A photograph to send back home to India

A photograph to send back home to India
Fehmeed Siddiqui with wife Nargis Jahan. Karachi, Pakistan, 1975.

Fehmeed Siddiqui with wife Nargis Jahan. Karachi, Pakistan, 1975. Image and Narrative contributed by Late Nargis Jahan, Karachi, Pakistan Volunteer Assistance : Zeba Siddiqui, Mumbai My husband Fehmeed was born and brought up in Lucknow, and spent his early years darning cloth at his father's shop in Hazratganj. He would often tell me about his struggles in Calcutta (now Kolkata), where he moved to in 1965, while in his mid-20s, to find better work. He also spoke about the gruesome violence he witnessed between Hindus and Muslims there, how it shook him, and prompted him to move to Karachi, where his paternal relatives lived at the time. After migrating to Karachi, he found work at a shop selling carpets and a few years after, when some mutual relatives arranged our match, we got married in 1974. In this picture, Fehmeed and I were about eight months into our marriage, and still getting to know each other. He would take me out on dates a lot, and frequently to Karachi’s Clifton Beach. This is a photograph from the time when Fehmeed took me out for our first photo shoot together to a studio on Tariq Road, a famous shopping district in Karachi (now Pakistan). He wanted it photographed so he could send it back to his home in Lucknow, India, to relatives who had not been able to attend our wedding.  "What kind of a picture is this?!" my father growled when he saw it and did not allow us to send this photograph. Eventually, we sent another one where I am mostly covered in a burqa. Karachi was a completely different place then. Couples would be seen going out a…

Continue Reading

The force behind my grandfather’s success

The force behind my grandfather’s success
My grandparents, Bani and Radhika Karmakar . Bombay (now Mumbai). Maharashtra. 1972

My grandparents, Bani and Radhika Karmakar . Bombay (now Mumbai). Maharashtra. 1972 Image & Narrative contributed by Anuradha Karmakar, Mumbai My Dida (grandmother in Bengali) Bani Karmakar (née Roy) was born on October 5, 1926 in Shologhor, Dacca District in erstwhile East Bengal. She had a rather impoverished childhood as the eldest child of a large family with three sisters, two brothers and a host of extended family members. She witnessed, at close quarters, the horrors of the Great Bengal Famine of 1943, where three million people perished. Dida did not have much of a formal education as she was married off in 1944, at the age of 17 to Radhika Jiban Karmakar, a soft-spoken 28-year-old man from Gramwari, Dacca (now Dhaka). Radhika Jiban left home at the age of 16, worked in the Calcutta Film Industry as a lab technician and also learnt photography from Jatin Das, a well-known photographer in Calcutta (now Kolkata). He then migrated with Das to Bombay in 1940, leaving behind a young wife in East Bengal with his family, where their first daughter, Sudevi was born in October 1947. The horrors of the communal massacres during 1946-1947 were witnessed by Bani, as also during one harsh monsoon, the swollen river Padma, changed course and devoured houses and paddy fields, the only source of sustenance for many. These two unfortunate events forced the mass exodus of many Bengalis seeking refuge and the Karmakars were among the millions who were forced to leave everything behind in 1948, many of whom migrated to West Bengal. After a short stay in West Bengal, Bani found herself joining her cinematographer husband in the hustle and bustle of Bombay, which…

Continue Reading

She was sent to London to learn film production

She was sent to London to learn film production
My maternal Grandmother, Jaya Phatak. London, United Kingdom 1972

My maternal Grandmother, Jaya Phatak. London, United Kingdom 1972 Image & Narrative contributed by Rohit Kulkarni, Pune This is a photograph of my grandmother, Jaya Phatak. It was taken at a film studio in London in 1972. My grandmother was born in the Phatak family in Pune, Maharashtra in 1926. Her father Duttatre Phatak worked with the British Indian Railways, and was also the manager of a record label 'Orion' that no longer exists. I am told he was instrumental in the first ever recording of Ustad Abdul Karim Khan, a well-known Hindustani Classical Singer and appointed musician to two royal courts in Baroda, and Mysore. Duttatre died when my grandmother was very young and over time her life turned out to be very different for many of the women of her era. She was very interested in sports and also represented the State at the Kabaddi Nationals in 1964. She was very young in 1942, when she became involved in India's Independence movement in Pune. She was jailed along with other 6-7 of her mates and sent to Yerwada Jail for disrupting and distributing Anti-British leaflets at a British military gathering at Nowrosjee Wadia College grounds. At the jail, she discovered many more imprisoned freedom fighters across castes and classes. They were detained and went through a one-month trial, and offered either Bail or an arrest for a month in jail. The family didn't have much money so there was no bail forthcoming. Despite an arrest for only a month, my grandmother says that they were still not released and instead were kept for another 11 months, because British law stated that it did not need to justify or give…

Continue Reading

The Nightingale of the Station

The Nightingale of the Station
My mother, Papia Chakrabarti. Calcutta, West bengal. 1971

My mother, Papia Chakrabarti. Calcutta, West bengal. 1971 Image and Narrative contributed by Subhrajyoti Chakrabarti, Bengaluru This is a picture of my mother Papia Chakrabarti. She was born to an eye surgeon in a wealthy family of Calcutta (now Kolkata). The family was conservative and girls were not allowed to interact with men outside of their family or even dress up stylishly, as it was considered to be a taboo. At the age of 20, with an arranged match, she got married to an air force officer, my father, Wing Commander M.K Chakrabarti. By then she was a BA in Psychology from Vidyasagar College under the Calcutta University and could speak three languages, Bengali, Hindi and English. My mother told us that when she first went to my father's Air Force station posting in Deolali (Maharashtra), she got a cultural shock. All social interactions in the Defense Forces (across genders) encouraged dressing up with style and interactions were more free and joyful. It was the complete opposite of what she had experienced in her formative years. Nonetheless, she adapted to the changes and embraced the Defense Forces culture. She dressed up in style, and hosted perfect parties. My mother was also a great singer of classical and contemporary Hindi music, and that too without any formal training. She was invited by several people to perform at their events and parties across all my father's postings. In Chandigarh, she was awarded the title ‘Nightingale of the Station’ at the High Ground Air Force station, for three consecutive years (1983-1985). Despite all the recognition, she was adept at all her responsibilities. She looked after her mother-in-law and brought us all up well. My wife is…

Continue Reading

“The most amusing thing about the movie was that we had no script”

“The most amusing thing about the movie was that we had no script”
Amitabh and I. On the sets of 'Mr. Natwarlal'. Bombay, Maharashtra. 1979

Amitabh Bachchan and I. On the sets of 'Mr. Natwarlal'. Bombay, Maharashtra. 1979 Image and Narrative contributed by Tony Juneja, Mumbai My name is Ramanjit Singh Juneja, however family and friends affectionately call me Tony, and now everyone knows me as Tony Juneja. I was born in 1954 in Patiala, Punjab, and my father worked as a liquor supplier to the Army Canteen stores and Indian Army Troops. Even as a child I was attracted to cinema. While studying at Bishop Cottons in Simla, Himachal Pradesh, I would passionately read every edition of the ‘Picture Post’, a now forgotten english magazine about hindi films - even during class. Our family used to own bonded warehouses for liquor in Nagaland, so we would travel and live in the region often. Once we grew up, my elder brother Kushaljeet (known as Tito) took a leap and began producing Assamese Films in Dimapur and Guwahati.  I too, would visit Guwahati often during summer vacations and watch them shoot and so the interest only heightened. I remember in 1972, the film we were shooting was called Mukta (later it received the President's Award). And I joined my brother as a Production Boy. That was my first job in films. My role was to wake up early in the morning and ensure that the unit travels to the shooting location and then post the shoot, bring them back. Tito, my brother, went on to establish himself as a distributor of Indian motion pictures for the West Bengal territory and I moved to Calcutta (now Kolkata) with him. After a year or so my brother decided to move to Bombay, where all the mainstream movies were being made and…

Continue Reading
Close Menu