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Doesn’t want to make films any more
- The director of films such as Albert Pinto Ko Gussa Kyoon Aata Hai (1980) and Naseem (1995), Mirza says he doesn’t want to make films any more: “It’s a whole lot of hot air.”
www.thehindu.com/entertainment/movies/saeed-akhtar-mirza-the-man-who-wont-forget/article24832253.ece
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Saeed Akhtar Mirza started his career as a documentary film maker in 1976, graduating to films with the acclaimed Arvind Desai Ki Ajeeb Dastaan (1978), about the frustrations of an idealistic youth caught in the trap of a feudal money culture.
Aug 31, 2018 · Saeed Akhtar Mirza doesn’t want to make films anymore: “It’s a whole lot of hot air.” Saeed Akhtar Mirza hopes to furbish his Bandra writing room. For now, though, it is spartan.
- Arvind Desai Ki Ajeeb Dastaan
- Albert Pinto Ko Gussa Kyon Ata Hai
- Mohan Joshi Hazir Ho!
- Salim Langde Pe Mat Ro
- Naseem
Mr. Saeed Akhtar Mirza is angry, albeit he ferments his anger, he does not provoke rather packs and stores his feelings long enough for its existence to solidify, to grow denser, to contemplate its own inexhaustive identity, over the course it grows repugnant and nauseating, it becomes inescapable and probably unforgettable. The directorial debut o...
Albert Pinto Ko Gussa Kyon Ata Hai, the director’s sophomore work is also the 2nd installment in the labor exploitation segment albeit treated differently, it is more ferocious, assertive as the title suggests, than Mr. Mirza’s debut. Arguably Naseeruddin Shah’s career-best performance, Albert Pinto works as a mechanic and lives with his family tha...
Saeed Akhtar Mirza’s third feature is a snarling burlesque emboldened in satire. In his trademark titular implication, the film revolves around Mohan Joshi’s judicial pilgrimage in the quest for the betterment of the dilapidated living conditions in the lower-middle-class underbelly of South Bombay (now Mumbai). In very Yasujiro Ozu-inspired editor...
In his most prominent film, the indomitable Indian parallel maverick resorts to an all-guns ablaze hoodlum tale south of Mumbai. Pitted in the undersides of a predominantly Muslim colony that hears echoes of the decadent communal cries and whispers that have irked India post-independence. Salim along with his two buddies indulge in illegal activiti...
Saeed Akhtar Mirza’s final film is a somber yet warm metaphorical exhibition mostly within the fences of a house located in Mumbai pre-1992 riots over the Babri Masjid demolition in the state of Uttar Pradesh. Naseem revolves around the allegorical display of a girl with the same name living in a household partitioned in ideology and ideological ex...
Sep 17, 2024 · Saeed Akhtar Mirza’s direction in crucial scenes seems heavy-handed. This might be because this is his first film after just graduating from FTII. There are apparent lift-offs from legendary filmmakers, but the cyclic, drifting feeling of this feature debut feels original in its setting.
Sep 16, 2023 · Saeed Akhtar Mirza: A Beacon of Progressive Thought and Democratic ideals in Indian Cinema"He has been a source of inspiration for India's imagination for se...
- 56 min
- 778
- Uday Dandavate
Theorizations of the cinema-city nexus emphasize the similarities in the sensorial, haptic fascination of the cultural form of cinema and the social organization of the city for the spectator-flâneur/flâneuse.
The film won several awards including the Filmfare Critics’ Award for the Best Film in 1979. It also set the tone and themes explored in his subsequent filmography: social and economic inequity, class conflict, the search for ethnic identity and the growth of communalism.
