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Gandhi

Gandhi

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Published by ratikanta
hollywood film script gandhi(1982)
hollywood film script gandhi(1982)

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Published by: ratikanta on Dec 04, 2008
Copyright:Attribution Non-commercial

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11/06/2012

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salambollywood.blogspot.com
GANDHI
Written byJohn BrileyFinal Draft EXTERIOR - SKY - DAYThe camera is moving toward an Indian city. We are high andfar away, only the sound of the wind as we grow nearer andnearer, and through the passing clouds these words appear:"No man's life can be encompassed in one telling. There isno way to give each year its allotted weight, to includeeach event, each person who helped to shape a lifetime. Whatcan be done is to be faithful in spirit to the record, andto try to find one's way to the heart of the man..."And now we are approaching the city, the squalor of the littleshanty dwellings around the outskirts, the shadows of largefactories... And as we move nearer, coursing over the parchedterrain, the tiny fields of cultivation, strands of soundare woven through the main titles, borne on the wind, imagesfrom the life we are seeking:British: "Who the hell is he?!", lower class British: "Idon't know, sir."... "My name is Gandhi. Mohandas K.Gandhi."... A woman's voice, tender, soft: "You are my bestfriend, my highest guru... and my sovereign lord."... A man(Gandhi): "I am asking you to fight!"... An angry aristocraticEnglish voice: "At home children are writing 'essays' abouthim!"... the sound of massed rifle fire, screams...EXTERIOR - CITY - DAYAnd now we are over the city, coming in toward a particular 
 
street in the affluent suburbs of New Delhi... there are afew cars (it is 1948), and we are closing on a milling crowdnear the entrance to one of the larger homes.We see saris, Indian tunics, a sprinkling of "Gandhi" caps,several tongas (two-wheeled, horse-drawn taxis)... the shredsof sound continue -- American woman, flirtatious, intimate:"You're the only man I know who makes his own clothes."Gandhi's laugh... The sound of rioting, women's cries andscreams of terror... An American voice: "This man of peace"...And as the titles end we begin to pick up the sounds of thestreet... an Australian and his wife, a BBC correspondent...all in passing, as the camera finally closes and holds onone young man: Godse.BIRLA HOUSE - EXTERIOR - DAYGodse steps from a tonga as the crowd begins to move towardan entrance-way at the back of a long wall.HOUSE SERVANT'S VOICEHe will be saying prayers in thegarden -- just follow the others.In contrast to those about him, there is tension in Godse'sface, an air of danger in his movements.He glances at two policemen who are talking casually, absorbedin their own gossip -- then he looks back at another tongathat pulls up just behind his. Two young men (Apte andKarkare) meet Godse's gaze, and again we get the sense of imminent danger.They descend and pay their driver absently, their eyeswatching the crowd.Sitting along in the shadows of a stationary tonga a littledistance down the street an elderly man (Prakash) with ashort, close-cropped beard and the taut, sunken flesh of acadaver is watching...Apte and Karkare look back at him. There is just the slightestacknowledgment and then Prakash lifts his eyes to the gate,as though to tell them to be about their business.
 
THE GATE AT BIRLA HOUSE - EXTERIOR - DAYGodse hesitates before approaching the two gardeners whononchalantly flank the entrance. He stiffens himself,cautiously touches something under his khaki jacket, thenglances back at the stoic face of Prakash. Prakash's gaze isas firm and unrelenting as a death's head. Godse turns back,wetting his lips nervously, then moves into the middle of agroup going through the gate.GARDEN - BIRLA HOUSE - EXTERIOR - TWILIGHTA fairly numerous crowd is gathering here, informally fillingthe area on one side of a walk that leads to a little pavilion --some devout, some curious, some just eager to be near thegreat man.Godse moves forward through them toward the front just ashushed voices begin to remark -- "I see him." "Here he comes!""Which one is Manu?"...Apte and Karkare move to different sides of Godse, staying alittle behind, their movements sly and wary, aware of peoplewatching.Featuring Gandhi. We see him distantly through the crowd.The brown, wiry figure cloaked only in loincloth and shawl,still weak from his last fast and moving without his customaryspring and energy as he is supported by his two grand nieces,his "walking sticks," Manu and Abha.We do not see him clearly until the very last moment -- onlyglimpses of him as he smiles, and exchanges little jokeswith some of the crowd and the two young women who supporthim, occasionally joining his hands together in greeting tosomeone in particular, then once more proceeding with a handon the shoulder of each of the girls.The camera keeps moving closer, and the point of view isalways Godse's, but Gandhi is always in profile or half obscured by the heads and shoulders of those in front. Wehear the occasional click of a camera, and we intercut withshots of Godse moving tensely up through the crowd, of Apteand Karkare on the periphery of the crowd, watching withsudden fear and apprehension, like men paralysed by the presence of danger.

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