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Research Centre48
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Research Centre

Sibte Hasaan Rizvi (Producer), Ahista Ahista, 1981, Song-Synopsis Booklet
Rizvi, Sibte Hasaan (Producer), Ahista Ahista, 1981 | Song-Synopsis Booklet
Yash Chopra (Producer), Silsila, 1981, Jubilee Trophy
Chopra, Yash (Producer), Silsila, 1981. 100 Days Celebration Jubilee Trophy to Minerva Cinema, Bareilly for Silsila | Jubilee Trophy
Kay Gee (Cinematographer), Silsila, 1981, Photographic Still Mounted on Lobby Card
Gee, Kay (Cinematographer), Silsila, 1981 | Photographic Still Mounted on Lobby Card
Russi Billimoria (Cinematographer), Ahista Ahista, 1981, Photographic Still Mounted on Lobby Card
Billimoria, Russi (Cinematographer), Ahista Ahista, 1981 | Photographic Still Mounted on Lobby Card
Yash Chopra (Producer), Silsila, 1981, Record Cover
Chopra, Yash (Producer), Silsila, 1981 | Record Cover
Yash Chopra (Producer), Silsila, 1981, Single Screen Cinema Hoarding
Chopra, Yash (Producer), Silsila, 1981 | Single Screen Cinema Hoarding
Yash Chopra (Producer), Silsila, 1981, Working Still
Chopra, Yash (Producer), Silsila, 1981. Recording of Ye Kahan Aa Gaye Hum | Working Still
Unknown (Still Photographer), Silsila - Recording of Ye Kahan Aa Gaye Hum, 1981, Photographic Still
Unknown (Still Photographer), Silsila - Recording of Ye Kahan Aa Gaye Hum, 1981 | Photographic Still
M.S. Gulati (Producer), Dil Akhir Dil Hai, 1982, Song-Synopsis Booklet
Gulati, M.S. (Producer), Dil Akhir Dil Hai, 1982 | Song-Synopsis Booklet
Russi Billimoria (Cinematographer), Dil Akhir Dil Hai, 1982, Photographic Still Mounted on Lobby Card
Billimoria, Russi (Cinematographer), Dil Akhir Dil Hai, 1982 | Photographic Still Mounted on Lobby Card
Shehla Khan (Producer), Chor Police, 1983, Song-Synopsis Booklet
Khan, Shehla (Producer), Chor Police, 1983 | Song-Synopsis Booklet
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
20 of 48
Sibte Hasaan Rizvi (Producer), Ahista Ahista, 1981, Song-Synopsis Booklet
Rizvi, Sibte Hasaan (Producer), Ahista Ahista, 1981 | Song-Synopsis Booklet
Yash Chopra (Producer), Silsila, 1981, Jubilee Trophy
Chopra, Yash (Producer), Silsila, 1981. 100 Days Celebration Jubilee Trophy to Minerva Cinema, Bareilly for Silsila | Jubilee Trophy
Kay Gee (Cinematographer), Silsila, 1981, Photographic Still Mounted on Lobby Card
Gee, Kay (Cinematographer), Silsila, 1981 | Photographic Still Mounted on Lobby Card
Russi Billimoria (Cinematographer), Ahista Ahista, 1981, Photographic Still Mounted on Lobby Card
Billimoria, Russi (Cinematographer), Ahista Ahista, 1981 | Photographic Still Mounted on Lobby Card
Yash Chopra (Producer), Silsila, 1981, Record Cover
Chopra, Yash (Producer), Silsila, 1981 | Record Cover
Yash Chopra (Producer), Silsila, 1981, Single Screen Cinema Hoarding
Chopra, Yash (Producer), Silsila, 1981 | Single Screen Cinema Hoarding
Yash Chopra (Producer), Silsila, 1981, Working Still
Chopra, Yash (Producer), Silsila, 1981. Recording of Ye Kahan Aa Gaye Hum | Working Still
Unknown (Still Photographer), Silsila - Recording of Ye Kahan Aa Gaye Hum, 1981, Photographic Still
Unknown (Still Photographer), Silsila - Recording of Ye Kahan Aa Gaye Hum, 1981 | Photographic Still
M.S. Gulati (Producer), Dil Akhir Dil Hai, 1982, Song-Synopsis Booklet
Gulati, M.S. (Producer), Dil Akhir Dil Hai, 1982 | Song-Synopsis Booklet
Russi Billimoria (Cinematographer), Dil Akhir Dil Hai, 1982, Photographic Still Mounted on Lobby Card
Billimoria, Russi (Cinematographer), Dil Akhir Dil Hai, 1982 | Photographic Still Mounted on Lobby Card
Shehla Khan (Producer), Chor Police, 1983, Song-Synopsis Booklet
Khan, Shehla (Producer), Chor Police, 1983 | Song-Synopsis Booklet
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
R.D. Mathur (Cinematographer), Razia Sultan, 1983, Lobby Card
Mathur, R.D. (Cinematographer), Razia Sultan, 1983 | Lobby Card
20 of 47
Tuli Research Centre for India Studies (Editor). From Chetan Anand's pain of suffering in silence emerges his cinematic rhythms, music and songs, 24 July 2026 | In-house Video, 2026 · 59 sec · Vertical Video
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Tuli Research Centre for India Studies (Editor). From Chetan Anand's pain of suffering in silence emerges his cinematic rhythms, music and songs, 24 July 2026 | In-house Video
2026 · 59 sec · Vertical Video

Posts 1

  1. "The Pain of Human Stupidity" | Ketan Anand on His Father
    "The Pain of Human Stupidity" | Ketan Anand on His Father
    "Who was Chetan Anand — and why does his cinema still carry such a deep, emotional charge? In this clip, his son Ketan Anand introduces the filmmaker behind Haqeeqat (1964), a man who ""suffered in silence for a long time,"" and the learning he received from that pain, which poured into his films. It was during this time that Kaifi Azmi wrote some of his most remarkable poems for him. The product of this collaboration was a war song that became part of India's collective memory. As Ketan Anand puts it, ""This is not a jingoistic song… this is the pain of human stupidity."" No chest-beating, but a meditation or rather a question on why we go on fighting and killing while talking of love and peace. Somewhere, it is out of this pain that one must evolve. And Anand's cinema did exactly that. This video is an excerpt from the session with Ketan Anand, Ravikant, Pavan Jha and Neville Tuli, part of the series 'Deconstructing the Film Song: A Musical Glue for Nation-Building,' presented by the Tuli Research Centre for India Studies (TRIS) as part of the 7th Self-Discovery via Rediscovering India Festival."
    1_CinemaEducation
    Chetan AnandHaqeeqatKaifi AzmiNida FazliKetan AnandA Musical Glue for Nation-Building - Deconstructing the Film SongNeville Tuli
    Read Post →
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© Tuli Research Centre for India Studies 2026

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A free and open knowledge base for the modern and contemporary Indian arts, cinema, photography and cultural heritage.

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© Tuli Research Centre for India Studies 2026

                          Tuli Research Centre for India Studies (Editor). From Chetan Anand's pain of suffering in silence emerges his cinematic rhythms, music and songs, 24 July 2026 | In-house Video | CinemaEducation | 00883637
                          59 sec · Vertical Video

                          From Chetan Anand's pain of suffering in silence emerges his cinematic rhythms, music and songs

                          Tuli Research Centre for India Studies (Editor)

                          Document TypeIn-house Video
                          Date24 July 2026
                          Duration59 sec
                          FormatVertical Video
                          Description
                          What does a patriotic song sound like when it refuses to celebrate aggression? "Kar Chale Hum Fida" from Chetan Anand's Haqeeqat (1964) answers that question with a stillness that has stayed with Indian audiences for over six decades. In the discussion, Ravikant, Professor, CSDS (The Centre for the Study of Developing Societies), highlights that although it is a song about war, it subverts expectations by being devoid of the swashbuckling aggression. It speaks not of conquest or victory but of sacrifice and collective responsibility, a burden shared equally by soldiers, women, and the young. Kaifi Azmi's lyrics carry no triumphalism of epic proportions, only a quiet, devastating sense of duty. Haqeeqat appeared at a moment when the idealism of the early independence years was falling apart and the Nehru generation, which had carried the dream of a new India, was passing from the stage. The song carries both of these meanings at once. It mourns the dead, and it speaks directly to the living, asking what they will do with the nation left in their hands. From the session with Ketan Anand, Ravikant, Pavan Jha and Neville Tuli, "A Musical Glue for Nation-Building: Deconstructing the Film Song", presented by the Tuli Research Centre for India Studies (T.R.I.S.) at the 7th Self-Discovery via Rediscovering India Festival.

                          Related Links6

                          Masterlist5
                          Chetan AnandKaifi AzmiDigital in House VideosDeconstructing the Film Song 2026Neville Tuli
                          Research Categories
                          01Cinema as a Critical Educational Resource