Wednesday, 29 July 2015

VAISHALI - A Rain Drop on the Parched Lips and Sage OR Rishi Rishyasringa


VAISHALI  -  A Rain Drop on the Parched Lips and Sage OR Rishi Rishyasringa







Vibhandaka Rishi was the legendary Indian Hindu saint or Rishi of sage Kashyapa's lineage.     Vibhandaka was the son of the great sage Kashyapa and undertook penance to the highest level. The God of thunder and rain, Lord Indra felt uncomfortable and in his fear that his supremacy could be challenged, sent Urvashi a celestial nymph Or Apsara, to disrupt the penance of Vibhandaka.

By sighting Urvashi the Apsara, the mortal Vibhandaka’s penance was disrupted.  Such was her beauty Vibhandaka has fallen head over heels for Urvashi.  After behelding Urvashi, Vibhandaka’s vital fluid semen has discharged and it spilled over the grass below and a doe has eaten the grass.  It impregnated the doe.  In fact, the doe was in reality another celestial nymph or Apsara - Apsa = water (Apsara = water nymph) cursed to be borne as a deer ages ago, and she gave birth to Rishyasringa.

Vibhandaka felt cheated and tricked and decided to bring up his son in the forest without exposing him to any woman. He tried to bring his son up to be pure of mind, trying to keep him a celibate by making sure that he did not even knew that females existed in the world.   He thought that the easiest way to keep his son innocent of the worldly ways was to keep him in forest isolation.

He succeeded to such an extent that when the boy matured into manhood, he had never set eyes on any human being other than his own father. He was even unaware of sexual distinction.  No animal, fruit, flower, fragrance or anything relating to the feminine gender was a total taboo for Rishyasringa.  Vibhandaka wanted his son to attain knowledge about Vedas and penance that can be an envy even for the gods.  Rishyasringa is a forest-dweller absorbed in ascetics and self-study of Vedic scriptures, and he is not aware of women, or of worldly-matters or of even worldly-pleasures.

Rishi  Vibhandaka’s  anger was infamous and it was next only to Sage Dhuruvasa.  He had complete control over the nature and not only the forest animals  but also the falling boulders  from the hillocks listened to him.  Vibhandaka drawn a Laxman Rekha, a boundary, for Rishyasringa and commanded that Rishyasringa should be abide by this rule.  He taught Rishyasringa the gyan and vedic mantra’s and all the siddhis or such blessings he has amassed over the years.  Rishyasringa soon became a scholar and he was practicing celibacy unknown to the nature’s law of bees and butterflies.  Vibhandaka’s hermitage was situated deep inside the forest in the boundary lines of the kingdom of Anga.






While Rishyasringa was fostered by Vibhandaka from the prying eyes of other humans in the forest, the Kingdom of Anga was experiencing severe drought for about 12 years due to the curse of a Brahmin priest.  The King Romapada was disturbed by this and summoned Raj Guru (the advising Brahmin Minister) to tackle the drought situation by performing ‘yagnas’.  The Raj Guru informs the King Romapada that during the yagna he found the image of Rishyasringa playing in the forest in ‘homa kunda’ (the fire-altar) and he only could perform a major yagna which will bring rains to Kingdom of Anga and relieve Anga from the drought and famine.
By listening to this Romapada’s daughter Princess Shanta suggested that they send beautiful courtesans to seduce and bring Rishyasringa to Anga.




 






     
       




Vaishali was a bewitching beauty and budding courtesan born to Malini a Deva Daasi. Malini was conferred with many laurels and gifts by the King Romapada for her services in the past and she  had a secret to keep that Vaishali was born to King Romapada out of her relationship with him. 














Any dictionary would give the meaning of courtesan as 'whore' or as 'court mistress'. But in Indian context, the courtesan is not to be taken in such a lowly way as just a prostitute or a whore. They belong to a caste/class of artists. Juxtaposed to the Four-Caste system there was a deva dasi Temple Dancers system, which is the artist's class. On their receiving enough education and skills in the performing arts and as per their capabilities, they will be nominated as Court Dancers or Temple Dancers and the like. Ancients recognized sixty-four arts chatuSaSTi kalaa , which include right from music, dance, and drama, sculpture, painting etc., up to the art of thievery. Kings in their political or sovereign pursuits variedly used these Deva Daasis, the courtesans.
After hearing the Raj Guru (the advising Brahmin Minister of the King), the King summons  Malini to his palace and request her to send Vaishali, her daughter who is proficient in the art of seduction and nearing sixteen years in age to bring the adolescent teenager sage Rishyasringa to the Kingdom of Anga to perform a Yagna for the rains and save his country.


VAISHALI was a classic Mallu movie released in 1988 directed by Award winning director Bharathan and scripted by prominent novelist and literary giant M.T.  Vasudevan Nair.





         

 The film unspools the story of Vaishali and Rishyasringa. 

The opening shots of the film shows vultures hovering around the Kingdom of Anga and a snake coming out of the mouth of a human skeleton and goes out in the wilderness.  There was the dust kicked off and earth parched showing the after effects of severe drought suffered by the natives of Anga.  The natives of Anga was praying for the rains and waiting for rains like the  legendary bird ‘Vezhambal’ (Hornbill).
The most of the footage shows the great seduction game of Vaishali to cajole  Rishyasringa and bring him along with her to the Kingdom of Anga to perform the Yagna.


                           


The photos featured in this BLOG are taken from the classic movie ‘VAISHALI’.   After watching the movie we instantly fall in love with the legendary courtesan princess Vaishali.  The story of the lead pair  Vaishali and Rishysringa lingers in your memory for an extended period  without fading even after you left the movie theater.




       





  


The Vaishali episode continues…. after receiving the orders of King Romapaadan the courtesan team alongwith bodyguards set out a journey through the river in a country ship studded with flowers and plants and an Ashrama in the middle to look like a hermitage.  The vessel afloat in the water navigates towards Vibhandaka’s hermitage  in the moon lit nights and reaches the banks near the hermitage. 


Malini alogwith other courtesans decides to pry on Rishyasringa and rejects the help of bodyguards.  They saw that the father and son had a routine. In the afternoons, Sage Vibhandaka went into the deeper forests to meditate, whereas Rishyasringa stayed behind in the Ashram to tend the fire and clean the place.

The courtesans remembered Princess Shanta’s advise to keep away from Vibhandaka otherwise he will curse them if spotted.  Malini decides to encounter Rishyasrigna in the afternoon.  She planned to send her daughter ‘Vaishali’ alongwith a couple of her friends of her age group after Vibhandaka left for his meditation in solitude in the afternoon. 

After keeping a tab on Vibhandaka’s routine Vaishali appears in the garb of a Rishi in front of Rishyasringa.  The playful Rishyasringa stumbles upon Vaishali chasing his pet deer.  Rishyasringa was amazed by Vaishali’s fairness and beauty. A stunned Rishyasringa was captivated by  her talks and got interested in the stranger. Vaishali tells Rishyasringa that she is from the neighboring ashram or hermitage. Listening to him talk made Rishyasringa want to listen to him again and again...'



              







       




Rishyasringa wearing animal skin got fascinated by the colorful costume of the stranger.  Vaishali feeds him with sweets and other delicious food brought from the ship which was a totally new experience for Rishyasringa.  The boy sage plays many games like rolling and bouncing ball with Vaishali and she clothed him with satin and velvet in saffron and other bright colors.  


 








  


He paints her body with miniature tattoos and smells the fragrance of  perfume on her body.  Vaishali was astonished by the commanding power of the boy Sage that not only animals but rolling boulders obeyed him. She kissed Rishyasringa and he tasted honey in her lips.  Well before the time Vibhandaka was to return, Vaishali bid goodbye to Rishyasringa saying that she has to return to her Ashram to do the ‘Agnihotra puja’ and promised to return the next day.





After Vaishali left the premises  Rishyasringa remained deep in his thoughts and had not cleaned up the ashram and had not even tended the fires.

Sage Vibhandaka came home and was surprised to find his Ashram untidy and his son looking like in a daze. Wondering what had happened, Sage Vibhandaka asked Rishyasringa, 'Son! What happened? You have not even done your duty...Is something wrong...?' He asked anxiously.
An innocent boy that he was Rishyasringa narrates the days happenings to his father Vibhandaka in the evening saying that a Rishi from a neighborhood Ashram visited him that day.  Vibhandaka senses that a female human being was in his hermitage and foresees the tricks to seduce his son.  An enraged Sage Vibhandaka decides to punish the tresspassers next day.  He told his son to keep away from them whom he described as demons who wants to interrupt his vedic studies, siddhi or abilities of celibacy and enlightenment.


       
  
Rishyasringa was crestfallen. But he could not understand the reactions of his father. He did not think the Sage who had come meant him any harm...He wondered as to why was his father behaving like this.
In the next day before Vibhandaka left to trace the strangers from the neighborhood, a hiding Vaishali and other courtesans compels Rishyasringa to join them and save the Kingdom of Anga from the destructive drought situation.  An unsuspecting Rishyasringa already mesmerized by the charms and lifestyle of the new friends readily agrees to go with them.
Rishyasringa was thrilled to see the ship and its interiors and enjoyed the aura of the voyage. Vaishali and Rishyasrringa set sail and soon they all reached the kingdom of Anga.

The moment Rishyasriga entered the kingdom of Anga and with his royal feet touching Anga there were rain-bearing clouds to be seen which resulted in thunder and rains. The instant the holy sage stepped on the soil, the heavens opened up and poured-down life giving showers. The natives of the Kingdom of Anga started singing with the accompaniment of musical instruments and danced with joy in the rains.
An overjoyed king offers his daughter Shanta in marriage to the great Sage Rishysringa and  he  accepts the wedding proposal.
Malini was dead in the stampede that resulted from the joyful celebrations and the king and others forgets the courtesans who brought the luck and fortunes of rains to them.  Our sympathies rest with Vaishali.
The movie ends there …However, Rishyasringa performs ‘Putrakameshti’ yaga in the years to come which resulted in the birth of Lord Shri Rama and his cousins namely Laxmana, Bharata and Satrughna.

‘Vaishali’ was an episode lifted from the life of glamorous pleasure injecting courtesans and made into a classical movie.












  




Vaishali enthralls the movie goers and the taste lingers for several years in the movie watchers’ mind.

The stupendous success of my earlier BLOG about Urvashi inspired me to come out with Vaishali’s lifeline and story which made history.

Saturday, 25 July 2015

The Good old Indian Ad World and Behind the Scenes of an Ad Film



The Good old Indian Ad World and Behind the Scenes of an Ad Film

The Indian ad world has come a long way since the 1970s & 1980s.  However, some of the ad films made in that era still tickle our memory chords. 

                         



The  “Liril” ad campaign was a 1985 soap commercial.

The original Liril ad girl, Karen Lunell and the ad shot under the water falls was a never fading ad soap.  The ad stirred the bottom of our hearts and still lingers in our memory.  Karen Lunell was an Air Hostess with Air India.   She shot into fame with just one ad film ‘the water babe’, a soap commercial of Consumer Goods Giant HLL. 
 
The ad film maker behind the original Liril Ad Kailash Surendranath stated in a recent interview that he searched for a waterfall to shoot the ad film in Ranchi, Khandala and Ooty and finally settled for the hill station waterfall in Kodaikkanal in Tamil Nadu.  However, the waterfall was to come lively only during the winter season.  The commercial was to shoot in December-January in extreme cold weather with a freezing temperature of less than four degrees.  The waterfall should not be so high or heavy to stand under  and also friendly for the model to feel comfortable to bath and enjoy herself.   Karen  Lunell sizzled under the waterfall.

The shots of brandy was consumed by the unit members to keep warm in between the shots in such extreme weather conditions.  The ad film was made with dedication and total involvement for perfection by the unit members. The rest is history.

The Liril soap ad campaign “come alive with freshness”  was a huge hit and it ruled the ad world for decades.   The smile of Karen Lunell was infectious and unforgettable and it shot up the sales of Liril soap.  The product was sold like hot cakes.  The ad managed to contain the message ‘tingling freshness’. The waterfall has become a legend popularly known as ‘Liril Falls’.  It is a location much sought after today by the visiting tourists to Kodaikkanal.

Another famous  ad campaign is that of  Lux soap.  The popular brand ‘LUX’  and ‘Lux Supreme’ featured ruling Bollywood Divas from time to time  across the years in its ad films.

The HLL’s competitor in premium brand soaps Godrej Soaps was not lagging behind either.  Its ‘Crowning Glory’ ad film shot in Godrej’s Private Swimming Pool in his Mansion was a major soap ad too.  The Crowning Glory ad featured Bollywood heart-throb Dimple Kapadia as its brand ambassador.


 






                





The ad featuring Anna Bredmeyer in “Anne French Hair Remover” was a popular ad in the beginning of Indian advertisement  industry.  Persis Khambatta of Star Trek was another popular model of that vintage period.


The ads of “Nirma Girl”, “Murphy Boy”  and the “Thumps Up”  jingle “Thumps Up ! Taste the Thunder” as well as the health soap campaign “Wherever there is Lifebuoy there is Health” was the popular ones in Cinema theaters and TV channels at that time. The Lalitaji’s SURF ad was famous too.  The soaps and detergents being a daily use personal care products, the need to create nostalgia about the same.


 
                    








                          








 
                                   











The Charminar cigarette ad and VIP Frenchie ads were a craze amongst ad enthusiasts.





           
The Consumer Giant Godrej Soaps “24 hr Conifidence Cinthol Brand” ad campaign featuring bollywood matinee idol Hrithik Roshan was a noteworthy successful endeavor.  Hrithik Roshan  with his arresting Greek God looks and charismatic persona that he is,  boosted the Cinthol brand confidence as well as sales.  Hrithik in various adventure sports was a befitting ambassador for 24 hr confidence boosting Cinthol soaps.

Before Hrithik Roshan it was Bollywood’s then reigning super star  “Vinod Khanna” and Pakistani prince charming cricketer “Imran Khan” who was leading ambassadors for the Godrej’s “CINTHOL” brand.




 







                                              

The recent Cinthol ad campaign “alive is awesome” is sensational too.


The growth story of advertising industry in India –

The passage of time found Indian ad world mushrooming and obtaining an industry status.  The extensive marketing by manufacturers for the competitor’s edge found the ad industry on its toe. This also resulted in some of the major manufacturers/production houses having their own advertising arm.

The ad industry’s resurgence from print and electronic media to internet, digital signage and mobile ads lead to its growth story.

With sustained growth of the Indian economy during the last two decades, there has been a constantly increasing yearning for a better lifestyle among Indian people.  Advertising industry has been both a catalyst and beneficiary of these yearnings as the industry has been on a continuous growth trajectory with only temporary slowdowns at times.
Virtually any medium can be used for advertising. Commercial advertising media can include wall paintings, billboards, street furniture components, printed flyers and rack cards, radio, cinema and television adverts, web banners, mobile telephone screens, shopping carts, web pop-ups, skywriting, bus stop benches, human billboards and forehead advertising, magazines, newspapers, town criers, sides of buses, banners attached to or sides of airplanes ("logo-jets"), in-flight advertisements on seatback tray tables or overhead storage bins, taxicab doors, roof mounts and passenger screens, musical stage shows, subway platforms and trains, elastic bands on disposable diapers, doors of bathroom stalls, stickers on apples in supermarkets, shopping cart handles (grabertising), the opening section of streaming audio and video, posters, and the backs of event tickets and supermarket receipts. Any place an "identified" sponsor pays to deliver their message through a medium is advertising.











                 






The Indian Advertising Market Report & Forecast can serve as an excellent guide for investors, researchers, consultants, marketing strategists, media planners, advertisers, radio and television broadcasters and all those who are planning to foray into the Indian advertising market in some form or the other.
Indian Advertising Industry is a sophisticated and professional one.

The major Advertising  Agencies of India are -
·         J Walter Thompson (previously known as Hindustan Thompson Associates).
·         Mudra Communications Ltd.
·         Lintas Howe Limited
·         Ogilvy & Mather (=OIgilvy & Mathew)
·         Madison Advertising Agencies Ltd.

The prominent ad gurus are –
·         Alyque Padamsee
·         Piyush Pandey
·         Sam Balsara
·         Prahlad Kakkar
·         R Balakrishnan
·         Arvind Sharma
·         Vikram Sakhuja
·         Frank Simoes
·         Sam Mathews
·         Josy Paul
·         Prasoon Joshi

The late 1980s and early 1990s saw the introduction of cable television and particularly MTV.




                           







                        






In 1981  Network, associate of UTV, pioneers cable television in India.
The  biggest  milestone   in  television  was  the   “ASIAD 1982”  when Indian
television turned to colour transmission.

In 1986 Mudra Communications creates India's first folk-history TV serial ‘BUNIYAAD’. Shown on National TV Channel (Door Darshan), it becomes the first of the mega soaps to beam on Indian television.  “Buniyaad” Hindi tele-serial was sponsored by India’s most trusted major business house GODREJ.  Before the start of the serial slot “Godrej” logo used to appear on television screen as sponsors and also Godrej commercials during the breaks.






 In 1990 marks the beginning of new medium Internet online advertising.
Advertising messages are usually paid for by sponsors and viewed via various old media; including mass media such as newspaper, magazines, television advertisement, radio advertisement, outdoor advertising or direct mail; or new media such as blogs, websites or text messages.





 The model postulates six steps a buyer moves through when making a purchase:
  1. Awareness
  2. Knowledge
  3. Liking
  4. Preference
  5. Conviction
  6. Purchase
The Means-End Theory suggests that an advertisement should contain a message or means that leads the consumer to a desired end-state.
The industry is expected to maintain its current growth momentum, the pace of growth of various segments of the industry will differ significantly from one another.



                                          
                                              Madison Chief  Sam Balsara with Lara Balsara


According to Madison CEO & Managing Director,  Mr.Sam  Balsara,  “The Indian advertising industry in 2014 grew by 16.4%, almost at par with our growth projection of 16.8%.”  “In terms of absolute numbers, the advertising industry increased by Rs 5,200 crore and touched Rs 37,100 crore in 2014.”
The forecast for 2015 is slated to be in the region of nearly Rs 41,000 crore.”

The ad guru or advertising genius like Alyque Padamsee, Piyuesh Pandey, Prahlad Kakkar, Frank Simoes, Josy Paul, R Balakrishnan, Arvind Sharna, Prasoon Joshi and Sam Balsara has done priceless contribution to Indian Advertising Industry.

The co-founder of month old Advertising Agency ‘The Mob’ (founded in June 2015), Chraneeta Mann said “We are preparing for the battle and chasing business at breakneck speed”.  Chraneeta Mann and co-founder Nitin Suri of ‘The Mob’ believe that in traditional agencies ideas with digital legs remain an afterthought. Says Mann, we really need to break that mindset and get into a space that allows us to do braver, more experimental work.  Their focus is on ideas that work on the ‘all-in-one’ platform.
Says Suri, “Today with internet wearable technology, social media, app design, etc the world is converging onto what we call our ‘personal screen’.  It would be quite short-sighted of us to continue to view Mobile Advertising as limited to sending ‘location based texts’ when the possibilities are so much larger.
On the recent burst of ad start ups Mann says, “Of course,  there will be many start ups, but the ones that will make a mark will be the ones that can think young, fresh and are willing to experiment.

I was fascinated by the creative ad world and loved the jingles on the radio and television and envisaged making useful contributions to the advertising world.
Advertising was my passion and first love.  If you ask me to choose a career, the first choice would be advertising and media.

To write a Blog about advertising was always considered to be a thriller by me and materializing that endeavor satisfies the inner instincts.