फ़ॉलोअर
सोमवार, 27 अगस्त 2012
at 5:47 pm | 1 comments |
Comrade Hangal : A Devoted Communist
I last met comrade
A.K. Hangal at his residence in Bandra in the last week of April this
year. I had gone to brief him on the decisions of the 21st Congress of
the CPI held in March. Actually, in February 2012, when I along with
the then Party General secretary A.B. Bardhan met him, he was confined
to bed and regretted that he will not be able to come to Patna but
asked me to brief on deliberations of the Party Congress as soon as
possible.
In April, the first
thing he told
me was that he has sent the renewal of Party membership through his son
Vijay and asked me to check whether it had reached to the Mumbai Party
secretary or not. He was very particular in renewing his party
membership and attending the party meetings as and when he was asked to
do so. He had a fad for reaching in time. This created problems several
times as the meetings normally got delayed by half an hour and he would
curse those who failed to inform the correct time. His fad for reaching
on dot made him to wait at a distance from the venue several times for
long. He would enter the venue only at the fixed time. This he
observed in reaching a friend’s house or for shooting of a film as
well. After hearing the report on the Party Congress and knowing that
Sudhakar Reddy has replaced A.B. Bardhan as general secretary, he
expressed desire to meet the new general secretary. He said, ‘I have
met all general secretaries of the party since pre-independence days. I
want to meet Sudhakar who may be the last general secretary during my
life’. On this, I reminded him that he had promised to celebrate his
100th birthday at Delhi. He smiled and said, ‘It does not look as if I
will be able to keep that promise’. (I came back and reported the
conversation to Sudhakar Reddy and requested him to meet him when he
goes for the Party Rally in May. Sudhakar did meet him.)
My interaction with
comrade
Hangal began when I started dabbling in cultural affairs of the party.
He had succeeded Kaifi Azmi as national president of the Indian
People’s Theater Association (IPTA). He used to take keen interest in
the affairs of the Party. Every time we met, he will point out what he
liked and what he did not in NEW AGE and HAYAT. He was regular
subscriber of both the journals and used to send his subscription well
in advance. He never refused to attend a party meeting and even toured
distant place to participate in the election campaign of the Party. To
satisfy the audience he would accede to the demand and deliver the film
dialogues from his films, particularly from Sholey in which he played
the epic role of Rahim Chacha. (Personally, I liked his roles more in
flims like Garam Hawa, Shauqeen and Bawarchi).
He used to tell
everybody that he
did not come to Mumbai on his own. He was ready to work in Karachi along
with Sobho Gyanchandani in the party. He was persuaded by the then
general secretary of the Communist Party of Pakistan, Sajjad Zaheer to
move to Mumbai where he had better avenues to work in IPTA.
(Incidentally Sobho Gyanchandani remained in Pakistan. Once during a
trial in Karachi after formation of Pakistan, court offered him
transportation to India. Sobho’s reply was: ‘Keep me in jail as long as
you want but the jail should be in the province of Sindh). After coming
from Karachi, he lived in a chawl in Parel for over a decade and worked
as a tailor for livelihood. He plunged in the activities of IPTA as
well as party and continued with it till his health permitted.
Till April, he was
very
optimistic and talked about recovering from the ailment to become active
once again. But in April, he said the loneliness and lying whole day on
the bed is killing me. He wanted me to meet him more frequently.
Unfortunately I could not make it. Of course, in his death the country
has lost a versatile film and theater artiste. We in the Communist
movement have lost a devoted Communist who was ready to sacrifice
anything for the people and the party.
By Shameem Faizee
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खरगोश का संगीत राग रागेश्री पर आधारित है जो कि खमाज थाट का सांध्यकालीन राग है, स्वरों में कोमल निशाद और बाकी
स्वर शुद्ध लगते हैं,
पंचम इसमें वर्जित है, पर हमने
इसमें अंत में पंचम का प्रयोग भी किया है, जिससे इसमें राग बागेश्री भी
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..
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