इरफान के बेटे बाबिल ने बताया भारतीय सिनेमा की किन चीजों से लड़ते रहे पिता

बॉलीवुड के दिग्गज अभिनेता इरफान खान ने 29 अप्रैल 2020 को इस दुनिया को अलविदा कह दिया. इरफान के निधन के बाद से ही उनके बेटे बाबिल सोशल मीडिया पर अक्सर अपने पिता के बारे में कई बातें साझा करते रहते हैं. अब हाल ही में इंडस्ट्री में चल रही नेपोटिज्म की बहस के बाद बाबिल ने एक और पावरफुल नोट साझा किया है. जिसके जरिए बाबिल ने बताया है कि इंडस्ट्री में उनके पिता किन चीजों से हार गए थे.

मुंबई : बॉलीवुड एक्टर सुशांत सिंह राजपूत की मौत के बाद बॉलीवुड इंडस्ट्री का असली चेहरा सामने आ रहा है. हर कोई नेपोटिज्म, फेवरेटिज्म, इंडस्ट्री में होने वाले भेद-भाव और किन चीजों पर इसमें ज्यादा ध्यान दिया जाता है, इस पर खुलकर बात कर रहे हैं.

सेलेब्स, सोशल मीडिया पोस्ट के जरिए अपनी राय रख रहे हैं. इरफान के निधन के बाद से ही उनके बेटे बाबिल सोशल मीडिया पर अक्सर अपने पिता के बारे में कई बातें साझा करते रहते हैं. हाल ही में उन्होंने नेपोटिज्म की बहस के बाद एक और पावरफुल पोस्ट शेयर की है.

इस पोस्ट में उन्होंने बताया है कि इरफान सिनेमा में दिखाई जाने वाली कुछ चीजों पर अपनी आवाज उठाते रहे और आखिर में हार गए. इसके साथ ही बाबिल ने दो फोटो भी शेयर कीं.

इन तस्वीरों में से एक में छोटे बाबिल अपने पिता के साथ नजर आ रहे हैं तो वहीं दूसरी तस्वीर में इरफान खान लेटे हुए हैं. फोटो शेयर करते हुए बाबिल ने लिखा कि क्या आप जानते हैं कि मेरे पापा ने मुझे सिनेमा का स्टूडेंट होने के नाते सबसे जरूरी चीज क्या सिखाई थी?

इस बारे में आगे बात करते हुए बाबिल ने लिखा, 'मेरे फिल्म स्कूल जाने के पहले, उन्होंने मुझे चेतावनी दी थी कि मुझे खुद को साबित करना होगा क्योंकि बॉलीवुड दुनिया के सिनेमा में कभी-कभी सम्मानित होता है. तो ऐसे में मुझे भारतीय सिनेमा के बारे में कुछ बताना चाहिए, जो बॉलीवुड के कंट्रोल से परे है. दुर्भाग्य से, मेरी क्लास में ऐसा ही हुआ. बॉलीवुड के लिए कोई रिस्पेक्ट नहीं थी. 60-90 के दशक के इंडियन सिनेमा को लेकर किसी तरह की जागरुकता नहीं थी.'

आगे बाबिल लिखते हैं, 'भारतीय सिनेमा के बारे में विश्व सिनेमा सेगमेंट में सिर्फ एक ही लेक्चर था, जिसे- बॉलीवुड एंड बियांड कहा गया, जो क्लास में सिर्फ मजाक बनकर रह गया. 'सत्यजीत रे' और 'के आसिफ' के भारतीय सिनेमा के बारे में बातचीत करना भी काफी कठिन था. आपको पता है, ऐसा क्यों? क्योंकि हमने एक भारतीय दर्शकों के तौर पर खुद को विकसित करने से मना कर दिया.'

बाबिल ने आगे अपने पिता के संघर्ष के बारे में लिखा, 'मेरे पिता ने बॉलीवुड के मुश्किल हालात में भी अभिनय की कला के समझाने के लिए पूरी जिंदगी लगा दी. पर वह तमाम अरसा बॉक्स ऑफिस पर 6 पैक्स एब्स वाले हंक्स से हारते रहे. हारते रहे हास्यास्पद वन लाइनर बोलने वालों से, फिजिक्स के नियमों को चुनौती देने वालों से, फोटोशॉप्ड आइटम्स सॉन्ग्स से, सेक्सिजम से और पितृसत्ता की उसी पुरानी परिपाटी से. क्योंकि हम एक ऑडियंस के तौर पर ये सब चाहते थे और पसंद करते थे. हमें सिर्फ एंटरटेनमेंट चाहिए था. इसीलिए हमारी सोच में भी कोई बदलाव नहीं आया.'

इसके साथ ही बाबिल ने कल्कि के बारे में लिखा कि मुझे बड़ा अजीब लगा था जब कल्कि को बाल छोटे करने पर एक लड़के की तरह दिखने के लिए ट्रोल किया गया था. ऐसे ही अब सुशांत की मौत को लोगों ने एक पॉलिटिकल मुद्दा बना लिया है. उम्मीद करता हूं जल्द बदलाव आएगा.

• View this post on Instagram

  You know one of the most important things my father taught me as a student of cinema? Before I went to film school, he warned me that I’ll have to prove my self as Bollywood is seldom respected in world cinema and at these moments I must inform about the indian cinema that’s beyond our controlled Bollywood. Unfortunately, it did happen. Bollywood was not respected, no awareness of 60’s - 90’s Indian cinema or credibility of opinion. There was literally one single lecture in the world cinema segment about indian cinema called ‘Bollywood and Beyond’, that too gone through in a class full of chuckles. it was tough to even get a sensible conversation about the real Indian cinema of Satyajit Ray and K.Asif going. You know why that is? Because we, as the Indian audience, refused to evolve. My father gave his life trying to elevate the art of acting in the adverse conditions of noughties Bollywood and alas, for almost all of his journey, was defeated in the box office by hunks with six pack abs delivering theatrical one-liners and defying the laws of physics and reality, photoshopped item songs, just blatant sexism and same-old conventional representations of patriarchy (and you must understand, to be defeated at the box office means that majority of the investment in Bollywood would be going to the winners, engulfing us in a vicious circle). Because we as an audience wanted that, we enjoyed it, all we sought was entertainment and safety of thought, so afraid to have our delicate illusion of reality shattered, so unaccepting of any shift in perception. All effort to explore the potential of cinema and its implications on humanity and existentialism was at best kept by the sidelines. Now there is a change, a new fragrance in the wind. A new youth, searching for a new meaning. We must stand our ground, not let this thirst for a deeper meaning be repressed again. A strange feeling beset when Kalki was trolled for looking like a boy when she cut her hair short, that is pure abolishment of potential. (Although I resent that Sushant’s demise has now become a fluster of political debates, but if a positive change is manifesting, in the way of the Taoist, we embrace it.)

  A post shared by Babil Khan (@babil.i.k) on Jul 8, 2020 at 12:42am PDT

  " class="align-text-top noRightClick twitterSection" data="

  View this post on Instagram

  You know one of the most important things my father taught me as a student of cinema? Before I went to film school, he warned me that I’ll have to prove my self as Bollywood is seldom respected in world cinema and at these moments I must inform about the indian cinema that’s beyond our controlled Bollywood. Unfortunately, it did happen. Bollywood was not respected, no awareness of 60’s - 90’s Indian cinema or credibility of opinion. There was literally one single lecture in the world cinema segment about indian cinema called ‘Bollywood and Beyond’, that too gone through in a class full of chuckles. it was tough to even get a sensible conversation about the real Indian cinema of Satyajit Ray and K.Asif going. You know why that is? Because we, as the Indian audience, refused to evolve. My father gave his life trying to elevate the art of acting in the adverse conditions of noughties Bollywood and alas, for almost all of his journey, was defeated in the box office by hunks with six pack abs delivering theatrical one-liners and defying the laws of physics and reality, photoshopped item songs, just blatant sexism and same-old conventional representations of patriarchy (and you must understand, to be defeated at the box office means that majority of the investment in Bollywood would be going to the winners, engulfing us in a vicious circle). Because we as an audience wanted that, we enjoyed it, all we sought was entertainment and safety of thought, so afraid to have our delicate illusion of reality shattered, so unaccepting of any shift in perception. All effort to explore the potential of cinema and its implications on humanity and existentialism was at best kept by the sidelines. Now there is a change, a new fragrance in the wind. A new youth, searching for a new meaning. We must stand our ground, not let this thirst for a deeper meaning be repressed again. A strange feeling beset when Kalki was trolled for looking like a boy when she cut her hair short, that is pure abolishment of potential. (Although I resent that Sushant’s demise has now become a fluster of political debates, but if a positive change is manifesting, in the way of the Taoist, we embrace it.)

  A post shared by Babil Khan (@babil.i.k) on Jul 8, 2020 at 12:42am PDT

  ">

  View this post on Instagram

  You know one of the most important things my father taught me as a student of cinema? Before I went to film school, he warned me that I’ll have to prove my self as Bollywood is seldom respected in world cinema and at these moments I must inform about the indian cinema that’s beyond our controlled Bollywood. Unfortunately, it did happen. Bollywood was not respected, no awareness of 60’s - 90’s Indian cinema or credibility of opinion. There was literally one single lecture in the world cinema segment about indian cinema called ‘Bollywood and Beyond’, that too gone through in a class full of chuckles. it was tough to even get a sensible conversation about the real Indian cinema of Satyajit Ray and K.Asif going. You know why that is? Because we, as the Indian audience, refused to evolve. My father gave his life trying to elevate the art of acting in the adverse conditions of noughties Bollywood and alas, for almost all of his journey, was defeated in the box office by hunks with six pack abs delivering theatrical one-liners and defying the laws of physics and reality, photoshopped item songs, just blatant sexism and same-old conventional representations of patriarchy (and you must understand, to be defeated at the box office means that majority of the investment in Bollywood would be going to the winners, engulfing us in a vicious circle). Because we as an audience wanted that, we enjoyed it, all we sought was entertainment and safety of thought, so afraid to have our delicate illusion of reality shattered, so unaccepting of any shift in perception. All effort to explore the potential of cinema and its implications on humanity and existentialism was at best kept by the sidelines. Now there is a change, a new fragrance in the wind. A new youth, searching for a new meaning. We must stand our ground, not let this thirst for a deeper meaning be repressed again. A strange feeling beset when Kalki was trolled for looking like a boy when she cut her hair short, that is pure abolishment of potential. (Although I resent that Sushant’s demise has now become a fluster of political debates, but if a positive change is manifesting, in the way of the Taoist, we embrace it.)

  A post shared by Babil Khan (@babil.i.k) on Jul 8, 2020 at 12:42am PDT

मालूम हो कि बॉलीवुड के दिग्गज अभिनेता इरफान खान ने 29 अप्रैल 2020 को इस दुनिया को अलविदा कह दिया था. उनका निधन फिल्म जगत के लिए एक अपूर्णीय क्षति है.