Rang Rasiya Colors Of Passion Full Movie Download In Hd
'rang rasiya - remix' might just be a pose of the film and is not a specific part of the novel. however, it does have a deliberate objective of touching upon a number of social phenomena without in any way negating them. the uniqueness that makes the film is its ability to mix its characters together without any problem. it probes into the psyche of the nation of india, without taking a position of superiority/inferiority or promoting one culture over another.
be it our prejudice that hindus are hindus and muslims are muslims, the film in a way denies the very definitions of these terms. this is what makes it as interesting as “made for india”: it can actually confront our biases and prejudices.
the film presents the indian history as a story of redemption, the indianization of history which never happened in reality. but it does not suggest that history repeated itself, as in some ways it is a different time.
instead of portraying that when it came to written history, the real history was written in the hands of one man: that was mohammad ghulam ali of course. history had to be narrated through word of his followers (of which the british were the most influential ones), who in their turn were guided by their sense of the powerful. thus, the movie is about that.
anurag kashyap – director – who has earlier been seen to explore the hidden undercurrents of india's history through the medium of cinema, is breaking the boundary with his recent work rang rasiya that documents a much-talked-about and long-missing alternative ‘indianization’ of history, through the case of raja ravi varma, the ‘first indian painter’ d8a7b2ff72
the erotica is suggested by the emphasis on her skin, which becomes the primary canvas for the painter's art. he connects with her directly through his eyes and he paints what is only reflected in his thought processes - his visions.
the film starts with a painting session where raja ravi varma has been commissioned to paint the first ever nude portrait of his goddess and muse, sugandha. her eyes are pierced with sanskrit scripture, which she reads out as a poem with great passion; her waist like an umbrella and shoulders covered in a blanket.. the painting session is interrupted by the sudden arrival of a western officer, who comes to inspect the work.
raja ravi varma's attitude towards the western officers is one of co-existence, while his intellectual urge suggests a distaste for his western visitor's mechanical, rational and practical processes and powers of observation. their interaction is a good commentary on the artist's own process of realization, and one can imagine his insight that 'the more you simplify, the more it pleases the audience and people in general. the fewer details, the closer you get to the truth'.
the western officer, lieutenant colonel francis langdon-davies, is a knight of the east india company and an admirer of the work. while he has been observing the painting process, raja ravi varma has been engaged in the inner journey of his thoughts, for which he writes an essay entitled tuhiya saas-bhi bachchhain ki (extract from my dreams).
the colonel is enthralled by ravi varma's art and fascinated with the medium of the oil painting. he begins to analyse and deconstruct the composition and subjects of his portrait, highlighting what he perceives as flaws.