Multitrackstudio Serial Mom
The packed house at New Delhi’s Kamani auditorium was witness to a rare wave of satisfaction – tripti – this past Tuesday. In a country with a high population in every field, artists too are hard at it, vying to be noticed in the crowd. Stage programmes come and go, audiences float in and out, but to come across a memorable moment is an increasingly rare phenomenon. One such was “Rudaad-e-Shireen”, a musical storytelling performance presented by artists of the Sursagar Society of Delhi Gharana, the organisation led by Ustad Iqbal Ahmed Khan.
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It was the ustad’s daughter Vusat Iqbal Khan, and one of his disciples, Bhawna, who spearheaded this artistic effort, which told the story of Shireen. Shireen is a young girl whose life follows the pattern laid down for women in a patriarchal society, till she discovers, through the verses of Amir Khusrau, her individual path as a devotee of Nizamuddin Aulia. Iqbal Ahmed Khan is an acknowledged fund of learning. As the khalifa or head of the Dilli gharana, founded by Amir Khusro, the great Sufi scholar, poet and musician of the 13th Century, he has inherited a large number of Khusrau’s compositions. Part of the reason for Khusrau’s abiding popularity is his ability to interpret in verse the thoughts of a young woman yearning to break free from society’s shackles. Vusat calls these varied writings “life cycle compositions” and points out that while many stalwarts might hesitate to share the gharana’s priceless musical heirlooms, her father is keen to preserve them through propagation.
Otherwise, as he mentioned from the stage, they would “remain in books.” Thus, says Vusat, “I suggested to papa, why don’t you make a production around this?” Vusat was the narrator who held the presentation together, while five young disciples of the ustad – Bhawna, Anju Sharma, Mohena Behl, Leena and Shaheen Salmani – sang selected Khusro compositions representing the different stages of Shireen’s life. The great attraction of the music was its traditional flavour, embellished by the ustad’s musical arrangements, and the disciples’ melodious, unselfconscious voices. Despite the overall speaker volume being a tad too loud, the purity of the music preserved euphony. The script in conversational yet poetic Urdu was by Bhawna, who, incidentally, teaches History at a Delhi University college. The ustad participated in every aspect of the project, from selecting appropriate compositions to matching the paintings – mostly Raja Ravi Varma’s – that were projected as a backdrop.
Shireen is a fictitious character but also a ubiquitous symbol. She is the typical girl child, loved guardedly by her parents because she is “paraaya dhan” (wealth belonging to another), soon to be married off to a stranger, her personality to be dissolved evermore in the service of husband, in-laws, children and the upkeep of society’s mores. She is the quintessential nayika too, in search of her higher self, the Beloved in whom losing oneself means to attain freedom from bondage. Vusat, an advertising professional by training and now involved full-time in Dilli Gharana Productions, a company committed to taking her father’s work to a larger, contemporary public, says she never aspired to be a performer herself. And while she has been anchoring the home presentations so far, storytelling on stage was a new step.
To develop this aspect, she had help from the eminent Dastangoi artist Nadeem Shah. The fine-tuned production was a product of several months of work beyond rehearsals. Apart from a “pre-launch” to gauge the response of gharana stalwarts, says Vusat, the team also presented a show at a government school for boys. This provided a chance to test the coordination of background projections with the narration, audio track and live singing – the kind of “grand run” that, given auditorium rentals, is impossible at the actual venue. The school show also boosted their confidence, says Vusat, as the boys watched with great attention. Rather than a live accompanying orchestra, the group sang to a recorded track featuring instrumental maestros.
Saeed Zafar Khan was on the sitar, Ajay Prasanna on the flute, Ahsan Ali on the sarangi, Lokesh on the shehnai and Sabir Khan on the tabla. Rhythm arrangement was by Sundram Khan. Though all the female vocals were live, Iqbal Ahmed Khan’s recorded voice featured in one section. It’s not easy to sing this kind of music ‘karaoke’ style. Still, it has advantages, says Vusat.
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While “it was a kind of debut” for her and the other girls, the instrumentalists are all seniors. “How many rehearsals can one ask them to give?” Also, she remarks, the clarity possible in a multi-track studio recording, highlighting different instruments according to the needs of the story, is not possible in a live setting. Besides, now Shireen can travel with her six ‘sakhis’ to other venues. Among Dilli Gharana Productions’ plans is a televised serial for which talks are on, as well as the expansion of the rudaad (storytelling) concept.
Vusat’s husband is Imraan Khan, in charge of production and technical management, is, as his wife mentions, “not Shireen’s husband”. That a woman can feel an emotional vacuum despite being surrounded by wealth and duties, and that her filling this vacuum will not dissipate her as a responsible member of society are ideas that resonate strongly with Vusat.
Shireen’s final decision has been left open-ended, she notes. “She’s neither saying she has left him (her husband), nor that she has gone back. She says she has not become a jogan but is celebrating.” Keenly aware of having escaped many of the problems of a typical girl in a patriarchal society, Vusat is cognisant of the silent pillars supporting her. “The one who actually taught me how to live is my mother, Zohra Khan,” she says. “And she is the one who takes care of my two-and-a-half-year-old son. My parents allowed me to do what I wanted.
In a Muslim family, to allow so much freedom, a convent education, to work in an ad agency – that’s not easy for a Purani Dilli girl. I want to acknowledge what I owe to my mother.”.
Contents. Plot Beverly Sutphin appears to be a typical suburban housewife living with her dentist husband, Eugene, and their teenage children, Misty and Chip, in the suburbs of. However, she is secretly a, murdering people over the most trivial of perceived sleights, including mere faux pas. During breakfast, Detectives Pike and Gracey arrive to question the family about the vulgar harassment of their neighbor, Dottie Hinkle. After the police and her family leave, Beverly disguises her voice to make obscene phone calls to Dottie, because Dottie stole a parking space from Beverly. Later that day, Mr. Stubbins, Chip's math teacher, becomes Beverly's first known murder victim after he criticizes Chip's interests and questions the boy's mental health and family life, as well as berating her parenting; Beverly runs him over with her car, and is witnessed by Luann Hodges, a young woman smoking nearby.
The next day, Misty is upset when Carl Pageant stands her up for a date. Beverly spots Carl with another girl at a and murders him in the bathroom with a fireplace poker.
Eugene discovers that Beverly has hidden a collection of serial killer memorabilia beneath their mattress. That evening at dinner, Chip comments that his friend Scotty thinks that she is the killer. Beverly immediately leaves in her car, prompting the family to rush to Scotty's house for fear that Beverly plans to kill him; however, Beverly has actually gone to kill Eugene's patient Ralph Sterner and his wife, Betty, for calling Eugene away to treat her husband's chronic toothache on a Saturday they were supposed to spend birdwatching and for eating chicken that reminds her of the starlings. She stabs Betty with scissors borrowed from Rosemary, and causes an air conditioner to fall on Ralph, who caught her killing his wife. Meanwhile, the rest of the family arrive at Scotty's house only to find him in his room masturbating to an old porn video. That Sunday, police follow the Sutphins to church and a news report names Beverly as the suspect in the murders of the Sterners.
The church service ends in pandemonium when a suspicious sound causes everyone to panic and flee the church. Police detectives confirm that Beverly's fingerprints match those at the Sterner crime scene and attempt to arrest her, but she escapes. She hides at the video rental store where Chip works, but a customer, Mrs. Jensen, argues with Chip over paying a fee for failing to rewind a videotape and calls him a 'son of a '.
Beverly follows Mrs. Jensen home and a while she sings along to ' on her rented copy of. Scotty witnesses the attack through a window, Beverly sees him, and a car chase ensues.
Catching him at a local club, Beverly sets Scotty aflame onstage in front of a deranged crowd during the set of an all-girl band called Camel Lips. The Sutphin family arrive, as do the police, and Beverly is arrested. Beverly's trial becomes a national sensation. The media dub her 'Serial Mom', Chip hires an agent to manage the family's media appearances, and Misty sells outside the courthouse.
During opening arguments, Beverly's lawyer claims that she is, but she fires him and proposes to represent herself, citing various law books she has read to her prosecutor's dismay. The judge reluctantly agrees and the trial begins. Beverly proves to be extremely skilled and formidable in defending herself, systematically discrediting nearly every witness against her by; using trick questioning to incite Dottie to by repeated obscenities, finding a -themed magazine in Detective Gracey's trash, invoking judging a person by what they choose to read proves nothing, badgering Rosemary into admitting she doesn't recycle, and fanning her legs repeatedly at pervert Marvin Pickles, whose over-arousal causes him to commit perjury. The only witness she does not discredit is Luann Hodges, who cannot provide a credible testimony due to being under the influence of marijuana. During a second detective's crucial testimony, the entire courtroom is distracted by the arrival of, who plans to portray Beverly as the heroine of a. Beverly is acquitted of all charges, stunning her family, who vow to 'never get on her nerves'.
Throughout the trial, Beverly has been displeased that a juror is wearing white shoes after Labor Day. Beverly follows her to a payphone and fatally strikes her in the head with the receiver. Suzanne Somers then angers Beverly into an outburst by trying to pose for a picture that will show Beverly's 'bad side', just as the juror's body is discovered. The film ends with a close-up of Beverly's wicked smile and a caption stating that Beverly 'refused to cooperate' with the making of the film. as Beverly Sutphin.
as Eugene Sutphin. as Misty Sutphin. as Chip Sutphin. Scott Wesley Morgan as Detective Pike. as Detective Gracey. Patricia Dunnock as Birdie. as Dottie Hinkle.
Saul Zaentz Film Center
as Rosemary Ackerman. as Scotty Barnhill. as Timothy Nazlerod. as Juror No.
8. Lonnie Horsey as Carl Pageant. as Carl's date. Tim Caggiano as Marvin A. Pickles.
Jeff Mandon as Howell Hawkins. Kim Swann as Luann Hodges.
Kathy Fannon as Betty Sterner. Patsy Grady Abrams as Mrs. Jenson. as Book buyer. Rosemary Knower and as Court groupies. as herself.
as herself. as Camel Lips. ( uncredited) as Eugene's dental secretary.
Polar Entertainment Corporation
( uncredited) as voice of Production During the pre-production, Waters suggested other actresses for the role of Beverly including, and, before Turner was cast. Films by Waters' creative influences, including, and, are seen playing on television sets throughout the film. Release The film was screened out of competition at the. Critical reception The film received mixed to positive reviews from critics, and currently holds a 61% rating on based on 46 reviews. Awarded it an average two stars (out of a possible four) finding some of Waters' satire effective but feeling that Kathleen Turner's decision to portray her character's mental illness with realism instead of in a campy fashion, while brave, made the character difficult to laugh at, writing, 'Watch Serial Mom closely and you'll realize that something is miscalculated at a fundamental level. Turner's character is helpless and unwitting in a way that makes us feel almost sorry for her—and that undermines the humor. She isn't funny crazy, she's sick crazy.'
However, other critics were more enthusiastic about the film and Turner's performance; stated in their review that 'Turner has never been so over the top hilarious!' , and Scene magazine called the film 'Hysterically funny!'
Critics lauded Waters' style and savage satire of the US' obsession with, such as when Beverly's daughter, Misty, is seen selling T-shirts outside the courthouse where her mother's fate will be decided. Box office The film opened on April 13, 1994 and grossed $2,040,450 in its opening weekend, ranking #11. By the end of its run on August 4, the film had grossed $7,820,688 in domestic box office sales. The film has become something of a since its release. Home media and released a collector's edition of the film on May 6, 2008, replacing the original DVD release, which is out of print. The new DVD release features an with Waters and Turner.
The film was released as a Collector's Edition from on May 9, 2017. References. Retrieved October 25, 2013. August 4, 1994.
Retrieved June 5, 2014. September 13, 1992. Retrieved November 18, 2010. Katzman, Jason (September 28, 2006). Retrieved October 18, 2017. Retrieved 2009-09-02.
Rotten Tomatoes. Retrieved December 8, 2017. Rainer, Peter (April 13, 1994).
Retrieved January 1, 2011. Ebert, Roger. Retrieved October 1, 2013. Frank the Movie Guy. Hidden Gem: Serial Mom. April 23, 2007. Retrieved on June 7, 2007 External links Wikiquote has quotations related to:.
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