore than to take that vicious decision to delete, somehow?

2. Subscribing lists find us (because ignorant friends and family let random apps access their entire contact list to send out emails to) and keep spamming.

3. Sometimes, an important email from a friend lies unreplied (im guilty of replying to one after 8 months) because it got lost in the maze of the junk and useless. And that just feels wrong.

4. The art of emailing a friend who lives far away: when at work, I find it impossible to take time out to shoot out thoughful emails, or a hello to friends I haven’t spoken to in ages. But when in my personal domain, I find myself reviving the spirit of long-distance friendship. You realise work emails are just cluttering up your life and keeping you removed from quality relationships.

5. I feel as relieved and ‘cleansed’ chucking out junk from my Inbox, as I do clearing my workstation or home. It’s funny, the places we hang out – whether they are physical or virtual, always end up collecting stuff – and purging it feels like a revelation.

6. I don’t feel like I’ve done anything productive all afternoon except keep on doggedly after my 4000-email inbox, but, hey, even if it’s not writing an article or making a difference to the world – my email a/c and I feel SO much lighter! Hallelujia!

7. Moral of the story – delete/ archive. Preferably Delete (tho I achived way more than I should have – that stupid tool that hides the junk from you). Even if it means thinking you’ve lost something vital or have wronged the person who’s sent that email to you!! And oh yes, UNSUBSCRIBE to like a million junk lists! Wish they had that for mobile phones.

Clearing out my Inbox, clearing out my desk at work and soon clearing out my home…hope that leads me to a fresh clutter-free start in 2011!

Of Age and Time

27 Friday Aug 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Publication: Verve Magazine

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Alyque Padamsee, Reviews, Sabira Merchant, Theatre, vervemagazine

Published: Verve Magazine, Nerve, August 2010

It evolved from a Caucasian play to Parsi characterisation – making it appealingly familiar in the Indian context. Sitanshi Talati-Parikh goes behind the scenes, previewing The Game, an endearing two-person tragicomedy

 

Theatre01

Alyque Padamsee, Sabira Merchant, Bachi Karkaria, Raell Padamsee, Sam Kerawala. Stalwarts all, come together in The Game – Bachi’s adaptation of DL Colburn’s The Gin Game and her own earlier adaptation The Rummy Game – which brings Shireen Bamboat and Fali Pastakia, two elderly inhabitants of Pallonjee Nursing Home, together for the odd game of rummy, cracking through the carefully-maintained facades of each other’s lives.

There is humour tinged with despondency, pulling you irrevocably into their lives with a sincerity that can stem merely from a convincing performance. Alyque gets reluctantly back into acting after a hiatus of 15 years, last seen in a major role playing Mohammad Ali Jinnah in Gandhi, and accepts that while “film acting is a bore, stage gives me a huge high”. When daughter Raell chose to revive The Rummy Game in the memory of the late Hosi Vasunia, he accepted the chance to play Fali, an irascible, lonely man who masks his soft nature under a cloak of crabbiness. Sabira, who along with Hosi was a part of the earlier adaptation, is a natural as the prim and petulant Shireen. Watching the preview in Alyque’s charming living room, against the backdrop of a library of books, I find their interactions unaffected and instinctive despite being in early rehearsal mode, both adept at getting into the skin of their characters.

Sabira fell in love with the award-winning DL Colburn original theatrical almost a decade ago on Broadway. “It’s so hard to find a role for an older person. There’s nothing meaty and hands-on. This is a play you can play forever. You can age with it.” That is exactly what the play’s theme is about, a very simple conversation about aging: how children grow further from their parents and how the latter deals with that change. Fali is the prime example of transferred aggression – the physical pain of growing old and the emotional angst of being alone gets transferred into his testy temperament. In between scene breaks, over bhajjias and tea, Alyque, admits that it was an easily identifiable role, “I can feel the pain in my back, I notice myself getting more short-tempered as I go along. Patience is not about the other person, it is about you. As soon as you are physically disabled, the first thing you have to overcome is impatience.” He pauses, and with an indulgent smile continues, “And for the other point, Raell, for instance, is a busy girl – I need to take an appointment to meet her.”

Sabira chimes in with feeling, “Everything that children have to do – life in general – absorbs them so much that to meet them you have to plan in advance! It’s a fact of life.” And this very issue remains her character, Shireen’s, main concern. She is a more complex character – she isn’t quite as transparent as Fali, and as the layers of her personality peel away, you realise how vulnerably human she is. And in the metaphorical interactions and altercations between Shireen and Fali, we find a hugely touching and irrevocably moving play that remains timeless and universal in its appeal.

The Game goes on stage at St. Andrews Auditorium, Bandra, Mumbai on August 21 at 7:30 pm and at NCPA, Nariman Point, Mumbai on August 22 at 6:30 pm.

Quick Bites on Theatre

Alyque: “Theatre acting is really stimulating – you get a chance to rehearse, which you don’t in films; and once you are on stage, you have a live audience – there is a kind of an electric current passing back and forth. In a comedy you can hear the laughter, but even in a serious play, you can feel the audience intensely.”

Sabira: “We weep on stage because we feel the power in the belly – not because of movie-style glycerine. There is no lying. The adrenalin is pumping and you’re not yourself – you are playing somebody else, you’re under somebody else’s skin. It’s a wonderful catharsis – I am never exhausted after a play. For me it’s like a holiday. And there’s no baggage.”

Sculpted Vision – Bharti Kher

27 Friday Aug 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Interviews (All), Interviews: The Arts, Publication: Verve Magazine

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Art and Design, Bharti Kher, Indian Art, Interview, vervemagazine

Published: Verve Magazine, Nerve, August 2010

Bharti Kher is now considered ‘India’s top woman artist’. We catch up with the 3-time Verve Power Lister post the astounding sale of her sculpture at a recent Sotheby’s auction

 

Art01

Her elephant sculpture, The Skin Speaks a Language Not Its Own, reportedly sold for a hefty $1.5 million, giving UK-born, India-residing Bharti Kher a permanent residence in the top echelons of artistic stardom. In a quick Q&A:

 

Artists stray from using traditional symbols of India, but you are popularising them (elephants, bindi etc) as elements with great depth.
It’s not particular to India as such, what I’m interested in is the ready-made and its transformation, and then the cliché and how it sits in our consciousness. When you use something so obvious there has to be subversion.

 

Every artist strives to have their voice heard and influence public opinion. Do you believe you’ve managed to do that?
I don’t think artists have very powerful voices, we whisper for a long time, perhaps! Maybe people will look at Indian art more, but they have been looking for a long time: this generation has had a lot of exposure already.

 

Does it bother you that Indians are not the ones purchasing the works; it is a foreign gallery/ foreign collectors?
Yes it would if it was true. Indians do buy my work but less than those from abroad…some major works left when they could have stayed.

 

Where do you believe Indian artists fall short in terms of gaining international recognition and acceptance?
Indian artists don’t fall short at all, it’s just that the world is a bit slow and needs time to catch up to them!

 

How does it feel to be one part of a successful couple in the same profession – being married to Subodh Gupta?
We are both working hard right now…we talk, we fight, nothing is easy and we are still sailing.

 

What attracts you to life-size sculpture?
It creates a relationship with the self. Scale is something I enjoy – whether I want the works to envelope you or seem fragile, so that you (the viewer) feel like a giant or an elf.

 

Since you work on each piece for a long duration – a few months at a time – do you ever feel that the idea stops mattering to you or changes?
I usually work on many works simultaneously, so none of them ever reach the same level of completion at the same time – therefore the energy is always different at each stage of a work. I have to keep my sanity!

 

Hypothetically, what do you think your career graph would look like had you remained in the UK and established yourself as an artist from there?
I can’t talk about the things that never were. Maybe I would have been a writer or a mental patient! It’s fun to think about the ‘what ifs’ and go on strange journeys with yourself.

Off With The Shirt!

17 Tuesday Aug 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Publication: Verve Magazine

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Ayananka Bose, Bollywood, cinematography, hrithikroshan, I Hate Luv Storys, imrankhan, indiancinema, Kites, vervemagazine

Verve Magazine, Nerve, July 2010

The camera is taking a different turn – it’s moving towards the male body as an object of adulation, aspiration and desire

They are splashing half-naked men all over to tantalise the homely Indian woman.

If it wasn’t enough that Hrithik Roshan was brutally declothed and exposed to a rather heavily-breathing female audience in his latest debacle Kites, what was far more revealing was the way the camera panned his body – from the tightly-packed muscled abs and the pumping veins in his neck, to the finely chiselled face and the flaring nostrils, to the slight tensing in the taut abdomen right above where his well-fitting Calvin Klein briefs began and imagination slid downward. The camera stayed put. Our minds didn’t. It’s fun, you admit, until it becomes adulatory. Men are lovely, especially lovely men, but in all the right doses. Cameras making love to men’s bodies and the bodies responding in kind is soft porn in the making, when actually you just want a healthy dose of flashing progesterone. Sometimes, less is tantalisingly more.

Then the shy young gentleman, who we politely thought would make for interesting eye candy were he to shed his cute tees, gamely went ahead and did just that. Workouts, unpalatable food and some dedication later…catch any of the promos for his new rom-com I Hate Luv Storys? We couldn’t – we were too busy checking out gleeful aunties, pushing the prince-nez further up their haughty noses running amock, delighted with this new potential cradle-snatch, and tweens and teens knocking themselves out in a frenzy. Imran Khan, who is seen lying wantonly on a black leather sofa in nothing but slithery track pants, may have just ranked himself from ‘chocolate boy’ to ‘sexy young thing’. So despite having the very good-looking Sonam Kapoor and the sultry Bruna Abdullah in the movie, producer Karan Johar chooses to flash the body of the male factor in the promos!

Shahid Kapoor, meanwhile, tried very hard to garner some attention in Badmaash Company, as he appears more self-obsessed, but he couldn’t quite steal the attention from pretty Anushka Sharma’s new barely-clothed avatar. Women still rule the roost, but the men are out to give them some thrust for their bodies aplenty. We, the audience, just sit back and enjoy the competitive foreplay.

CARESSED BY THE CAMERA

Cinematographer Ayananka Bose, 30, director of photography (DoP) for the recently-released Kites and the upcoming I Hate Luv Storys, says:
“Male actors have never been this image conscious but then again physical appearances have never been this important in establishing a brand. Their bodies are their brand ambassadors. It not only portrays the actor with greater sex appeal but it also inspires the audience to think of their personal physique and fitness, establishing a deeper connection with the audience…often leading to adulation.

The camera is an integral extension of the DoP’s vision that is guided by the director’s requirement. You strive to make the visual look stylish, beautiful and most importantly flow within the theme of the story. This rule applies across the entire spectrum from animate and inanimate to things male and female!

If there is a perfect understanding between the director and the DoP we most often end up with an edited version that is good for both – seeing that we always shoot more than what might be needed. In my opinion, the union of a director and a DoP is much like the union of a husband and a wife.”

Laughter Club

17 Tuesday Aug 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Interviews (All), Interviews: The Arts, Publication: Verve Magazine

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Stand-up Comedy, The Comedy Store, vervemagazine, Vir Das

Verve Magazine, Nerve, July 2010

Stand-up comedians are coming of age in a country that loves stage tamasha (real and reel), with international comedians trying their brand of humour here as well

I think I’d never really, really laughed, like laughed-until-I-nearly-peed-in-my-pants until I laughed at a hole-in-the-wall, I-look-ghetto-but-I’m-really-cool place in Greenwich Village, Manhattan. The Comedy Cellar had three hilarious men (why is it mainly men who have the balls to say horribly rude things? Is that an obvious answer, anatomically speaking?) who got away with saying incredibly offensive things to some very decent people. And some other very decent people had a major, side-splitting laugh at those other decent people. And not to forget nervous laughter, wondering if you’d be the next target.

There’s something absolutely liberating about going to watch a stand-up comic. It’s also particularly pleasing because here’s a person who’s really putting himself out there. Any other performance artiste may get polite claps, but a stand-up comic rarely ever benefits from anything polite. In the split second after he’s said his line, the laughter should come rolling in, and if it doesn’t, it’s not even a pregnant pause, it’s deeply embarrassing. To then keep going, have the courage to move right onto the next joke, to often poke fun at oneself, is something that makes the comic endearing; and if he’s one of those witty, vicious, mean ones who are just out to tear you apart (for all the times they’ve never been laughed at) it makes him someone to be feared.

Stand-up comics in India in the English language are few, but growing more every day as we discover actual comedy clubs that offer a permanent podium for the travelling comics, international comics and local ones. It is no longer about renting a space at a hotel, holding stage in an auditorium; it’s about having an identity of your own. After touring India last year, The Comedy Store has arrived at Palladium, Phoenix Mills, Mumbai, where Jo Caulfied, a female comic is performing this month, from July 8 to 11.

STAND-UP TONIC

31-year-old Vir Das has been on the comedy circuit for five years, done about 2000 acts, written his own, hosted TV shows, acted in Hindi cinema (most recently seen in Badmaash Company), started India’s first comedy rock band, Alien Chutney, and his company Wierdass Comedy has started India’s first ever open mic for amateur comedians. Early next year he will be seen in Aamir Khan Productions’ Delhi Belly.

So facing the people of the West and India…
I think the Indian audience requires a little more homework. You have to work a little harder to warm them up in the first five minutes, but once you do, they are a louder and better audience than any.

It takes a lot of courage to put yourself out there….
I am nervous before each show. You never really know how it’s going to go. My jokes are like throwing darts at a board, some of them stick and some of them end up biting you in the ass.

The three things you find really funny:
Women, women and women!

How much is improv?
Performing comedy is like cooking live. It’s hard to tell where it’s going to go; you are constantly adjusting to audiences’ laughter levels and room energies. There is a heavy amount of improvisation in my shows.

What’s the scene with international comedians coming to India?
Indians are a very seasoned comedy audience. I also think they know that every foreign comedian is not a good comedian. Therefore, when you claim to be an English comedian in India, given that everyone has mainly seen a Seinfeld, Cosby, Carlin or Murphy, the bar is bloody high.

And you wanted to be a comedian because?
Circumstance. There is a certain humour that comes with having nothing to lose. The toughest situations in my life have been the funniest. All I did was write them down.

“Books don’t end fantasies – real life does!” Interview with Rupa Gulab

26 Monday Jul 2010

Posted by sitanshi talati-parikh in Art, Literature & Culture, Interviews (All), Interviews: The Arts, Publication: Verve Magazine

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Indian Fiction, Interview, Literature, Rupa Gulab, vervemagazine

Published: Verve Magazine, Features, July 2010

Irrepressible fiction writer Rupa Gulab is back with another tale to tell, the story of 40-something Mantra who quits her job and battles everything that can possibly go wrong at that time in her life, exploring the vicissitudes of midlife crises. Sitanshi Talati Parikh in a freewheeling chat with the author

What’s fun? Writing the book or planning the book?
Planning a book is great fun. You just scribble notes while you’re lazing in bed eating chocolates and feel like you’ve accomplished a big deal! Writing a book, however, is hard work. My characters rarely act according to my plans – they’re stubborn, annoying, and insist on doing their own thing. It’s a huge struggle making them toe the line – very often, I have this overpowering urge to get them brutally murdered. Maybe I should start writing crime novels instead!

As you grow older, do your characters age with you?
That’s not strictly true. My next book after Girl Alone was for a younger target audience (Chip of the Old Blockhead) – a thirteen-year-old coming to terms with the fact that her divorced parents are falling in love with each other again – and experiencing her first crush as well. I don’t necessarily write for my own age group – I like to believe that I write for women of all ages.

Situations are not really funny when they are happening are they? But in retrospect….
Oh, I absolutely agree – everything looks better in retrospect. I always make it a point to look back with laughter. When you continue to be bitter and resentful, you need to consume gallons of antacids – and I hate, hate, hate antacids – they taste like chalk!

Do you think it really helps an average woman to read about another and find solace?
Yes it does help – particularly if you identify with the character’s problems. Why do you think chick lit always sells? Most single women enjoy reading about the trials and tribulations of other single women. You don’t feel so alone then. It’s a great comfort read. A Girl Alone fan once told me that she re-reads my book on those date-less Friday nights.

So it’s the end of fantasy for women?
Books don’t end fantasies – real life does!

Is there a greater social comment about a woman like Mantra, who feels a loss of control over her life?
I wouldn’t say that it’s a social comment. It’s just something that happens to most of us when we hit the big four-oh. That’s when you realise that almost half your life is over and the other half is not remotely attractive or promising at all: wrinkles, failing eyesight, depression and the desperate, irrational feeling that this is your very last chance to achieve what you really, really want; whether it’s your love life, career, whatever.

Mantra is placed in a higher social bracket. But a woman doesn’t become secure without basic financial trouble does she?
Money can’t buy happiness. We all learn that – sometimes the hard way.

Do you ever find the man in your stories insecure, or is it just the woman?
In my first book, Girl Alone, only the female characters were insecure. That’s because they were in their late twenties/early thirties: single, psycho and looking for love. The male characters were, as men that age usually are, rabid commitment-phobes. In The Great Depression of the 40s, all the characters are insecure about different things – including the three male characters. Vir is worried about losing his job – his stress levels are extremely high. While Karan doesn’t dissuade his wife from meeting her ex-boyfriend, he’s not exactly comfortable with it – the wily fox needs to see them interact every now and then to get a feel of the situation. And the college-going Rohan is miserable and mopey when his cool girlfriend insists on a no strings attached relationship. In the real world, everyone is insecure!

It sounds like you pretty much put into words what you are thinking….
I write exactly as I think. And the reason why I mainly do satire is because I can see through most people and situations. I have to confess that I have the most horrible, terrible nicknames for people in my head – but you can’t blame me for it because I got this from my mum. What can I say – I have lousy genes!

What do you turn, to read?
I’m a fairly eclectic reader, but I stick to fiction. Mainly humour, with a little bit of intensity every now and then. I have way too many favourite authors to list, but I must say that P.G. Wodehouse continues to be a hot favourite. He’s a great pick-me-up when I’m down. He dries tears better than Kleenex tissues.

So you’ve knocked out the 30s, 40s and the teens. What’s next?
I have two strong plots in mind – one for young adults and the other for the chick lit brigade, but I have no idea right now which one I’ll go with eventually. I just want to flake out for a bit – the characters in The Great Depression of the 40s have left me emotionally drained. I really should have killed a few of them!

THE GREAT DEPRESSION OF THE 40s
Rupa Gulab
Penguin India

Gulab’s sardonic wit hasn’t dissipated over time, in fact it has become more reined in with it’s well-crafted barbs. While you warm to the characters, and envision their lives in a midlife crisis, it helps you understand relationships and people as they change with time. The insecurities are all the same, the circumstances and decisions to deal with those insecurities vary. Gulab’s self-referencing – with her lead character attempting to write a novel and towards the end of the story reaching the idea of The Great Depression of the 40s – serves the purpose of reminding the readers that they are like one of the characters in some way, either pining for a bygone time, or harping for something out of their reach. If Gulab were to concentrate less on structured witticism, more on the depth of her characters, especially the male ones, the book would be eminently heart-warming, but would lack the punch that makes it inherently her own style. ‘Marriage ruthlessly strips away all pretences of common interests,’ is what Gulab has her protagonist thinking, and goes on to prove how fragile and yet how solid marriages can actually be. After all, as her characters prove, it is what we make of it.

Arthur aka Joe aka Joesph Gordon-Levitt aka @hitRECordJoe

23 Friday Jul 2010

Posted by sitanshi talati-parikh in Musings

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Arthur, Hollywood, Inception, Thoughts

Joe totally bowled me over in Inception. At that time I began wondering why I tend to look at the secondary actor more than the primary one – I think it’s because he’s just not that obvious. I liked Orlando Bloom in LOTR instead of Viggo Mortesen, I much preferred Jude Law to Robert Downey Jr. in Sherlock Holmes, and now Joe got my attention – moving away from Leo. The very fact that they are unexpected treats – you know the main guy is going to be great, all-powerful, all-knowledgeable and with that casting, perfect to a T…it’s the second player that always grabs my attention (if he’s cute in my sense of the word). Joe was surprising – he’s matured so much from 10 Things I Hate About You, where he was a cute kid, and now he’s a good-looking boy-man. Love the dimples, the natural demeanour, the burgeoning confidence that says ‘Yeah, I’ve made it, but I’m not there yet!’ and it’s fun seeing him in this interview with Peter Travers from Rolling Stones – especially where he starts to play the guitar.

http://hitrecordjoe.tumblr.com/post/824017098/peter-travers-who-has-been-writ…

Exceptions in Inception

22 Thursday Jul 2010

Posted by sitanshi talati-parikh in Musings

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Christopher Nolan, Cillian Murphy, Ellen Page, Hollywood, Inception, Leonardo di Caprio, Marion Cotillard, Thoughts

So, without a doubt, Inception is a powerful movie – in concept, in it’s making and it’s presentation. Love the casting, so surprising to see grown up Joseph Gordon-Levitt (playing Arthur – best remembered in 10 Things I Hate About You) and Juno‘s Ellen Page as characters in a film like this, but very intuitive and faithful plays all the same. In fact they added the surprise spice that was a perfect foil to Leonardo’s predictably good performace. Love the concept – it’s fresh and will have people thinking about it for ages to come.Hats off to Christopher Nolan – oh and this would have been a great movie to watch in 3D! Oh and another aside: Cillian Murphy (Fischer) and Marion Cotillard (Mal) are actually sublime and super-looking together – would love to see them in a sensual noir film together.

I did have a few concerns about the minutae of the story – the dream sequences – maybe I need to watch it again to clear those doubts. Any thoughts/ feedback welcome!

1 How did both the characters survive the gun wounds in deep dream sequence, when Leo had pointed out that the chances were very weak of them making it through even Level 3, but they came through from Level 4?

2 How did Leo bring Ken Watanabe back? It’s not easy to find someone lost in Limbo, as he himself had pointed out earlier, especially when he wasn’t physically with him when he got lost in the dream sequence. Also because Leo thought it was practically impossible to locate someone lost in a Level 3, and he managed to find Ken from Level 4/Limbo?

3 Why did Ken age so much and Leo not age at all – I assume Ken’s aging was a part of him spending so much time in Level 4 (where time would have moved super slow), but Leo would also have spent significant time in Level 4 hunting for Ken – and he didn’t seem to have aged at all!

4 How can Mal take Fischer into deeper levels when she isn’t real and not a part of his subconscious?

5 How did people return from Level 4 (Leo n Ken) without someone there to pull them back? Every other level needed someone who stayed back on a previous level.

6 And a minor point: If they’ve chosen an architect, why couldn’t she make things easier instead of hard for them? Level 3 in the snow and seemed like it would hamper them instead of making their life easier. It didn’t seem like it had a point.

Some interesting ideas on other blogs thanks to @manishacharya:

Inception Explained: A Dream-within-a-dream

Reviews, Critics and Trashing the Critics

Other stuff on Inception, thanks to @leodicaprio:

Unscripted interview with Leo and Ellen Page (Ellen seems nervous and ill-at-ease)

http://o.aolcdn.com/videoplayer/AOL_PlayerLoader.swf

The Mind Crime Game

Chris Nolan’s Dream Research

The Cobol Job: Prologue Comic

Inception Trailor

Purrfect Relations

17 Saturday Jul 2010

Posted by sitanshi talati-parikh in Features & Trends, Publication: Verve Magazine, Social Chronicles

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comment, PR, priyankachopra, Trend, vervemagazine

Published in: Verve Magazine, Musings, June 2010

The woman behind or rather in front of the powerful Somebody, is a true gatekeeper: she can smile and grant you permission to interface with Somebody, or unleash the claws as you scramble to find cheese for your daily bread and butter. In the Tom & Jerry-esque melee, Sitanshi Talati-Parikh circumspectly lets a few cats out of the bag

You’d think you would be up against brawny armed guards that patrol the corridors of their high-profile clients, but you’d be surprised to discover that it takes but a wee woman to muscle her way into the upper echelons of high profile relations and become what we fondly call the ‘gateway’ to the terribly famous. These women can vary in designation from PR, personal assistants, secretaries, girl Fridays, media managers, simply managers…you name it and you will find that they exist. What’s interesting is the relationship quotient that exists between these people (gatekeepers or GKs and the Famous Person or FP), with whom the latter spend a good amount of their time – liaisoning, tantrum-throwing, exhibiting their inner idiosyncrasies and unflappable spirit. One of the biggest GKs of the movie industry is possibly Farzana, Rekha’s personal assistant of many years, without whose approval no one can get remotely near the reclusive actress.

You would imagine that the main idea of having this sort of a liaison officer is to make the FP look good – to steer FP’s eccentricities and indiscretions away from the public eye, and to keep them ‘clean’ and ‘lusted after’ as particularly perfect role models. While some GKs manage to do so quite effectively, ensuring that through major string-pulling certain delicious facts are never unearthed and exposed, others in fact, choose to use their shield to create an aura of star presence.

A glittering mirage is not always the aim, though. Actress Priyanka Chopra doesn’t come across as a diva or a star, but rather (in part due to her own personality) as a friendly, hard-working girl-next-door. Natasha Pal, chief operating officer, Vitcom Consulting, is responsible for creating a well-rounded strong brand identity for Chopra which extends to the Internet as well.

But if we go back to those with star presence, what exactly are we talking about? Busy, tut-tut, of course they are. Calendars are never free, they are always either on shoot or constantly travelling or ‘busy’ with other alarmingly important activities. Benefit of doubt given, until you read a gossip rag talking about how they are vacationing and turning down offers because they are ‘waiting for the right opportunity’. This is the lot of the GK of an FP who may not be a public favourite at the moment, but must be made to appear to be!

Entourage? Check. I mean no self-respecting FP will travel without his/her motley crew of spot boy, bodyguard, bag holder, dog walker, coffee maker, hairdresser, make-up artist, mobile-holder, companion, GK/manager(s), chauffeur and ego-panderer. But often we discover that it may not be the FP who believes in crowd-sourcing as accruement of power but actually their GKs who encourage the general view that (a) It’s best to squeeze out the favours one can (b) By throwing one’s weight about one’s star presence increases even more, in fact it solidifies it (c) What’s the point of being an FP if you don’t act like it? The others all do!

At one time, FP’s mummy would say ‘baby ke liye lassi laao’, now the GK informs you ahead of time that FP will require such-and-such items, and that the young and hearty FP cannot under any circumstances climb a flight of stairs for a shoot, or walk ten seconds under the sun (despite the FP being a person known for her athletic prowess) – therefore the most expensive and convenient locations and rooms must be chosen or she will not turn up.

Not to forget that the staff – such as a chauffeur or spot boy – will often have their own letterheads with which they invoice the third party, because if an FP is expected to come to a shoot or interview, her staff must be paid for. So very often, the FP comes for about half an hour, and her staff is paid by the third party an approximate month’s salary. With an FP going regularly on shoots and interviews (supply and demand being such), it makes you wonder if the FP takes a cut from the staff’s earnings! Of course, the GKs, hairdressers and make-up artists when travelling with the FP will want to travel with the FP – i.e. business or first class. The tab, once again, is picked up by the third party. Pal feels that not all clients have insane demands. “This is actually more an archaic myth than a present-day reality. The evaluation of a client’s requirement is subjective really – what is a necessity could be seen as an undue demand.”

While the relationship between an FP and a GK is mutually beneficial, you can never be certain who the real diva is in the relationship. Is it the FP who believes in throwing his/her weight around, or is it the GK who insists on doing it this way? Maybe the FP – getting filtered information through the GK – is quite unaware of what the GK is up to and how he/she is being represented. And maybe, the GK is the innocent victim of the FPs demands, often feeling foolish having to represent these to the outside world as diplomatically as possible.

Archana Sadanand, proprietor of Imagesmiths, who ably handles high-profile clients like Aishwarya Rai Bachchan, Akshay Kumar, Imran Khan and top production houses, admits that it is not always an easy road for a PR person: juggling the time constraints of an FP as well as the requirements of the media. “At times it can get sticky: a failed film or a bogie in an interview that needs firefighting. At other times a journo rubs a maker or a star up the wrong way. We have to find ways to mend the situation; some of these moments can be hilarious. It’s like being in cage with a tiger and hoping he won’t have you for dinner, but that’s the fun of it!”

GKs are often way busier than the FP – many who are affiliated to a professional organisation are not dedicated to one FP alone, often manage multiple FPs in one shot. Try calling a GK…actually rephrase that to try ever getting in touch with a GK. It is practically impossible, unless they believe you are someone worth talking to, or have something valuable to offer them in return. And at any point of time, if you have taken the effort to massage their ego, or made their FP happy, you may find yourself welcome with open arms (hyperbole). And lo and behold! If you ever make the mistake of having a personal equation with their FP – and manage to make inroads in the future without the GK as an intermediary, you will soon discover the strange truth in the wise words ‘…a woman scorned….’ You may never get through the GK again, you may find the GK publicly and unabashedly admonishing their FP for ever allowing a friendship to develop, and you may find that GK’s entire remaining client list banned from your access.

Don’t for a moment imagine that the FP controls the strings of this equation. There is no one stronger than the aide of a FP, as you will soon reluctantly come to realise. FPs who are afraid of being alone on travels, have begun to use their GK or their hair/make-up artist as the chaperone that Mummy once used to be, and you will find them even going to the extent of sharing a room with the person for companionship, as evidenced by a minor actress and her hair-dresser. Where at one point of time, you couldn’t get past a top businessman’s secretary until she wanted to let you through, or when the way into an FP’s heart was through that of her Mummy’s (Luck By Chance ably proved that), you find more and more that now you have to break through the tough shield of a GK.

Natasha Pal has often been considered Chopra’s girl Friday – she’s developed a strong personal equation with the actress. “In most situations, friendships do develop. But, there is always a line that we draw between the job that we have to do and the friendship that has developed. In order for us to be fully effective we also have to be brutally honest and in all professional situations the friendship is relegated to after working hours.”

Amitabh Bachchan’s long-time secretary, Rosie is the model of efficiency. Once a request has been received by her, you don’t need to go through the torturous chase of follow-ups. A legit query will always be handled and she will respond promptly.

However, there are those – Who Cannot Be Named – who have taken their role as a gatekeeper much too seriously. Possibly the power has gone to their head a bit, leading to the detriment of their own standing and that of their FP. Unfortunately for all, the demand for FPs far outweighs the supply, so we are forced to continue to play the cat-and-mouse game as long as divas are around and people remain interested in reading about them.

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