2 June 2010

Professor P.K. Ravindranath: The veteran journalist-writer of Indian press



Professor P.K. Ravindranath is a familiar name both in English and regional press in India. Since last six decades he is silently continuing his work with passion and dedication. This veteran of Indian media has several accolades to his credit. To name a few they starts from correspondent, sub-editor, film editor of Free Press Journal, freelance writer, bureau chief, political analyst, organizer, activist, columnist, writer and translator, Press Advisor of Maharashtra Chief Minister, Director of Nehru Centre, editor, consulting editor and teacher of journalism.

Based on the numerous interactions with Professor P.K. Ravindranath at quite a few occasions spanned over a period of one and half decades and mainly on the data provided by him I have done this cover story. I consider this cover story is a summarised version or glimpses from his life story.  In fact I wanted to write more meticulously about him and several incidents of his life in detail, which have historical, social, cultural, political, linguistic and literary values. Therefore I am planning to write P.K. Ravindranath’s biography and already started the research work and data compilation. A documentary film on him is also my dream project.

Professor P.K. Ravindranath is epitome of simplicity, dignity, genuineness, beauty, experience, knowledge, authenticity and truth. You cannot see any similar person in Indian media of his stature with vivid experience of life. His persona is unique and he is really a role model of ethics and purity.

To be a true Indian you must develop the culture of the Indian Army, avers P.K. Ravindranath.  That alone will instil in you patriotism, selflessness, discipline and to think and act as a member of the great human race.

He himself had never been an army man, but the first decade of his formative years were spent in an army hill-station, Maymyo in Central Burma, where he went first to a convent school, then to an Arya Samaj school.  He imbibed the best of both – the Catholic faith and the reformist Hindu system of life.  Being an army cantonment, he would roam freely on a bicycle all around the town, which kept him healthy and free from ailments.

He went to primary school in a government-run high school, whose headmaster was a former adjutant in the British Army.

Then World War II broke out. Ravindranath and his family consisting of his parents and five siblings caught the last steamer from Rangoon back to Madras in 1940.  Indians after him had to trek through unfriendly terrain and seek refuge in India through Assam.
His earliest recollection is sitting on the lap of Mahakavi Vallathol, who had come to his house during a tour of Burma with his Kathakali troupe, and reciting a poem. Another memory is of a Velichapad biting off the head of a live cock during a homam at his uncle’s house in Calicut, which had a Kuttichathan kavu attached to it. As a six-year old it revolted him.

Back in Calicut in 1940 “as a refugee” the next seven years were gruelling ones – poverty stricken, inability to adjust to life in a joint family, difficulty at school with Malayalam language, which ultimately forced him to seek exemption from that subject for his S.S.L.C. examination. By the time he reached college, at the Zamorin’s College, he had come to grips with Malayalam.  Financial inability to pursue his studies after Senior Intermediate (the present plus-two stage) he landed up in Mumbai.

His high school and college days coincided with the last phase of the freedom struggle – the Quit India movement. He became an active member of the Student’s Congress, which brought him in touch with a whole generation of selfless national leaders, including the redoubtable Krishna Pillai and A.K. Gopalan and a whole array of Congress leaders who sacrificed much for the nation.

In Mumbai, he landed a job with the Kuwait Oil Company and was sent to Kuwait – a job he badly needed to help the family. It lasted for only ten months, for he along with a group of 19 and 20-year old employees of the company could not stand the haughty attitude of the British and American bosses of the KOC.  They called a strike, and the entire operations of the mighty company came to a standstill for five days.

Ultimately, the Sheikh himself intervened and promised to get the grievance of the “Indian brothers” redressed.  Within a week Ravindranath, along with a dozen other “rig leaders” of the strike were rounded up the Kuwait police and packed off to Bombay on a waiting ship.

Then followed a series of jobs – “some like hawking a special brand of phenyl and another procuring printing order for a commercial printing press in the Fort”.

Then, he sent an application – the only one he sent in his life – to S. Sadanand, the editor of The Free Press Journal. He was called for an interview and within fifteen minutes was appointed a sub-editor.  He worked for five years in the FPJ – till 1955. That year he was called and offered a job in “The Times of India”.  Before he joined, the TOI discovered that was not a graduate and asked for the return of the appointment letter.  By then Ravindranath had become aware of the laws of the employment and terms and conditions pertaining to a job. “Give me the contracted salary for the next thirty years and I will return the letter,” he told the Management.  He knew by then that the Editor of the TOI, the Chief Reporter, The Chief of Bureau and several other heads of departments were not graduates. Then why single him out?

The management compromised. It allowed him to work, on condition that he would get a degree “soon”. In two years time, he got one. In another three years he had procured a post-graduate degree in political science and sociology, “which I found were very helpful for my profession”.
Then he registered for a doctorate, when the general manager, J.C. Jain asked him: “What next?” By then, he had become totally immersed in the journalists’ struggle for higher wages, security of service and better working conditions.”  He had become Chairman of the Bombay Union of Journalists and was elected the Treasurer of the Indian Federation of Working Journalists.

He had occasions to go round the country on behalf of these organisations settling disputes with managements and ensuring that harmonious conditions prevailed in the newspaper industry.

As a newspaperman, he found that this early influences in life, gave him a healthy outlook in dealing with communal riots, attitudes towards the minority communities and the pernicious caste system in the country. A series of articles in the Times of India, The Illustrated Weekly of India, The Economic Times, The Filmware and the Femina followed.  In ten years times, it was his boast that he could walk into any English language newspaper in the country and say: “I am P.K. Ravindranath.  I want a job, and I would get it on the spot.”

All this brought him to the notice of political leaders, social activist and makers of public opinion in the country.  His interest in Malayalam drama, films and all other social activities endeared him to film makers, the theatre fraternity in Bombay and elsewhere.  He came to close to a number of leading journalists in the country, several top Congress and other political leaders in the country. 

Then came emergency and the strict imposition of censorship on the press.  He was shocked at the way some journalists who had been critical of emergency rule were hounded out and imprisoned without trial.  The then editor of the TOI he found did not back him on a crucial issue concerning a news item, which “pertained to prominent friend of the Establishment.”  He resigned his job in August 1976.  “I should have left the TOI ten years earlier,” he lamented.  “I had everything by then, a known byeline, ample experience and contacts.”
He joined the National Herald but within a year, thanks to the changing political fortunes, the Heralad was under a lockout. “I was left with a staff of six whom I had recruited and had to ensure their monthly wages were paid – with no money coming in from Lucknow, the headquarters of the Herald group.

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By the by for the knowledge of those who do not know, the National Herald was founded by Jawaharlal Nehru. Please visit the link http://www.merinews.com/article/nehrus-national-herald-closes-down/135107.shtml to read this writer’s article titled, Nehru’s National Herald closes down, written on June 3, 2003 and the link http://www.merinews.com/article/a-thought-on-nehrus-45th-death-anniversary/15770931.shtml to read another article, A thought on Nehru’s 45th anniversary.
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He managed, with help from friends in the advertising agencies till 1980. Then, A.R. Antulay became the Chief Minister.  By the Ravindranath had also become the Bureau Chief of the Mathrubhumi in Mumbai.  He had been close to the Mathrubhumi since 1957, when he covered important news from the city and Maharashtra under the name of his wife – Tara Menon.  So when he was sacked by the National Heralad at the instance of Antulay, who felt “he belonged to the enemy camp,” he had no problem.

He was sacked by the Mathrubhumi management in 1986, when he publicly corrected an agency head who said “The Mathrubhumi” is the only real people’s paper in the country.” Ravindranath countered: “No longer.  It is now run by Plantation Owners and Lorry Operators.”  Prompt came his marching orders.

Two years of freelancing were “profitable years, since I earned more than I ever did in another job. Writing editorials, edit page articles, reviews, interviews and the like.” But then working hours were flexible- early morning to midnight and later to meet deadlines. There were no computers and no telephone facilities,” he recalls.

Then came the call to join the Chief Minister’s Secretariat. Sharad Pawar was the newly elected Chief Minister whom Ravindranath had known intimately since 1977, when he too was a non-conformist with the Emergency. On persuasion he joined him as his Press Adviser. “It was a great experience. I came to know how the government works from within.” In those years he wrote “Sharad Pawar: the Making of a Modern Maratha,” published in 1992. By then Pawar had gone to Delhi as Union Defence Minister. In 1992, Ravindranath moved over as Director (Publications) of Nehru Centre, of which he had been a founder member and Hon. Director of Publications. He was removed from this honorary job too by Antulay when he took over as ipso facto President of Nehru Centre, when he became the Chief Minister. Years later, when Ravindranath led the delegation of Mumbai Malayalis to meet Antulay, the MP from Ratnagiri, to ask for the special train services from Mumbai to Thiruvanathapuram, Antulay told him “You know things happened. They should not have, it is all God’s mercy.” Ravindranath agreed, in full satisfaction that he had contributed immeasurably to oust Antulay from the Chief Ministership following the Cement Scandal. “I wasted 25 years of my political life,” he lamented then.

In 1984 he had written “Chandrashekhar: A Political Biography”. He also wrote “Sardar Patel in a New Perspective”. “A Slice of Life,” and a coffee table book “Iyer Weddings”.
Since 2000 when the Mumbai University introduced the BMM (Bachelor of Mass Media course) he had been called to conduct classes in various colleges. In the last decade has turned out over 200 journalists, who now adorn good positions in the print and electronic media. “All committed to the righteous journalism”.

From 1978 to 1986 Ravindranath ran a very popular column in Mathrbhumi-“Maharashtra Kathu” (Maharashtra newsletter, which caught the attention of the entire political leadership of Kerala.

Married to Tara Dharadhar, Ravindranath has three children-Jayesh, Anuja and Naresh, all well settled in life and who look back to Kerala as their second home. Tara has been a social activist and is an active member of the Kerala Mahila Samaj, of which she has been the General Secretary and President one time. She is also an active member of the Mumbai Grahak Panchayat, a consumer organisation, which provides for members all household commodities at fair prices and exact weight.
Ravindranath has translated Keshavadev’s “Ayalkar” as “Neighbours” (Sahitya Academy), N P Muhammed and M T Vasudevan Nair’s “Arab Gold” (Arabi Ponnu) Rupa and M T Vasudevan Nair’s “Randamoozham” (“Second Turn”-Macmillan). He has published six books on journalism for students of the BMM course for which there was an acute dearth of textbooks. They are: “The Art of Editing,” Lectures on Broadcast Journalism, Indian Regional Journalism, Press Laws and Ethics, News Media Management and Contemporary Issues. They have proved to be a boon for a whole generation of students of journalism, for whom there were no books in the Indian context on these subjects.  

I am sure that my esteemed readers will wonder when they hear that Professor P.K. Ravindranath turned 83 now and he stayed only seven years in Kerala in these years. Still he has contributed much to Malayalam journalism and literature. Like his trademark white shirt-white pants attire resembles the purity of his outer personality, his calm and quiet face with a serene a smile wrapped with ‘I  know it’ mark presents his limpidness. Like the purity signature he carries with his clothing, his face reveals his inner beauty.

(Published in the Whiteline Journal Magazine, June 2010 issue as Cover Story)  

17 February 2010

A comic comment lands actor Jayaram in fire and his apology resolves the issue

Noted Malayalam and Tamil actor Jayaram Jayaramnever thought in his wild dreams that a simple comic comment he passed recently during a television chat show would land him in a big trouble.

Jayaram's recent Malayalam film 'Happy Husbands was a super hit. In a television chat show participated by Jayaram and his wife and former actress Parvathi, Jayaram remarked to a funny question in the context of the storyline of the film and its heroine's mindset. In that film the heroine was very suspicious about her husband and she always employed dark skin women as domestic help.

During the chat show the anchor asked, "In film the wife is like that and what about in your real life? Have you ever taken a second look at your house maid in real life?"

Taking a cue from the movie Jayaram replied, "My maid is a dark, fat, buffalo-like Tamil woman. How can I even look at her?"

The reply was also quick enough to hold up the good spirit of the show. The humour was enjoyed well by the Malayali viewers. People those who have less humour sense found fault with his remarks.

Synonymous to political parties coming up claiming the only saviours of culture and language with a political stunt-drama for cheap mileage and free publicity, the Pattali Makkal Kachi's (PMK) advocates union come up with a claim that Jayaram insulted Tamil women and Tamil culture. Also PMK's Advocate Forum for Social Justice (AFSJ) filed a writ on February 5 at Egmore Court in Chennai demanding prosecuting Jayaram for defamation.

Ironically Jayaram is a Tamilian who has been brought up in Kerala and started his film career with Malayalam films. Since last 23 years he was in Tamil film and he lives at Valasaravakkam in Chennai with his family.

The general Tamils are at hysterical best and icon worshippers. 15 years ago Tamils built a temple in Tiruchirapalli town for actress Khushboo and worshipped her as goddess despite the fact that she is a Muslim. The same Tamils have been demolished that very temple when Khushboo remarked about the need for protective sex. She said it was fine for girls to have pre-marital sex - but not without taking precautions to prevent pregnancy and sexually transmitted diseases. Later, she added that no educated man should expect his wife or girlfriend to be a virgin.

A group of people, said to be activist of Nam Tamizhar Iyakkam of Director Seeman attacked Jayaram's house with petrol bombs, stones and sticks. They smashed the glasses of the car parked, damaged window panes and set fire to chairs. Many of the mementos and awards were set fire through petrol bombs thrown inside the house. 12 persons have been arrested and police are at the look out of the remaining people from the 25 plus gang. Jayaram was at Kozhikode in Kerala participating in a shoot of a new Malayalam film.

In wake of the untoward incidents, Jayaram expressed regret for his unintended remarks on Tamil women on Friday and tendered apology from Kozhikode. Jayaram said his remarks had been misinterpreted. Later he reached Chennai on February 6, Saturday, and in a press conference repeated his apology and requested for "Marappu, Mannippu" (forget and forgive) in typical former DMK leader and Tamil Nadu Chief Minister Annadurai style.

"I did not mean to hurt anybody's feelings. I have been in the Tamil film industry for 23 years and never have I hurt the feelings of Tamils. I am a Tamilian. How can I hurt my mother? If at all my recent comments had disturbed my Tamil sisters, I apologize."

Five police personnel have been put on for round the clock security to Jayaram's house at Valasaravakkam in Chennai.

Actor Thyagarajan, Director K.S. Ravikumar, Confederation of Tamil Nadu Malayali Association President M. Nandagovind and many prominent people from Tamil and Malayalam film industry visited his house at Valasaravakkam.

The Valasaravakkam police have registered a case against film director and leader of the 'Nam Tamizhar Iyakkam' Seeman in connection with the attack on the house of actor Jayaram on Friday. According to police, Mr. Seeman was accused of instigating the attack on the actor.

While eight persons were held soon after the attack on Friday, a special team investigating the case arrested four more on Saturday, including Seeman's brother James Peter.

Mr. Jayaram's house in Lakshmi Nagar was damaged after a group of youths threw stones and set on fire furniture at the main entrance. Valasaravakkam Inspector Murugesan and Sub-Inspector Rajaram were transferred for not taking action to prevent the attack despite intelligence inputs.

Chief Minister M. Karunanidhi on February 6, Saturday, said as actor Jayaram had expressed unconditional apology for his remarks, it would be better to forgive him and leave the matter at that.

Replying to a question, he said if the actor had spoken anything derogatory of Tamil women, it needed to be condemned. But, as he had offered an unconditional apology, it would be better to follow what former Chief Minister C.N. Annadurai had said" "Let us forget and forgive."

Now the issue has been resolved and PMK withdrew its agitation against the actor.

10 February 2010


Harishchandrachi Factory: A candid Marathi movie not to be missed by any Indian

I hardly knew anything about the versatile writer, director and theatre personality Paresh Mokashi till I watch the movie Harshchandrachi Factory. Earlier I had seen some movies of  Amol Palekar, Amol PalekarDada Kondke and others in theatre and some in Dooradarshan. I learned Harischandrachi Factory was selected as India's official entry to Academy Award in the best foreign language film category, making it the second film after Shwaas (2004), in Marathi cinema to receive this honour. I also read from Malayalam newspapers that Harischandrachi Factory won the best debutant director award from Kerala Chalchitra Film Society and 18th G. Aravindan Puraskaram 2009 from Pune Chalachitra Film Society.

This was my slight information and modest background about the movie Harischandrachi Factory while watching it the other day at Dombivli Puja cinema which helped a lot in enjoying the movie in a different perspective without any barriers or influencing the versatile and genius Director Paresh Mokashi's fame and eminence. I watched the movie sitting amongst the well-educated class audience of Dombivli. It was really an incredible experience. Probably I was the only non-Maharashtrian amongst the audience.

The movie Harishchandrachi Factory starts with showing the early life of father of Indian cinema Dhundiraj Govind Phalke, popularly known as Dadasaheb Phalke, who lived from 30th April 1870 to 16th February 1944. Unlike other bio-pictures, Harichandrachi Factory made on a great man's life in a full-fledged feature film and beautifully narrated the story in an absolute way that will be cherished by any good movie lover.

All will wonder why nobody thought of making a film based on Dadasaheb Phalke almost 97 years after making the first film Raja Harischandra in India by him in 1913. With Dadasaheb Phalke Indian film history begins and he will remain ever the light house of Indian film world. From a humble beginning in 1913, now in India we produce more than 1,000 feature films in all languages. Nobody in any Indian language made a film on Dadasaheb Phalke until Director Paresh Mokashi entered with his debut film in Marathi Harischandrachi Factory.

The story-narration technique used by Paresh Mokashi was amazing. There was not a single moment in the film that lagged or disappointed the audience. The fast phase of the movie and rhythm were exemplary which created a very good mood, fun and interest to watch the next scenes. The events were beautifully connected in such a marvellous manner that there were no dull moments and we are grateful to Director Paresh Mokashi for his brilliance, style and craftsmanship.

The classic humour is the highlight of this movie. Even the tragic events are depicted with light humour. When Phalke wanted to make the 'drama of the curtain', his relatives and well wishers took him to Thane mental hospital was one good example. Another one, while his wife assisting the film processing Phalke does the chapatti making act.

There lies a holy thread of national integrity in the storytelling and the well-picturised scenes removes language barriers to enjoying the movie. Amalendu Chaudhary's excellent camera work equally created the good mood and charm of the movie. Similarly Geeta Godbole's make up, AmitAmit Pawar's editing, Anand Modak's background music and costumes by Mrudul Patwardhan, Mahesh Sherla and Geeta Godbole were fabulous.

I thrive to know Marathi language and culture and therefore I have a feeling that I can understand Marathi better than any ordinary Malayali. This feeling helped me to enjoy the movie better knowing the context, meaning and situations.

The wonderful chemistry that works out between Phalke (played by Nandu Madhav), his wife (played by Vibhavari Deshpande) and their two children, even the new born third child, were splendidly portrayed in the movie. Whatever he does his entire family supports him. Phalke is shown as a gentle husband and father, and as a filmmaker too, he is determined but not too aggressive. Phalke was an eccentric, workaholic man bursting with self-confidence, extremely poised and confident in his performance. Curious to learn the new 'moving form of drama' he takes big risks, selling off his valuables to watch more movies and buy books on the subject. And soon, he takes the biggest risk and embarks on a journey to London, to meet up with filmmakers and learn the craft only with the address of one London film magazine.

Perhaps Dadasaheb could have made more money and fame if he had been accepted the tempting offer from British film world. However, he politely declined the offer and Paresh Mokashi in few words portrayed that situation. It really moved me and I was in tears. Giving long phony speeches, futile lip services and painting face with tricolour is not the real patriotism. Paresh Mokashi described it in few words and well-edited scenes.

No doubt Harischandrachi Factory is a delight to watch. This candid Marathi movie is a must watch and not to be missed by any Marathi Manus or rather by any Indian whether a Malayali, Bihari, Tamilian, Kannadiga, Telugu, Bengali or from any region or state.

Dear Paresh Mokashi, my heartist congratulations for giving us such a beautiful film.

The writer compiled the first Marathi-English-Malayalam dictionary with Marathi grammar and Marathi pronunciation guide in Malayalam

Published in Whiteline Flash