Rain in the City


It rained here earlier today. I couldn’t keep myself confined to my wearied bed. With my head still spinning and my eyes preferring to remain shut, I tuned my ears to the rain, set up the recorder and microphone and got out into the rain around the apartment building and on the terrace.

Some of the different sounds of the rain available when I walked out compiled in this black-screened video are as they were recorded. I have not edited them–no enrichment. Not even the volume. But the rumble of the thunder, recorded separately, has undergone substantial processing.


O. Birmangol


Playwright, theater director, voice artist and radio anchor O. Birmangol (b. 4 April, 1928) talking with poet and sculptor Thangjam Ibopishak on 19 February 2019.

When his daughter-in-law led us (Thangjam Ibopishak and me) into his room, he was in his bed with the curtains down. Oja Ibopishak announced our arrival and he identified himself as the younger brother of the famous lyricist Thangjam Kora. O. Birmangol knows oja Thangjam Ibopishak–he cannot forget him; there is a history. But oja Ibopishak identifies himself this way to elderly people and I like this humility.

O. Birmangol started up, a spark of joy twinkling in his expressive eyes and face and some meaningless exclamations of happiness escaping his mouth involuntarily in that sweet, familiar, nostalgic voice.

His daughter-in-law wanted him to change because we said I would photograph him. But he flatly said he wont, even when I asked if he wanted.

“This is how I am,” he said.

“I prefer it this way too, oja,” I said smiling, quickly glancing in mid-sentence toward his daughter-in-law for a regard.

O. Birmangol’s eyes are lively and expressive like theater in real life. The contours of his face and the wrinkles in his face creases into the shapes of what his voice communicates. His hands draw accompanying shapes in the air. His body bends to the sides, leans forward and backward.  If you observe closely, you will see these gestures have textures and they change every few milliseconds.

Later, he moved to the chair he is sitting at in the above photograph. On his right is his toilet chair. His son must have made it for him. In the background, there are framed photographs and certificates of recognition.

The Rain and Wind Chimes

This audio is composed of two tracks. They were recorded at two places on different occasions and mixed them later.

Both were recorded at similar time and in similar weather conditions–in the wee hours of night after midnight and before dawn and while it was raining.

The first was recorded at my backyard in Kakching, Manipur last year (July or August 2017) and the other at my verandah in New Delhi early this month (October 2018).

I removed the rain sound from the later clip to mix with the rain sound of the former. I was wondering if adding a gentle breeze sound (that moved the wind chimes) would do good. I recorded the sound of the breeze too, in a separate track, and it’s mixed with the sizzle of the rain. I have breeze sounds already recorded in some mountains of Manipur. I can use an appropriate one of them but I have not yet tried it.

Berry Picking (Monotone)

When my spirits droop so low, at times there rises from what seems like devouring bottomlessness something that silts up the black pit with grains of voice oozing from the black pores of silence. This voice, for me, is poetry–poetry of certain sort. What we at our wit’s end call “paradoxes” balance the world. Poetry is a paradox, or part of a paradox, the other part unrepresented. I love these curves of Nature. When you write poems, you trace these curves and sense them, and you turn into that sense. Dance and the dancer–you cannot separate them while in the act.


A Few Shots from Fargo (Joel Coen, 1996)

A collaboration of multiple legends–director Joel Coen, cinematographer and DP Roger Deakins, music composer Carter Burwell and sound editor Skip Lievsay, and not the least Ethan Coen who co-wrote the script with his brother Joel, Fargo (1996) is a classic for multiple reasons. Here I will focus more on the visuals, with cursory references to direction and sound.

Take a look at this shot sequence–a tiny scene in the snow.

The story leading to this point is here:

In the winter of 1987, Jerry Lundegaard, the sales manager at an Oldsmobile dealership in Minneapolis, is desperate for money. He floated a $320,000 GMAC loan and collateralized it with nonexistent dealership vehicles and is unable to pay back the loan. On the advice of dealership mechanic and paroled ex-convict Shep Proudfoot, Jerry travels to Fargo, North Dakota and hires small-time cons Gaear Grimsrud and Carl Showalter to kidnap his wife, Jean, and extort a ransom from his wealthy father-in-law and boss, Wade Gustafson, in return for a new car and half of the $80,000 ransom.

Jerry pitches Gustafson a lucrative real estate deal, and he agrees to front $750,000. Jerry considers calling off the kidnapping, but learns that Gustafson plans to make the deal himself, giving Jerry a finder’s fee.

Jerry (William H. Macy) feels pissed off and is exasperated, but he is helpless. William acts excellently here (and throughout the film) but it is not just his excellent acting that makes his helplessness and exasperation so expressive–the cinematography, the direction and the sound go in together to make this effect. The wide, very high angle shot  opens on the snow yard of Wade’s office. We hear Jerry’s footsteps in the snow but he is not yet in the frame–he is absent, and this is significant. When he enters the frame from the bottom of the frame, he is just a negligible dot in the white wide screen and would have been lost but for his movement in the otherwise static scene–the high angle shot compresses his height and the width of the coverage reduces his space to a tiny black dot, accentuating his helpless condition.

Inside the car, Jerry’s back is toward the camera. Sometimes a face is too distracting to show very subtle emotions, and you express it with the back of the actor’s head with the shoulder (as the one in We Were Soldiers (2002) in which the Mel Gibson character is shot weeping from behind). We hear him heaving a sigh in the cold and see the steam from his mouth going out. Accompanied by Carter’s beautiful theme score that somehow gets to our nerves, we sense something is not quite right–the tension is in the air. This back shot is more eloquent than a face shot would have been.

Jerry’s helpless desperation and exasperation is clearly visible in how he scrapes the ice from his frozen car windshield. The speed of his hands and the sound of the scrapers on the ice and the windshield are increasingly more irritating by the millisecond. Jerry then loses self-control and throws the scraper, which he picks up after a while and begins to scrape the ice. This action is covered in a single handheld medium shot. Then we are back to a high angle shot, not so wide as the former one. The scraping sound is still irritating but a bit less so. Watch it in the clip above–just 01:20 minutes.

Gaear Grimsrud and Carl Showalter had already arrived at Brainerd to kidnap Jerry’s wife. This arrival shot is portentous–in the foreground it has standing on a stone pedestal a big wood-chipper statue with his axe held over one shoulder on one side of he road that runs almost diagonally in the frame. Everything on the left and right of the road is snow. The car drives closer toward us. The hired kidnappers juxtaposed with the axe-wielding wood-chipper statue in the single frame lends some sinister portentous feel to the shot. Take a look–it’s just 7 seconds long.

The scene after Gaear and Carl kidnap Jerry’s wife in which they kill a state trooper and a couple who happens to see Carl (Steve Buscemi) handling the dead trooper from their passing car window is an excellently executed one. The direction, the cinematography, the editing and the sound (especially the train sound and the sound of the last metallic gunshot whose ring lingers into the black screen after the scene). This is a masterpiece, right from the beginning to the end. The scene opens with the ominous close low angle camera tilting from the wood chipper statue (with the light up from below lending it some frightening look) down to its base to cover Gaear and Carl’s car’s red tail lights on the left of the frame as they drive into the darkness in the direction they came from in the above shot. I will not write further about it here. Watch it for yourself–07:19 minutes.

This is superb!

Some Whispers are Soundless

Birth and death meet in a house and it embraces both of these two ends of life into one great enigma. A grey mix of love that comes across as love tinted with fear or fear tinted with love. Every house has this enigma in its rooms.

Dehradun. A small girl died in this house first as far as we know. She puked blood. Then after a couple of years the man of the house followed his daughter. Soon the elder daughter died too for no apparent reason. Then the son, the eldest child, survived by his wife and their very small daughter. All in front of the mother. Soon the mother also walked the way of the whole family, leaving her daughter-in-law and the small kid. The mother and daughter moved to Delhi, where they are living now, leaving the empty house with silence.

People come and go. Houses remain there, standing, day and night, year after year, as if waiting even when there is nobody to come until somebody demolishes them. Before they return to their origins, some see more births than deaths with their occupants moving to more convenient, if not better, places, while some others see more deaths than births. Number is not always the weight–to us humans, a death casts a long gloomy shadow on three births of our loved ones. Death is more conspicuous because it tears a hole in the chest of life and smuggles our loved ones out through it and the last time we see them, hear them, touch them, is the last time we have with them. Death nullifies life on this side of the grave, and it often empties a house with a few repeated sweeps leaving it to sink in silence and decay amidst the din of the busy world, like the one in the photograph above.

The patio of an old British lady’s mansion. Soon after Independence, she gave the mansion and the estate to the Mussoorie Post Office which though has moved to a new place still owns it. The house is dilapidated now but parts of it still have a couple of antique-maniac occupants.

Abandoned houses always fascinate me. The gloom, sadness, decay and the evident shabby-gentility they are characterized by, the mute memories the rooms are filled with, the soundless whispers of their stories splashed on the damp, faded, mossy walls–I love these ghosts, their haunting.

Me Chasing Dogs for Disturbing Me

Last night, past midnight at about 1 am, I and my friend Meme were audio-recording at a suspension bridge across the Sekmai somewhere at Wairi, Kakching for my film Walking Home. We required the sound of a broken suspension bridge wood planks and naked metal cables creaking when stepped on and disturbed their abandonment. We had set up the equipment and I was just about to start walking on the bridge when dogs began to bark on the other end of the bridge, which was very disturbing. I waited for a while and when they have not stopped, I calibrated my police torch for a sharp pointed shaft of light and trained in on the eyes of two dogs–one white and the other black, their eyes glistening against the light.

I loved some fun–I walked to them and when they started to retreat, I followed them, and then chased them, shattering their barks into pieces of annoying barks. They ran through the bamboo clumps to their homes. I was laughing soundlessly. I love dogs.

I waited there for the dogs to come back for a while. They came back and I ran head on into them and they ran back again. After five minutes of timid barking, it was silent again. It was my time.