Saturday, September 26, 2015
Friday, September 25, 2015
Sunday, September 20, 2015
Friday, September 18, 2015
Saturday, September 12, 2015
Thursday, September 10, 2015
Tuesday, September 8, 2015
There's immense pressure because we can't let Salman sir down: Sooraj Pancholi
Salman Khan with Sooraj Pancholi and Athiya Shetty. Image from IBN live.
Salman sir never put any pressure on us. He never instructed us to work in a specific manner, or to take inspiration from other guys. Obviously there is a pressure because we've got such a big film and he is backing us. We can't let him down and that's a pressure," he said to a query about the enormous expectations from them at a media interaction on Tuesday as part of the film promotion.
Though Sooraj and Athiya are kids of Salman's close friends, Aditya Pancholi and Sunil Shetty respectively, the fathers didn't have a say in their launch. And it was Salman spotting potential in them, the reason why he decided to launch them.
Sooraj said: "I was working with Kabir Khan on Ek Tha Tiger where I met Salman sir. And after shooting for 6-7 months in Turkey, the film was about to get completed. He came in my room at three on the night of my birthday and pulled me into his room and gave me a birthday gift which was Hero."
Explaining how she got the role, Athiya said: "I used to go to the gym in Bandra where I came across Salman sir's sister. And she told him about me and anyway they were looking for an actress opposite Sooraj. He spoke to papa (Sunil) and the next thing I know is I'm on the sets of Hero."
Hero, a remake of the 1983 film, is being produced by Salman Khan and Subhash Ghai and is directed by Nikhil Advani.
Sorry Kasur victims, you are not as important as the APS ones
I still remember all those unending talk shows highlighting the brutality of militants. Repeated footage of blood spilled everywhere with crying mothers and sobbing sisters, calling for strict action against the offenders; Interviews of victims’ friends, mentioning the slain as heroes while committing themselves to their education and vowing to defeat the militants with their dedication; discussions with psychiatrists about how to bring the affected children out of this trauma; statements from all the big players in Pakistan where Barack Obama tops the list, followed by Gen. Raheel Sharif; and the list is simply endless. As a result, a strong popular opinion was created backing up Army to speed up the on-going operation. I also denounce APS massacre and those involved must be punished; but it looked like that the whole follow up of the incident was so carefully and strongly staged by media that there was no way to have a second opinion about what’s the way forward. Even, two of my friends’ removed me from their friends’ lists on Facebook because I simply just refuted to go with the explanation of events ISPR & govt. were collectively putting up. That was the heat of moment.
Time passed by and we got a way more heinous incident than APS in Kasur regarding child molestation. APS victim families were granted a free trip to foreign countries to help them get back to normalcy while Kasur victims are not even gifted with a free picnic at Clifton.
So, why are these two incidents are being treated on a different scale?
I can come up with two reasons. First is that Kasur incident has nothing to do with on-going Army offense and therefore it can’t be used to build public opinion to create further support against religious militancy. US, which is the biggest single provider for Army operations, is not going to grant any aid in connection with Kasur incident so there is no point in covering this incident the same way APS incident was covered. I bet, if TTP or any other religious militant organization is connected to Kasur incident, you would have witnessed a totally different response from everyone, right from Malala to Barack Obama and Nawaz Sharif.
Our history of 60+ years is filled with such double standards. Kasur incident is not the first example and I am quite sure, it will not be the last.
Wednesday, September 2, 2015
Tuesday, September 1, 2015
Monday, August 31, 2015
Delhi HC says Ram Gopal Varma deliberately violated Sholay copyright, slaps Rs 10 lakh fine
New Delhi: The Delhi High Court on Monday slapped Rs
10 lakh fine on noted film maker Ram Gopal Varma and his production
house for "intentionally and deliberately" coming out with the remake of
1975 blockbuster Sholay, violating the exclusive copyright vested with its director Ramesh Sippy.
The
judgment was delivered on a lawsuit filed by Sascha Sippy, son and
grandson of original Sholay's producers Vijay Sippy and GP Sippy, in
which he had alleged that the remake film was violative of exclusive
copyright held by the Sholay Media and Entertainment Pvt Ltd.
The high court imposed a fine of Rs 10 Lakh as "punitive damages" on Varma, his production house M/S RGV Productions Pvt Ltd as well as Varma Corporation Ltd and Madhu Varma and restrained them from using any character like Gabbar or Gabbar Singh in the original film.
The high court said Varma and others "in the present case have intentionally and deliberately brought the movie in violation of plaintiffs' exclusive moral rights of copyright and passing off."
It held that Varma's film gave an overall impression that it was a remake of Sholay as the characters Gabbar and Gabbar Singh were misused, along with music, lyrics, dialogues and background score of the blockbuster featuring Dharmendra, Amitabh Bacchan, Sanjeev Kumar, Hema Malini and Amjad Khan among others.
"The publicity material coupled with the impugned film, gives an overall impression that it is a remake of the film Sholay.
"The use of similar plot and characters in the impugned film coupled with use of the underlying music, lyrics and background score and even dialogues from the original film Sholay amounts to infringement of copyright in the film Sholay," Justice Manmohan Singh nsaid.
Further, the high court said the makers of 'Ram Gopal Varma Ke Aag' had "distorted and mutilated the original copyright work" of the maker of original Sholay.
"On the relevant date, they were aware about the rights of the plaintiffs, their ownership and authorship as well as use of unauthorized copyright. It is not the case of the said defendants that the same is not created by the plaintiffs and they are not the owners and authors," the order said.
It also held that even if 'Ram Gopal Varma Ke Aag' is considered as an adaptation of the original, it was without authorisation of the copyright owner amounting to "passing off as the plaintiffs are the owner of the names of characters and dialogues".
Such use by Varma and others was unauthorised and it was their deliberate act "in order to gain profits", the judge said, adding that "they are also guilty of infringement under Section 14(a) read with Section 55 of Copyright Act, 1957."
The high court said the producers and director of the remake film "are not able to assign any valid reason for the same and despite of statement made in the court for change of the name of the movie, when the same was released, still it appears that the defendants' movie have similar name of the characters and they have used the lyrics and dialogues in material form in their movie."
"The movie was produced and released without authorisation from the owner and author ie plaintiffs," the high court held.
Ram Gopal Varma. Agencies
The high court imposed a fine of Rs 10 Lakh as "punitive damages" on Varma, his production house M/S RGV Productions Pvt Ltd as well as Varma Corporation Ltd and Madhu Varma and restrained them from using any character like Gabbar or Gabbar Singh in the original film.
The high court said Varma and others "in the present case have intentionally and deliberately brought the movie in violation of plaintiffs' exclusive moral rights of copyright and passing off."
It held that Varma's film gave an overall impression that it was a remake of Sholay as the characters Gabbar and Gabbar Singh were misused, along with music, lyrics, dialogues and background score of the blockbuster featuring Dharmendra, Amitabh Bacchan, Sanjeev Kumar, Hema Malini and Amjad Khan among others.
"The publicity material coupled with the impugned film, gives an overall impression that it is a remake of the film Sholay.
"The use of similar plot and characters in the impugned film coupled with use of the underlying music, lyrics and background score and even dialogues from the original film Sholay amounts to infringement of copyright in the film Sholay," Justice Manmohan Singh nsaid.
Further, the high court said the makers of 'Ram Gopal Varma Ke Aag' had "distorted and mutilated the original copyright work" of the maker of original Sholay.
"On the relevant date, they were aware about the rights of the plaintiffs, their ownership and authorship as well as use of unauthorized copyright. It is not the case of the said defendants that the same is not created by the plaintiffs and they are not the owners and authors," the order said.
It also held that even if 'Ram Gopal Varma Ke Aag' is considered as an adaptation of the original, it was without authorisation of the copyright owner amounting to "passing off as the plaintiffs are the owner of the names of characters and dialogues".
Such use by Varma and others was unauthorised and it was their deliberate act "in order to gain profits", the judge said, adding that "they are also guilty of infringement under Section 14(a) read with Section 55 of Copyright Act, 1957."
The high court said the producers and director of the remake film "are not able to assign any valid reason for the same and despite of statement made in the court for change of the name of the movie, when the same was released, still it appears that the defendants' movie have similar name of the characters and they have used the lyrics and dialogues in material form in their movie."
"The movie was produced and released without authorisation from the owner and author ie plaintiffs," the high court held.
Sunday, August 23, 2015
Friday, August 21, 2015
Friday, August 14, 2015
Wednesday, August 12, 2015
Monday, August 10, 2015
Hafiz Saeed wants Kabir Khan's 'Phantom' to be banned in Pakistan, on grounds of 'filthy propoganda'
Lahore: JuD chief and Mumbai attack mastermind Hafiz
Saeed has filed a plea in a court in Lahore, seeking ban on the release
of Bollywood movie Phantom in Pakistan, alleging that the
film, set on post-26/11 attacks and global terrorism, contains "filthy
propaganda" against the country.
In the petition filed in the Lahore High Court, Saeed, through his advocate A K Dogar, pleaded that the Saif Ali Khan-starrer film, which is scheduled to release on 28 August, has "venom against Pakistan and Jamaat-ud-Dawa".
"The
film is about the 2008 Mumbai attack and global terrorism implicating
the JuD. Filthy propaganda has been done in the film against Pakistan
under subject of the world terrorism," he alleged.
The founder of Lashkar-e-Taiba claimed that the courts in Pakistan had already rejected the accusation of the Indian government about involvement of the JuD or any of its leaders in the 2008 Mumbai attacks that killed 166 people.
"I pray to the court to ban the exhibition of Phantom in Pakistan for its anti-Pakistan content," said Saeed on whom the US has placed a bounty of USD 10 million.
Lahore High Court's Justice Shahid Bilal Hassan fixed 10 August as the date for hearing the petition.
Based on crime author Hussain Zaidi's novel "Mumbai Avengers", Phantom is set in the aftermath of the 26/11 Mumbai attacks and deals with global terrorism.
So far the Pakistan censor board has not cleared the film for screening in the country.
Since the government allowed exhibition of Indian films in Pakistan, the Censor Board has been careful about not allowing screening of Indian films which deal with the subject of Pakistan, terrorism and ISI.
In the past, Saif Ali Khan's Agent Vinod and Salman Khan's Ek Tha Tiger were also banned from being screened in cinema halls in the country although they are freely available on CDs and DVDs in Pakistan.
In the petition filed in the Lahore High Court, Saeed, through his advocate A K Dogar, pleaded that the Saif Ali Khan-starrer film, which is scheduled to release on 28 August, has "venom against Pakistan and Jamaat-ud-Dawa".
Saif Ali Khan and Katrina Kaif on Phantom posters. Image courtesy: Twitter @kabirkhankk
The founder of Lashkar-e-Taiba claimed that the courts in Pakistan had already rejected the accusation of the Indian government about involvement of the JuD or any of its leaders in the 2008 Mumbai attacks that killed 166 people.
"I pray to the court to ban the exhibition of Phantom in Pakistan for its anti-Pakistan content," said Saeed on whom the US has placed a bounty of USD 10 million.
Lahore High Court's Justice Shahid Bilal Hassan fixed 10 August as the date for hearing the petition.
Based on crime author Hussain Zaidi's novel "Mumbai Avengers", Phantom is set in the aftermath of the 26/11 Mumbai attacks and deals with global terrorism.
So far the Pakistan censor board has not cleared the film for screening in the country.
Since the government allowed exhibition of Indian films in Pakistan, the Censor Board has been careful about not allowing screening of Indian films which deal with the subject of Pakistan, terrorism and ISI.
In the past, Saif Ali Khan's Agent Vinod and Salman Khan's Ek Tha Tiger were also banned from being screened in cinema halls in the country although they are freely available on CDs and DVDs in Pakistan.
Salman Khan wants to meet Indian girl stranded in Pakistan once she is back
Salman Khan today supported the government's effort to bring back
Geeta, stranded in Pakistan for 15 years, and unite her with her
rightful parents, just as he did in his runaway hit Bajrangi Bhaijaan.
Geeta, 23, is believed to have mistakenly crossed into Pakistani territory as a child. She was 7-8 years old when she was found by the Pakistan Rangers 15 years ago from Lahore railway station, according to reports from Pakistan.
She has got a fresh lease of hope after the success of Bajrangi Bhaijaan, where Salman plays an Indian guy who helps a little girl reach her home in Pakistan.
When asked whether he had tried to help Geeta, Salman said he would have got involved but the government is already looking into the matter.
"... Government is looking into it. And they are competent and should take this forward. If she agrees and they find her rightful parents, this should definitely be done."
He, however, said that once Geeta is back in India and wants to meet him, "I would definitely meet her". Talking to reporters on the success of his cross-border drama, which earned Rs 300 crore at the box-office, Salman said he was happy that Geeta was being looked after well in Pakistan.
"I am not very clear. I am aware of some history. Like 15 years ago, she reached Pakistan in a train. Before this, her parents did not try to claim her? No FIRs were filed? I think some NGO from Pakistan is involved. We should leave it to the girl and thank the NGO of Pakistan and the foster parents, who supported her all these years and gave her a good life," he said.
External Affairs Minister Sushma Swaraj recently said that the government will bring back Geeta. Four families from different parts of the country have claimed Geeta to be their child.
When journalists asked him about his recent controversial tweets on Yakub Memon, Salman sidestepped the question saying
"there would be a better time to talk about it", adding he would love to speak on the issue but right now he wanted to focus on Bajrangi Bhaijaan.
Geeta, 23, is believed to have mistakenly crossed into Pakistani territory as a child. She was 7-8 years old when she was found by the Pakistan Rangers 15 years ago from Lahore railway station, according to reports from Pakistan.
Salman Khan from Bajrangi Bhaijaan. Image from IBN live.
When asked whether he had tried to help Geeta, Salman said he would have got involved but the government is already looking into the matter.
"... Government is looking into it. And they are competent and should take this forward. If she agrees and they find her rightful parents, this should definitely be done."
He, however, said that once Geeta is back in India and wants to meet him, "I would definitely meet her". Talking to reporters on the success of his cross-border drama, which earned Rs 300 crore at the box-office, Salman said he was happy that Geeta was being looked after well in Pakistan.
"I am not very clear. I am aware of some history. Like 15 years ago, she reached Pakistan in a train. Before this, her parents did not try to claim her? No FIRs were filed? I think some NGO from Pakistan is involved. We should leave it to the girl and thank the NGO of Pakistan and the foster parents, who supported her all these years and gave her a good life," he said.
External Affairs Minister Sushma Swaraj recently said that the government will bring back Geeta. Four families from different parts of the country have claimed Geeta to be their child.
When journalists asked him about his recent controversial tweets on Yakub Memon, Salman sidestepped the question saying
"there would be a better time to talk about it", adding he would love to speak on the issue but right now he wanted to focus on Bajrangi Bhaijaan.
Sunday, August 9, 2015
Wednesday, August 5, 2015
Tuesday, August 4, 2015
Why the love scene between Tamannah and Prabhas in Baahubali is not 'Rape'
There's a scene in SS Rajamouli's Baahubali that didn’t seem
particularly thought-provoking at first glance, but has generated a lot
of conversation of late. Shiva (Prabhas) chances upon a mask and gazing
at its features, he imagines the mask fits the face of a beautiful
woman. The vision is compelling enough for him to make an arduous
journey up a waterfall and a mountain. When he finally finds his dream
girl in flesh and blood, she's a much plainer version. Reality bites,
even in the world of epic fantasies.
Let's look at Avanthika's (Tamannaah Bhatia) version of these events. Part of a guerrilla outfit, Avantika spends her days fighting, spying and (supposedly) ignoring details like her wardrobe and hairstyle. When Avanthika first encounters Shiva, she becomes aware that she isn’t just a warrior, but a woman who finds an equal and opposite side to her self – one that can’t help but be struck by the prettiness of the tattoo that Shiva painted on her hand while she was asleep. Does he tattoo her to mark her as his own? Perhaps. Is it his attempt at beautifying (and therefore, feminizing) her with sringaar? Absolutely.
Avanthika’s
reaction – despite the prettiness of the tattoo – is anger. Her world
and her sense of self are being unsettled, and she resists the change.
But resistance doesn’t mean she wipes off the painted design. Neither is
she outraged enough by her lurking makeover-inclined admirer to cut
Shiva down to size when she finally meets him. Not just that, she lets
him strip her and apply eco-friendly make-up, which includes everything
from crushed berries to a dash of Shiva’s own blood. No pain, no gain,
to quote an old adage.
While Shiva is wreaking this transformation upon Avanthika, her reactions are limited to parted lips and widened eyes that suggest she’s furious. It’s this expression that’s led to a debate about precisely what’s going on in this scene. Is this courtship ritual a disguised rape scene?
A couple of weeks ago, titled 'The Rape of Avanthika', went viral. The writer anna Vetticad and those subsequently discussing the article pointed out there is no consent from Avanthika and therefore, she was raped by Shiva. And there we were, lapping it up as romance.
The idea of “rape-y” lovers isn’t new to popular Indian cinema, both in Bollywood and its southern counterparts. But does this scene from Baahubali deserve the rape tag? Is Avanthika served by this interpretation or reduced by it? Because lest we forget, she is no damsel in distress.
Let's look at Avanthika's (Tamannaah Bhatia) version of these events. Part of a guerrilla outfit, Avantika spends her days fighting, spying and (supposedly) ignoring details like her wardrobe and hairstyle. When Avanthika first encounters Shiva, she becomes aware that she isn’t just a warrior, but a woman who finds an equal and opposite side to her self – one that can’t help but be struck by the prettiness of the tattoo that Shiva painted on her hand while she was asleep. Does he tattoo her to mark her as his own? Perhaps. Is it his attempt at beautifying (and therefore, feminizing) her with sringaar? Absolutely.
Prabhas and Tamannaah in Baahubali.
While Shiva is wreaking this transformation upon Avanthika, her reactions are limited to parted lips and widened eyes that suggest she’s furious. It’s this expression that’s led to a debate about precisely what’s going on in this scene. Is this courtship ritual a disguised rape scene?
A couple of weeks ago, titled 'The Rape of Avanthika', went viral. The writer anna Vetticad and those subsequently discussing the article pointed out there is no consent from Avanthika and therefore, she was raped by Shiva. And there we were, lapping it up as romance.
The idea of “rape-y” lovers isn’t new to popular Indian cinema, both in Bollywood and its southern counterparts. But does this scene from Baahubali deserve the rape tag? Is Avanthika served by this interpretation or reduced by it? Because lest we forget, she is no damsel in distress.
Box office report card: Baahubali has collected Rs 500 crore in 3 weeks
SS Rajamouli's blockbuster multi-lingual film Baahubali has reportedly collected Rs 500 crore in the three weeks since its release on July 10, according to sources in the film unit.
Baahubali which features Prabhas and Rana Daggubati, released across 4,000 screens worldwide, in Telugu, Tamil, Hindi and Malayalam languages.
The
movie also features Ramya Krishna, Anushka Shetty and Tamannaah in the
lead roles, and is touted as one of the most expensive films made in the
country with a reported budget of approximately Rs 200 crore.
The film has been appreciated for its visual and other special effects. It is a period action drama that took nearly three years to complete. However, the film left the narrative incomplete as a second part is expected to release next year.
Presented by filmmaker Karan Johar in Hindi, the movie has been appreciated by veteran actors including Amitabh Bachchan.
Shah Rukh Khan recently praised the hard work that the team had put in the making of the movie.
Baahubali generated unprecedented interest among the audience and managed to sustain for three weeks since its release.
Baahubali which features Prabhas and Rana Daggubati, released across 4,000 screens worldwide, in Telugu, Tamil, Hindi and Malayalam languages.
A battle scene from Baahubali
The film has been appreciated for its visual and other special effects. It is a period action drama that took nearly three years to complete. However, the film left the narrative incomplete as a second part is expected to release next year.
Presented by filmmaker Karan Johar in Hindi, the movie has been appreciated by veteran actors including Amitabh Bachchan.
Shah Rukh Khan recently praised the hard work that the team had put in the making of the movie.
Baahubali generated unprecedented interest among the audience and managed to sustain for three weeks since its release.
Sunday, August 2, 2015
Drishyam review: A decent copy, but Ajay Devgn will make you long for Kamal Haasan
Ever had piping hot, homemade idli-sambar, the latter flavoured with
aromatic spices made on a heavy grinding stone, and served on a banana
leaf? Are you one of those who, inspired by that meal, tried your hand
at making a simple dosa at home? If you’re persistent, you may
eventually get a nice, round, crisp dosa. Your sambar may also be a
satisfactory. But will it be like that honest-to-Amma meal? Not really.
That mixed feeling you get when you make an acceptable dosa and remember a fluffy, perfect idli is exactly what you’re left with after watching Nishikant Kamat’s Drishyam. Drishyam is the Hindi remake of a Malayalam blockbuster by the same name, masterminded by writer and director, Jeethu Joseph. That film was recently made in Tamil, as the gripping Papanasam.
In Hindi, Drishyam is about a Marathi family, set in Goa and faithful to every scene from the original, including several shots and frames. Kamat pares down an otherwise lengthy first half, which may not have been a good move. In the original, this length was particularly vital to establishing the central relationships between the lead and his family. Without that build-up, those relationships are weak as are the performances.
Comparisons aside, Drishyam has a terrific, killer plot (even if it is 'inspired'). Vijay Salgaonkar (Ajay Devgn) is a “4th class fail ”, a movie buff and a self-made man who runs a cable business in a Goan village. He loves watching movies so much that he stays in his office all night, devouring every scene in the films that his cable channels telecast. Then, in the morning, when most people are going to work, Vijay comes home to his wife, Nandini (Shriya Saran, who tries to look older by wearing saris and instead only highlights how fresh-faced she is). The only nights that Vijay comes home to Nandini are the ones on which there’s a Sunny Leone film playing on TV.
However,
lest we think Vijay is a grouch who cares nothing for his family, we
see him indulging his wife and two daughters, the teenaged Anju (Ishita
Dutta) and the little pudding named Anu ( Mrinal Jhadav). These three
rule his heart and his modest wallet and all in all, it seems Vijay’s
life is well sorted.
The only fly in the cup of chai that Vijay enjoys at a little local eatery is the corrupt and unpleasant Inspector Gaitonde (Kamlesh Sawant). As Drishyam sleepwalks its way towards the interval, Gaitonde – played brilliantly by Sawant – doesn’t seem to be much more than a prickle.
But Vijay and his family’s idyllic life grinds to a crashing halt when Anju goes on a school trip and returns with a blackmailer in tow. Things quickly take a dramatic turn for the worse and Vijay realizes that to protect his family, he’s going to have to go up against a formidable foe: Inspector General Meera Deshmukh (Tabu).
Tabu is the much needed filter coffee (or kaapi) in Drishyam. She is the terrifying IG, faithful to the police force, whom no one dare cross. She doesn’t shy away from ordering extreme measures and her performance matches the fiery and magnificent Asha Sarath in the Malayalam and Tamil versions. Whether she’s ordering a policeman to beat the crap out of a suspect or weeping at the loss of her son, Tabu is magnificent.
Of late, Tabu’s filmography could be called Variations Upon the Theme of Mother. If her Ghazala in Haider had shades of an Oedipus complex, her Meera can stoop to the ultimate cruelty for her son. This isn’t the Bollywood mother that Nirupa Roy made famous. Watch out for her final and only silent scene — her face becomes a map of desperate emotions, while her husband does the talking.
Opposite her, Devgn underplays his usual-suspect-cum victim role, but to such an extent that he underwhelms.The same is true of the adequate but unmemorable daughters, and Saran as the south Indian version of a Stepford wife. The two women are critical to the film and their performances thoroughly weaken it.
It’s in the second half that Drishyam becomes the mystery and investigation that was promised in its trailers. Meera is certain Vijay knows something about her missing son. Vijay and his family, however, have watertight alibis. The last scene may be one of the best climaxes seen in an Indian thriller.
That mixed feeling you get when you make an acceptable dosa and remember a fluffy, perfect idli is exactly what you’re left with after watching Nishikant Kamat’s Drishyam. Drishyam is the Hindi remake of a Malayalam blockbuster by the same name, masterminded by writer and director, Jeethu Joseph. That film was recently made in Tamil, as the gripping Papanasam.
In Hindi, Drishyam is about a Marathi family, set in Goa and faithful to every scene from the original, including several shots and frames. Kamat pares down an otherwise lengthy first half, which may not have been a good move. In the original, this length was particularly vital to establishing the central relationships between the lead and his family. Without that build-up, those relationships are weak as are the performances.
Comparisons aside, Drishyam has a terrific, killer plot (even if it is 'inspired'). Vijay Salgaonkar (Ajay Devgn) is a “4th class fail ”, a movie buff and a self-made man who runs a cable business in a Goan village. He loves watching movies so much that he stays in his office all night, devouring every scene in the films that his cable channels telecast. Then, in the morning, when most people are going to work, Vijay comes home to his wife, Nandini (Shriya Saran, who tries to look older by wearing saris and instead only highlights how fresh-faced she is). The only nights that Vijay comes home to Nandini are the ones on which there’s a Sunny Leone film playing on TV.
Ajay Devgn in Drishyam.
The only fly in the cup of chai that Vijay enjoys at a little local eatery is the corrupt and unpleasant Inspector Gaitonde (Kamlesh Sawant). As Drishyam sleepwalks its way towards the interval, Gaitonde – played brilliantly by Sawant – doesn’t seem to be much more than a prickle.
But Vijay and his family’s idyllic life grinds to a crashing halt when Anju goes on a school trip and returns with a blackmailer in tow. Things quickly take a dramatic turn for the worse and Vijay realizes that to protect his family, he’s going to have to go up against a formidable foe: Inspector General Meera Deshmukh (Tabu).
Tabu is the much needed filter coffee (or kaapi) in Drishyam. She is the terrifying IG, faithful to the police force, whom no one dare cross. She doesn’t shy away from ordering extreme measures and her performance matches the fiery and magnificent Asha Sarath in the Malayalam and Tamil versions. Whether she’s ordering a policeman to beat the crap out of a suspect or weeping at the loss of her son, Tabu is magnificent.
Of late, Tabu’s filmography could be called Variations Upon the Theme of Mother. If her Ghazala in Haider had shades of an Oedipus complex, her Meera can stoop to the ultimate cruelty for her son. This isn’t the Bollywood mother that Nirupa Roy made famous. Watch out for her final and only silent scene — her face becomes a map of desperate emotions, while her husband does the talking.
Opposite her, Devgn underplays his usual-suspect-cum victim role, but to such an extent that he underwhelms.The same is true of the adequate but unmemorable daughters, and Saran as the south Indian version of a Stepford wife. The two women are critical to the film and their performances thoroughly weaken it.
It’s in the second half that Drishyam becomes the mystery and investigation that was promised in its trailers. Meera is certain Vijay knows something about her missing son. Vijay and his family, however, have watertight alibis. The last scene may be one of the best climaxes seen in an Indian thriller.
Friday, July 31, 2015
Drishyam review: A promising murder mystery made weak by Ajay Devgn
A crime has been committed, but for those who know what’s happened,
it doesn’t really feel criminal. For those trying to prove it, there
just isn’t enough evidence. This is true for the story in as well as the
story of Drishyam.
Drishyam, a Hindi remake of Jeethu Joseph's Malayalam film, opens with a declaration that it is based on an original story by Joseph. This is clearly designed to make Ekta Kapoor and anyone who has read Keigo Higashino’s The Devotion of Suspect X choke on their popcorn.
Kapoor bought the rights to remake Higashino’s fantastic murder mystery in Hindi. Meanwhile, far away from Kapoor’s Andheri office, Joseph adapted the novel’s plot for a Malayalam film starring Mohanlal, and set it in an Indian village. Kapoor sent a legal notice, Joseph claimed it was his story. And because his is a smart adaptation, Joseph is the one who gets to do the slow-mo stride while Kapoor’s legal notices lie defeated by the wayside. Everyone knows the story of Drishyam isn’t really original, and yet no one can prove it because Joseph’s version is just original enough.
In the Hindi film directed by Nishikant Kamat, Ajay Devgn gets the onscreen hero’s walk. He gets it because his character in the film, Vijay Salgaonkar – like Joseph – tells a good story. This really is meta.
Vijay
is a cable operator in Pondolim, a fictitious village in Goa. He has
two daughters, a pretty wife, an eatery where the owner gives him
credit, and a two-wheeler that lets Vijay vroom through the picturesque
Konkan countryside. It’s a pleasantly dull life. When Vijay’s elder
daughter Anju (Ishita Dutta) is contacted by a boy she met while on a
school trip, the first tear appears in this picture-perfect world. He
has a video of her showering and he’s more than happy to blackmail her
with it.
You may wonder why this obnoxious chap isn’t afraid of being exposed for threatening Anju. After all, her father is Ajay Devgn, sorry, Vijay Salgaonkar. There’s a very good reason – Little Mister Blackmail is the son of the Inspector General of police. Take that, Daddy Dearest.
This premise is actually Joseph’s greatest triumph and the reason that the plagiarism claims don’t stick legally. There may be unmistakable similarities between Higashino’s story and Joseph’s – in both, a man convinces the police that he’s committed a crime that he hasn’t actually committed; takes the blame for a crime someone else has committed; and the mystery hinges upon an elaborate sequence of fake alibis that the police struggle to dismantle.
However, the big difference between The Devotion of Suspect X and Drishyam is that there’s a social commentary that’s identifiably Indian in the latter – the cable operator’s daughter has no chance of getting protection from the IG’s son. No one under these circumstances would think there’s any point being honest because the entire police establishment will come crashing down upon the Salgaonkars if they point fingers at the IG’s son.
As it turns out, this is exactly what happens when Anju’s blackmailer disappears and IG Meera Deshmukh (Tabu) becomes convinced that the Salgaonkars have something to do with her son going missing. Unlike Higashino’s professor, she has no logical reason for her hypothesis, but she’s the IG and a gut instinct is all the reason needed to unleash hell upon Vijay and his family.
This is the point at which one should feel scared for the Salgaonkars, but when you look at the screen and see Devgn, thoroughly expressionless and convinced of his awesomeness, you never really fear for him. He’s the hero. It’s no surprise that he’s able to outwit everyone around him. The only way Devgn isn’t true to type is that Vijay gets beaten up instead of being the one who throws people and punches around.
Joseph may be a gifted in the art of adaptation, but his original elements weaken the original story. Throwing all realism and logic to the winds, Drishyam presents police cruelty that’s not just brutal, but also stupid. People are beaten up in what appears to be the IG’s living room (helpfully cleared of furniture. Or maybe she’s gone for the Spartan look because she regularly interrogates suspects in there?). A policeman thinks nothing of hitting a child and leaving visible bruising upon the teenaged Anju who is, incidentally, still a minor. That's serious abuse of power. Even though there are witnesses — including journalists with cameras — to the Salgaonkars emerging from police interrogation with bleeding faces, the police are unconcerned about the consequences of custodial violence.
There’s also Joseph’s attempt to pander to the stereotype of Mother India. It says nothing good about contemporary society that in 1957, being Mother India meant having the courage and integrity to shoot your law-breaking son, while in the 2000s it means using your power to victimise someone you think may have hurt the sleazeball fruit of your loins.
This brings us to one of Drishyam’s greatest strengths and critical flaws: IG Meera Deshmukh. You can almost feel the relief that surges through the audience when Tabu as Meera makes her entry. By this time, we’ve spent about an hour watching Devgn trying to act, Shriya Saran trying to look old and a host of minor characters trying to be convincing. With the singular exception of Kamlesh Sawant, who plays the villainous Inspector Gaitonde with wonderful panache, everyone fails.
Devgn has never been known for his acting skills and he is thoroughly miscast as Vijay, who is meant to be a nondescript everyman. It’s because this character is so unremarkable that no one imagines he’d come up with the brilliant and elaborate charade that he does. In the Malayalam original, Mohanlal manages this ably. He plays a bumbling simpleton initially, keeping the audience entertained with silly comic scenes that endear us to him. This makes the later scenes that slowly reveal his calculating genius truly engaging. Devgn, in contrast, hulks around and saves the victimised right from the very beginning, because he and the director are intent upon reminding us that Devgn is the star. Drishyam will make everyone look at Rohit Shetty with respect because Kamat’s inability to get a performance out of Devgn makes you realise how well Shetty has used the actor in the Singham series.
Devgn is bland but just about tolerable when he bums around as Vijay, doing his version of working for a living (reading the newspaper, chatting with random people and watching TV). However, there are few sights more stomach churning than the scene in which, inspired by Sunny Leone, Devgn’s Vijay looks romantically into his wife’s eyes. Saran looks traumatised, Devgn seems to be either short-sighted or drunk, and the audience is left wishing they had a fast forward button.
The only thing worse than Devgn's acting is Drishyam’s background score, which tries to reflect various moods, but ends up sounding like a tacky medley of supposedly comic and suspenseful sound effects.
Between bad acting and a slow pace, the first half of Drishyam is one of those rare situations where you may actually find yourself wishing there was an item number. At least that would wake us up. So when Tabu, beautiful and charismatic as ever, finally enters the frame, we’re all ready to dance on the aisles.
Unfortunately, Tabu can’t save her character from falling into the pit that Joseph has dug for it with his script. Meera is the top cop that no one ever wants to encounter. Her missing son takes top priority over all other cases. She doesn’t care about rules, has no qualms about ignoring the law, is pro-torture and looks absolutely gorgeous while ordering her minions to beat the crap out of entirely innocent people (including a little girl). This character has the makings of an amazing villain, but of course we can’t have such a thing in a woman.
And so, to ensure our heart bleeds for Meera, after every scene of police brutality that she orders and watches (without a flicker of remorse), she weeps into her husband’s shirtfront because she’s a mother, looking for her son. (Cue in Mother India theme.) More disturbingly, her civilian husband is not only there to witness all the interrogations and every official meeting Meera has with her colleagues, he actually tells her off – in front of her juniors – when he thinks she’s going overboard. So on one hand, we have Vijay, standing tall as the alpha protector, confronting Meera, the beta momma. There's never any doubt about who's the stronger contender and it's only because Tabu really can do magic with her eyes that Meera feels formidable in a few rare moments.
If Kamat had the gumption (and the freedom) to focus on story instead of possible box office returns, Drishyam could have been a good film. If Kamat had cast an actor instead of a star, then Vijay could have been a fantastic role. Had the director been faithful to what the story demanded – instead of trying to predict what the audience won’t accept – then Vijay’s wife could have been characterised by her maturity rather than her eyeliner and the saris that Saran is obviously uncomfortable wearing. Meera could have been a worthy adversary to Vijay, instead of being a senior police officer who seems to be a little crazed and gets her knuckles rapped by her husband while at work.
In a murder mystery, it isn’t a bad thing if the best scene comes right at the end, with the big reveal. However, if the audience doesn’t really care for any of the characters and if the only reaction the scene elicits is delighted relief because the film is finally over, then the storytelling has failed. Handicapped by its stars, Kamat ends up making a decent film that doesn’t live up to its potential, lacks wow moments and seems too long at 163 minutes. And that’s a shame, because there’s a good story and an intelligent adaptation hidden out of sight in Drishyam.
Drishyam, a Hindi remake of Jeethu Joseph's Malayalam film, opens with a declaration that it is based on an original story by Joseph. This is clearly designed to make Ekta Kapoor and anyone who has read Keigo Higashino’s The Devotion of Suspect X choke on their popcorn.
Kapoor bought the rights to remake Higashino’s fantastic murder mystery in Hindi. Meanwhile, far away from Kapoor’s Andheri office, Joseph adapted the novel’s plot for a Malayalam film starring Mohanlal, and set it in an Indian village. Kapoor sent a legal notice, Joseph claimed it was his story. And because his is a smart adaptation, Joseph is the one who gets to do the slow-mo stride while Kapoor’s legal notices lie defeated by the wayside. Everyone knows the story of Drishyam isn’t really original, and yet no one can prove it because Joseph’s version is just original enough.
In the Hindi film directed by Nishikant Kamat, Ajay Devgn gets the onscreen hero’s walk. He gets it because his character in the film, Vijay Salgaonkar – like Joseph – tells a good story. This really is meta.
Ajay Devgn in Drishyam. Image from Facebook.
You may wonder why this obnoxious chap isn’t afraid of being exposed for threatening Anju. After all, her father is Ajay Devgn, sorry, Vijay Salgaonkar. There’s a very good reason – Little Mister Blackmail is the son of the Inspector General of police. Take that, Daddy Dearest.
This premise is actually Joseph’s greatest triumph and the reason that the plagiarism claims don’t stick legally. There may be unmistakable similarities between Higashino’s story and Joseph’s – in both, a man convinces the police that he’s committed a crime that he hasn’t actually committed; takes the blame for a crime someone else has committed; and the mystery hinges upon an elaborate sequence of fake alibis that the police struggle to dismantle.
However, the big difference between The Devotion of Suspect X and Drishyam is that there’s a social commentary that’s identifiably Indian in the latter – the cable operator’s daughter has no chance of getting protection from the IG’s son. No one under these circumstances would think there’s any point being honest because the entire police establishment will come crashing down upon the Salgaonkars if they point fingers at the IG’s son.
As it turns out, this is exactly what happens when Anju’s blackmailer disappears and IG Meera Deshmukh (Tabu) becomes convinced that the Salgaonkars have something to do with her son going missing. Unlike Higashino’s professor, she has no logical reason for her hypothesis, but she’s the IG and a gut instinct is all the reason needed to unleash hell upon Vijay and his family.
This is the point at which one should feel scared for the Salgaonkars, but when you look at the screen and see Devgn, thoroughly expressionless and convinced of his awesomeness, you never really fear for him. He’s the hero. It’s no surprise that he’s able to outwit everyone around him. The only way Devgn isn’t true to type is that Vijay gets beaten up instead of being the one who throws people and punches around.
Joseph may be a gifted in the art of adaptation, but his original elements weaken the original story. Throwing all realism and logic to the winds, Drishyam presents police cruelty that’s not just brutal, but also stupid. People are beaten up in what appears to be the IG’s living room (helpfully cleared of furniture. Or maybe she’s gone for the Spartan look because she regularly interrogates suspects in there?). A policeman thinks nothing of hitting a child and leaving visible bruising upon the teenaged Anju who is, incidentally, still a minor. That's serious abuse of power. Even though there are witnesses — including journalists with cameras — to the Salgaonkars emerging from police interrogation with bleeding faces, the police are unconcerned about the consequences of custodial violence.
There’s also Joseph’s attempt to pander to the stereotype of Mother India. It says nothing good about contemporary society that in 1957, being Mother India meant having the courage and integrity to shoot your law-breaking son, while in the 2000s it means using your power to victimise someone you think may have hurt the sleazeball fruit of your loins.
This brings us to one of Drishyam’s greatest strengths and critical flaws: IG Meera Deshmukh. You can almost feel the relief that surges through the audience when Tabu as Meera makes her entry. By this time, we’ve spent about an hour watching Devgn trying to act, Shriya Saran trying to look old and a host of minor characters trying to be convincing. With the singular exception of Kamlesh Sawant, who plays the villainous Inspector Gaitonde with wonderful panache, everyone fails.
Devgn has never been known for his acting skills and he is thoroughly miscast as Vijay, who is meant to be a nondescript everyman. It’s because this character is so unremarkable that no one imagines he’d come up with the brilliant and elaborate charade that he does. In the Malayalam original, Mohanlal manages this ably. He plays a bumbling simpleton initially, keeping the audience entertained with silly comic scenes that endear us to him. This makes the later scenes that slowly reveal his calculating genius truly engaging. Devgn, in contrast, hulks around and saves the victimised right from the very beginning, because he and the director are intent upon reminding us that Devgn is the star. Drishyam will make everyone look at Rohit Shetty with respect because Kamat’s inability to get a performance out of Devgn makes you realise how well Shetty has used the actor in the Singham series.
Devgn is bland but just about tolerable when he bums around as Vijay, doing his version of working for a living (reading the newspaper, chatting with random people and watching TV). However, there are few sights more stomach churning than the scene in which, inspired by Sunny Leone, Devgn’s Vijay looks romantically into his wife’s eyes. Saran looks traumatised, Devgn seems to be either short-sighted or drunk, and the audience is left wishing they had a fast forward button.
The only thing worse than Devgn's acting is Drishyam’s background score, which tries to reflect various moods, but ends up sounding like a tacky medley of supposedly comic and suspenseful sound effects.
Between bad acting and a slow pace, the first half of Drishyam is one of those rare situations where you may actually find yourself wishing there was an item number. At least that would wake us up. So when Tabu, beautiful and charismatic as ever, finally enters the frame, we’re all ready to dance on the aisles.
Unfortunately, Tabu can’t save her character from falling into the pit that Joseph has dug for it with his script. Meera is the top cop that no one ever wants to encounter. Her missing son takes top priority over all other cases. She doesn’t care about rules, has no qualms about ignoring the law, is pro-torture and looks absolutely gorgeous while ordering her minions to beat the crap out of entirely innocent people (including a little girl). This character has the makings of an amazing villain, but of course we can’t have such a thing in a woman.
And so, to ensure our heart bleeds for Meera, after every scene of police brutality that she orders and watches (without a flicker of remorse), she weeps into her husband’s shirtfront because she’s a mother, looking for her son. (Cue in Mother India theme.) More disturbingly, her civilian husband is not only there to witness all the interrogations and every official meeting Meera has with her colleagues, he actually tells her off – in front of her juniors – when he thinks she’s going overboard. So on one hand, we have Vijay, standing tall as the alpha protector, confronting Meera, the beta momma. There's never any doubt about who's the stronger contender and it's only because Tabu really can do magic with her eyes that Meera feels formidable in a few rare moments.
If Kamat had the gumption (and the freedom) to focus on story instead of possible box office returns, Drishyam could have been a good film. If Kamat had cast an actor instead of a star, then Vijay could have been a fantastic role. Had the director been faithful to what the story demanded – instead of trying to predict what the audience won’t accept – then Vijay’s wife could have been characterised by her maturity rather than her eyeliner and the saris that Saran is obviously uncomfortable wearing. Meera could have been a worthy adversary to Vijay, instead of being a senior police officer who seems to be a little crazed and gets her knuckles rapped by her husband while at work.
In a murder mystery, it isn’t a bad thing if the best scene comes right at the end, with the big reveal. However, if the audience doesn’t really care for any of the characters and if the only reaction the scene elicits is delighted relief because the film is finally over, then the storytelling has failed. Handicapped by its stars, Kamat ends up making a decent film that doesn’t live up to its potential, lacks wow moments and seems too long at 163 minutes. And that’s a shame, because there’s a good story and an intelligent adaptation hidden out of sight in Drishyam.
Wednesday, July 29, 2015
Monday, July 27, 2015
Kabir Khan gets into verbal spat with journalist about terrorism at 'Phantom' trailer launch
Mumbai: Director Kabir Khan got into a heated
argument with a journalist, "offended" by certain comments of his, at
the trailer launch of Saif Ali Khan and Katrina Kaif-starrer Phantom on Saturday.
Kabir
expressed unhappiness with the mindset here that terrorists are
directly coming from Pakistan and said this was not true. "People to
people friendship can't happen as long as these extremist elements exist
in either country. And these elements have to be eliminated for both
the countries to get along peacefully."
A journalist took exception to this statement and shouted at Kabir, who shouted back at the journalist.
"First do not talk to me like that. I do not appreciate it. Come over here, let me see your face and have a normal conversation. Do not get into all these talks.
"If you're getting into screaming, shouting and frothing, then I'm not going to get into this discussion," he said.
The director however cooled down more and said: "If you make this discourse a bit more civil, then I'm ready to talk to you. Why are you screaming like that? Calm down, have some water."
The irate journalist was repeatedly asking him to identify "the terrorist elements in India" but Kabir stressed he did not use the word "terrorist" but "extremist" for such elements.
Kabir Khan. Image from Twitter.
A journalist took exception to this statement and shouted at Kabir, who shouted back at the journalist.
"First do not talk to me like that. I do not appreciate it. Come over here, let me see your face and have a normal conversation. Do not get into all these talks.
"If you're getting into screaming, shouting and frothing, then I'm not going to get into this discussion," he said.
The director however cooled down more and said: "If you make this discourse a bit more civil, then I'm ready to talk to you. Why are you screaming like that? Calm down, have some water."
The irate journalist was repeatedly asking him to identify "the terrorist elements in India" but Kabir stressed he did not use the word "terrorist" but "extremist" for such elements.
From a village in UP to Bollywood's finest, this is Nawazuddin Siddiqui's story
The 'invisible' man was in the audience.
On stage, a woman grappled with the choices she’d made. “Yeh kaisi uljhan?” she asks. The audience watched as the dilemmas unfolded and he, the invisible man, was among them, submerged in darkness, wondering if this was the world for which he was destined.
Vijaydan Detha's play Uljhan is about a woman who falls in love with a feral man and leaves her husband to live with him. It was while watching a performance of Uljhan in New Delhi’s Mandi House, years ago, that Nawazuddin Siddiqui's tryst with acting began. Today, he is pitched as the anti-hero, a method actor, and someone who paddles comfortably in the mainstream and alternative cinema in India, holding his own in the presence of Salman Khan (not once, but twice, in Kick and Bajrangi Bhaijaan).
And now the trailers of Manjhi – The Mountain Man have been released.
The 'invisible' man was in the audience.
On stage, a woman grappled with the choices she’d made. “Yeh kaisi uljhan?” she asks. The audience watched as the dilemmas unfolded and he, the invisible man, was among them, submerged in darkness, wondering if this was the world for which he was destined.
Vijaydan Detha's play Uljhan is about a woman who falls in love with a feral man and leaves her husband to live with him. It was while watching a performance of Uljhan in New Delhi’s Mandi House, years ago, that Nawazuddin Siddiqui's tryst with acting began. Today, he is pitched as the anti-hero, a method actor, and someone who paddles comfortably in the mainstream and alternative cinema in India, holding his own in the presence of Salman Khan (not once, but twice, in Kick and Bajrangi Bhaijaan).
And now the trailers of Manjhi – The Mountain Man have been released.
Siddiqui plays a man who pits himself against nature, a relentless mountain. Based on a true story – of a man who chipped away at a mountain for 20 years, fuelled by his love – Siddiqui is in his element in this film. “That's the toughest role so far. I stayed in the village for one and a half months,” says Siddiqui of Dashrath Manjhi.
Short, lean, dark-complexioned and a cigarette dangling from his dark chapped lips, Siddiqui is complete antithesis of a Bollywood hero, and not just in terms of his appearance. He has no pedigree – Siddiqui is from a village in Uttar Pradesh and comes from a poor family. It took him 14 long years to be noticed. There were days when he could have given up. Now he travels business class, is chased by the media, and gets invited to events where other speakers include Prime Minister
Back in 2007, Siddiqui was noticed in Black Friday, written and directed by Anurag Kashyap. This was followed by films like New York, Peepli Live, Kahaani, DevD, Paan Singh Tomar, Firaaq, Patang, Chittagong and Miss Lovely.
At the 65th International Cannes Film Festival, Kashyap’s two part Gangs of Wasseypur and Ashim Ahluwalia’s Miss Lovely, both starring Siddiqui, were applauded. Finally, everyone noticed this thin, short man who may have been from nowhere in particular, but was intent upon becoming someone significant in Bollywood. There is much ugliness in the Indian film industry. There is intense competition and there are petty fallouts. He is still learning his way. “Even if you fall, you must hit the floor with grace,” says Siddiqui.
In one scene in Uljhan,
the woman cuts the feral man's hair, his beard; she teaches him how to
speak, read and write, to literally stand on two legs. The man goes on
to conquer kingdoms. She becomes pregnant with his child, but the feral
man's desires have grown beyond her. He is attracted to others. The
woman wonders why she even made him the man that he is now and left her
world to be with him. The play asks us to consider the ambition and
drive that characterizes so much of what defines success. Siddiqui has
no dilemma on this account. “Desire knows no limits,” he says. “For
myself, I only need two rotis and maybe a cigarette after that. That's
all.”
He doesn't want to be inaccessible. But there are certain things an actor must do, he says. “An actor must remain exclusive,” is Siddiqui’s conclusion from his recently-discovered stardom. Now, though, Siddiqui enjoys a kind of exposure that is perhaps unthinkable for someone with his beginnings. He has graced the pages of fashion magazines, dressed in ornate suits, and looking every bit an aristocrat.
On the sets of The Lunchbox, a few passersby called him a junior artist. He only smiled and corrected their misconception: “I am the leading man.” It isn’t a presumptuous statement from the actor. Siddiqui is quick to explain that he had signed The Lunchbox before Gangs of Wasseypur.
He learned to give autographs -- at least the way stars do – only in 2013. “At first I used to give my signature,” he says. “Then I saw others writing other things like 'love' and 'best' and now I know.” His autographs are disjointed. Words do not follow trajectory. They are often scattered and confused. Like the actor. His rise in Bollywood has challenged longstanding notions of who can be an actor.
That play Uljhan made him want to be an actor even though at 5 feet 6 inches, he didn't fit the bill. He is dark, and skinny. No toned muscles, no fabulous abs. During those years when he lingered around, hoping for small roles for a few hundred rupees in commercials, he was mostly roped in to enact a victim, a thug, or sometimes just to fill space. In most such roles, he would try and avert his face when the camera panned to him, because he desired so much more.
He was born in Budhana, in Muzzaffarnagar district of Uttar Pradesh. His parents were poor and the roof dripped during the monsoon. He hadn't thought of acting then. Those weren't options available to the poor, he says. All that mattered was getting out, finding a job and leading a life of less deprivation. Siddiqui attended college, studied pharmacy, and could have been a chemist – but for Uljhan. That's when he decided to go to National School of Drama in Delhi.
Once, his father saw Siddiqui getting beaten up in a film (Munnabhai MBBS). He switched off the television and called his son. In their small village, it was shameful that all Siddiqui had amounted to was getting beaten up in front of the world.
Today though, Nawazuddin Siddiqui is being celebrated.
For years, he would act in solitude. Not even in front of a mirror. For six years, when he had a lot of time to himself, he would try and act in his room for hours. “I have never acted in front of the mirror,” he says. “When you look into the mirror, it destroys the inner self. You only see the outer and it distances you removes you from the inner,” he says. In life, he had to learn to dare the mirror. “In the beginning there's frustration, then there is depression, and then there is nothing. Nothing affects me,” he says.
At Nizamuddin Dargah in Delhi, during a photo shoot with Delhi-based designer Arjun Saluja, Siddiqui effortlessly slips into the character of someone who has come to the pilgrimage site to seek unity with self. Saluja stands on the side, marveling at the ease with which the actor owns the fashionable ensembles, inspired by shrines and spaces sacred to Saluja.
On stage, a woman grappled with the choices she’d made. “Yeh kaisi uljhan?” she asks. The audience watched as the dilemmas unfolded and he, the invisible man, was among them, submerged in darkness, wondering if this was the world for which he was destined.
Vijaydan Detha's play Uljhan is about a woman who falls in love with a feral man and leaves her husband to live with him. It was while watching a performance of Uljhan in New Delhi’s Mandi House, years ago, that Nawazuddin Siddiqui's tryst with acting began. Today, he is pitched as the anti-hero, a method actor, and someone who paddles comfortably in the mainstream and alternative cinema in India, holding his own in the presence of Salman Khan (not once, but twice, in Kick and Bajrangi Bhaijaan).
And now the trailers of Manjhi – The Mountain Man have been released.
The 'invisible' man was in the audience.
On stage, a woman grappled with the choices she’d made. “Yeh kaisi uljhan?” she asks. The audience watched as the dilemmas unfolded and he, the invisible man, was among them, submerged in darkness, wondering if this was the world for which he was destined.
Vijaydan Detha's play Uljhan is about a woman who falls in love with a feral man and leaves her husband to live with him. It was while watching a performance of Uljhan in New Delhi’s Mandi House, years ago, that Nawazuddin Siddiqui's tryst with acting began. Today, he is pitched as the anti-hero, a method actor, and someone who paddles comfortably in the mainstream and alternative cinema in India, holding his own in the presence of Salman Khan (not once, but twice, in Kick and Bajrangi Bhaijaan).
And now the trailers of Manjhi – The Mountain Man have been released.
Siddiqui plays a man who pits himself against nature, a relentless mountain. Based on a true story – of a man who chipped away at a mountain for 20 years, fuelled by his love – Siddiqui is in his element in this film. “That's the toughest role so far. I stayed in the village for one and a half months,” says Siddiqui of Dashrath Manjhi.
Short, lean, dark-complexioned and a cigarette dangling from his dark chapped lips, Siddiqui is complete antithesis of a Bollywood hero, and not just in terms of his appearance. He has no pedigree – Siddiqui is from a village in Uttar Pradesh and comes from a poor family. It took him 14 long years to be noticed. There were days when he could have given up. Now he travels business class, is chased by the media, and gets invited to events where other speakers include Prime Minister
Back in 2007, Siddiqui was noticed in Black Friday, written and directed by Anurag Kashyap. This was followed by films like New York, Peepli Live, Kahaani, DevD, Paan Singh Tomar, Firaaq, Patang, Chittagong and Miss Lovely.
At the 65th International Cannes Film Festival, Kashyap’s two part Gangs of Wasseypur and Ashim Ahluwalia’s Miss Lovely, both starring Siddiqui, were applauded. Finally, everyone noticed this thin, short man who may have been from nowhere in particular, but was intent upon becoming someone significant in Bollywood. There is much ugliness in the Indian film industry. There is intense competition and there are petty fallouts. He is still learning his way. “Even if you fall, you must hit the floor with grace,” says Siddiqui.
Nawazuddin Siddiqui. AFP.
He doesn't want to be inaccessible. But there are certain things an actor must do, he says. “An actor must remain exclusive,” is Siddiqui’s conclusion from his recently-discovered stardom. Now, though, Siddiqui enjoys a kind of exposure that is perhaps unthinkable for someone with his beginnings. He has graced the pages of fashion magazines, dressed in ornate suits, and looking every bit an aristocrat.
On the sets of The Lunchbox, a few passersby called him a junior artist. He only smiled and corrected their misconception: “I am the leading man.” It isn’t a presumptuous statement from the actor. Siddiqui is quick to explain that he had signed The Lunchbox before Gangs of Wasseypur.
He learned to give autographs -- at least the way stars do – only in 2013. “At first I used to give my signature,” he says. “Then I saw others writing other things like 'love' and 'best' and now I know.” His autographs are disjointed. Words do not follow trajectory. They are often scattered and confused. Like the actor. His rise in Bollywood has challenged longstanding notions of who can be an actor.
That play Uljhan made him want to be an actor even though at 5 feet 6 inches, he didn't fit the bill. He is dark, and skinny. No toned muscles, no fabulous abs. During those years when he lingered around, hoping for small roles for a few hundred rupees in commercials, he was mostly roped in to enact a victim, a thug, or sometimes just to fill space. In most such roles, he would try and avert his face when the camera panned to him, because he desired so much more.
He was born in Budhana, in Muzzaffarnagar district of Uttar Pradesh. His parents were poor and the roof dripped during the monsoon. He hadn't thought of acting then. Those weren't options available to the poor, he says. All that mattered was getting out, finding a job and leading a life of less deprivation. Siddiqui attended college, studied pharmacy, and could have been a chemist – but for Uljhan. That's when he decided to go to National School of Drama in Delhi.
Once, his father saw Siddiqui getting beaten up in a film (Munnabhai MBBS). He switched off the television and called his son. In their small village, it was shameful that all Siddiqui had amounted to was getting beaten up in front of the world.
Today though, Nawazuddin Siddiqui is being celebrated.
For years, he would act in solitude. Not even in front of a mirror. For six years, when he had a lot of time to himself, he would try and act in his room for hours. “I have never acted in front of the mirror,” he says. “When you look into the mirror, it destroys the inner self. You only see the outer and it distances you removes you from the inner,” he says. In life, he had to learn to dare the mirror. “In the beginning there's frustration, then there is depression, and then there is nothing. Nothing affects me,” he says.
At Nizamuddin Dargah in Delhi, during a photo shoot with Delhi-based designer Arjun Saluja, Siddiqui effortlessly slips into the character of someone who has come to the pilgrimage site to seek unity with self. Saluja stands on the side, marveling at the ease with which the actor owns the fashionable ensembles, inspired by shrines and spaces sacred to Saluja.
Sunday, July 26, 2015
Sing along: Varun Grover decodes the lyrics to Masaan's 'Mann Kasturi' and 'Tu Kisi Rail Si'
Film still from Masaan
MANN KASTURI
Film still from Masaan
MANN KASTURI
Mann kasturi jag dasturi
Baat hui naa puri re
Mann kasturi
Khoje apni gandh na paawey
The heart is like the Kasturi, that doesn’t get closure.
Kasturi is the musk deer that goes mad searching for the scent of musk around it, not realizing that the essence comes from within.
Paat na paya meetha paani
Or-chhor ki doori re
Mann kasturi
Even the purest of things, i.e. sweet river water,
Couldn't bridge the gap of this side and that side.
(Varun Grover: The intent being that even Ganges can't fill the divides between castes and genders that we have created in our society.)
Khoje apni gandh na paawey
Chaadar ka paiband na paawey
[The musk-deer] Searches for own essence, but can't find it
Can't find the pattern for the torn sheet of existence
(VG: Paiband : A patchwork. Chaadar: A sheet of cloth. Kabir used chaadar as a metaphor for the mortal body.)
Bikhrey-bikhrey chhand saa tahley
Dohon mein ye bandh na paawey
Naachey ho ke phirki lattu
Khojey apni ghoori re
Mann kasturi
Moves around like a broken verse,
Can't be composed into poetry
Revolves like a lattu
Looking for its own axis
Umar ki ginti haath na aai
Purkho ne ye baat batai
Ulta kar ke dekh sakey to
Umber bhi hai gehri chhai
Security beefed up outside Salman Khan's residence following tweets defending Yakub Memon
Mumbai: Security on Sunday was beefed up outside
Salman Khan's residence in suburban Bandra here following the Bollywood
superstar's tweets defending Yakub Memon, the death row convict in 1993
Mumbai blast case, which have drawn severe flak from various quarters.
"We have tightened security outside Salman Khan's residence to prevent any untoward incident," DCP (detection) Dhananjay Kulkarni said.
The
49-year-old actor said that an "innocent" is being hung for the crimes
of his brother and the prime suspect in the 1993 bombings - Tiger Memon.
In a series of tweets last night, Salman had defended Yakub Memon.
"Get tiger hang him. Parade him not his brother (sic)," he tweeted.
"Been wanting to tweet Tis fr 3 days n was afraid to do so but it involves a man's n family. Don't hang brother hang tha lomdi (fox) who ran away (sic)," he tweeted.
"1 innocent man killed is killing the humanity," he said on Twitter.
Political parties in Maharashtra including Shiv Sena and BJP have condemned Salman's remarks.
Memon was the only convict in the case whose death penalty was upheld by the Supreme Court.
After his curative petition was dismissed, Memon has submitted a mercy petition to Maharashtra Governor. The President had earlier rejected his mercy petition.
"We have tightened security outside Salman Khan's residence to prevent any untoward incident," DCP (detection) Dhananjay Kulkarni said.
Salman Khan. Firstpost
In a series of tweets last night, Salman had defended Yakub Memon.
"Get tiger hang him. Parade him not his brother (sic)," he tweeted.
"Been wanting to tweet Tis fr 3 days n was afraid to do so but it involves a man's n family. Don't hang brother hang tha lomdi (fox) who ran away (sic)," he tweeted.
"1 innocent man killed is killing the humanity," he said on Twitter.
Political parties in Maharashtra including Shiv Sena and BJP have condemned Salman's remarks.
Memon was the only convict in the case whose death penalty was upheld by the Supreme Court.
After his curative petition was dismissed, Memon has submitted a mercy petition to Maharashtra Governor. The President had earlier rejected his mercy petition.
Friday, July 24, 2015
Bajrangi Bhaijaan is Salman Khan's gift to bhakts this Eid
Over the past year, there’s been a lot of hand-wringing and fretting
about how the rise of Hindutva and the growing tentacles of the RSS are
stifling free speech and creativity. With Bajrangi Bhaijaan, this Friday’s
big release, it’s time to put some of those fears to rest. Bollywood
may be faced by challenges like censorship and a whimsical CBFC, but
it’s got a few tricks up its sleeve.
For the second time this year, we’ve got a film in which the hero is a simple, golden-hearted, shakha-bred Hindu. Pavan Kumar Chaturvedi, aka Bajrangi of Bajrangi Bhaijaan, could well be the chaddi-buddy of Dum Laga ke Haisha’s Prem Prakash Tiwari. Like Prem, Pavan is also more of a man of action than intellect. Both have failed school multiple times, both are unemployed, both are losers and both men catch the attention of smart, pretty school teachers. Prem redeems himself by hoisting his wife on his back and racing across treacherous terrain in a race. Pavan does pretty much the same thing – only instead of his wife, he’s got a little girl riding him piggyback and the terrain is more expansive as Pavan goes across Pakistan’s desert, plains and then mountains.
The message is clear: the women of North India are suckers for pecs and abs, and the shakha produces men who are studly, loyal and idiots. Eid Mubarak, bhakts.
Bajrangi Bhaijaan pokes much fun at Hindutva’s footsoldiers; more so than Dum Laga ke Haisha, which contained some delightful and subtle satire of the RSS and its ideology. Pavan is not only verging on illiterate, but the only occupation he has appears to be tugging gigantic Hanuman idols. Not quite a career with glowing prospects. There’s a fine line between stupidity and innocence, and most of the time, Pavan – who offers pranaam to random monkeys because they are, to him, symbols of Hanuman and therefore deserving of worship – is unmistakably on the stupid side. Even a six-year-old who has grown up in a remote village despairs at Pavan’s naiveté.
It’s almost as though Bollywood is subtly sticking its tongue out to those who want to censor Indian culture and popular entertainment. If all the right-wing wants are paeans to its awesomeness, Bollywood will deliver with heroes like Pavan and Prem, who get the girl and the audience’s sympathies, who are undeniably heroic; but who are equally undeniably, absolute idiots.
If there is a saving grace to this saffron-tinted hero, then it is that he’s not set in his ways like the others of his tribe. This is partly because he has a good heart and partly because he’s such an idiot that nothing – neither multiplication tables nor religious fundamentalism – registers. Pavan, like Prem, responds with his heart because there’s next to nothing in his head. As Pavan shows in his interaction with the Pakistan security forces, his stupidity overwhelms his instinct for self-preservation and at the root of the aforementioned lack of smarts is religious dogma.
Still, our hero is a good guy who can rise above all this pettiness. The film uses Pavan to rubbish the right-wing distaste for eating meat and pokes holes at the irrational suspicion cast by right-wing Hindus upon Muslims. The little girl in Bajrangi Bhaijaan isn’t an ambassador of Islam. She’s just a lost kid. When Pavan realises she’s a meat-eating Muslim – from Pakistan no less – that she’s a symbol of the enemy is less important to him than the fact that she tugs at his heartstrings. She’s cute and helpless and looks at him with wide-eyed adoration, which makes him feel powerful. She’s also the only person who doesn’t judge him for being a loser, and that’s enough. No wonder Pavan doesn’t think twice about choosing the little girl over his gorgeous girlfriend, Rasika, who loves and supports him but also makes it clear that she’s the one who wears the pants (and has the brain) in their relationship.
In many ways, the rise of this bhakt hero is a throwback to ye olde Bollywood, when sophisticated, posh heroines lost their hearts to heroes who were distinctly “low-class”. Instead of the driver or unemployed or generally unprivileged gent who won the heroine’s heart, today’s hero is the bhakt. He can only be redeemed through the love of a good woman or a good girl.
Rasika plays some role in making Pavan see the light as far as Hindutva is concerned, but the real eye-opener is the little girl, Munni. It’s almost as though writer V Vijayendra Prasad and director Kabir Khan (who has also written the film’s occasionally witty dialogues) decided that since talking to Hindutva trolls only leads to abusive arguments, it would make more sense to combat their brainwashing with silence and sweetness. So there’s Munni, mute and adorable and unwaveringly human, rather than being a blueprint for all things Muslim.
For the second time this year, we’ve got a film in which the hero is a simple, golden-hearted, shakha-bred Hindu. Pavan Kumar Chaturvedi, aka Bajrangi of Bajrangi Bhaijaan, could well be the chaddi-buddy of Dum Laga ke Haisha’s Prem Prakash Tiwari. Like Prem, Pavan is also more of a man of action than intellect. Both have failed school multiple times, both are unemployed, both are losers and both men catch the attention of smart, pretty school teachers. Prem redeems himself by hoisting his wife on his back and racing across treacherous terrain in a race. Pavan does pretty much the same thing – only instead of his wife, he’s got a little girl riding him piggyback and the terrain is more expansive as Pavan goes across Pakistan’s desert, plains and then mountains.
Screengrab from YouTube
Bajrangi Bhaijaan pokes much fun at Hindutva’s footsoldiers; more so than Dum Laga ke Haisha, which contained some delightful and subtle satire of the RSS and its ideology. Pavan is not only verging on illiterate, but the only occupation he has appears to be tugging gigantic Hanuman idols. Not quite a career with glowing prospects. There’s a fine line between stupidity and innocence, and most of the time, Pavan – who offers pranaam to random monkeys because they are, to him, symbols of Hanuman and therefore deserving of worship – is unmistakably on the stupid side. Even a six-year-old who has grown up in a remote village despairs at Pavan’s naiveté.
It’s almost as though Bollywood is subtly sticking its tongue out to those who want to censor Indian culture and popular entertainment. If all the right-wing wants are paeans to its awesomeness, Bollywood will deliver with heroes like Pavan and Prem, who get the girl and the audience’s sympathies, who are undeniably heroic; but who are equally undeniably, absolute idiots.
If there is a saving grace to this saffron-tinted hero, then it is that he’s not set in his ways like the others of his tribe. This is partly because he has a good heart and partly because he’s such an idiot that nothing – neither multiplication tables nor religious fundamentalism – registers. Pavan, like Prem, responds with his heart because there’s next to nothing in his head. As Pavan shows in his interaction with the Pakistan security forces, his stupidity overwhelms his instinct for self-preservation and at the root of the aforementioned lack of smarts is religious dogma.
Still, our hero is a good guy who can rise above all this pettiness. The film uses Pavan to rubbish the right-wing distaste for eating meat and pokes holes at the irrational suspicion cast by right-wing Hindus upon Muslims. The little girl in Bajrangi Bhaijaan isn’t an ambassador of Islam. She’s just a lost kid. When Pavan realises she’s a meat-eating Muslim – from Pakistan no less – that she’s a symbol of the enemy is less important to him than the fact that she tugs at his heartstrings. She’s cute and helpless and looks at him with wide-eyed adoration, which makes him feel powerful. She’s also the only person who doesn’t judge him for being a loser, and that’s enough. No wonder Pavan doesn’t think twice about choosing the little girl over his gorgeous girlfriend, Rasika, who loves and supports him but also makes it clear that she’s the one who wears the pants (and has the brain) in their relationship.
In many ways, the rise of this bhakt hero is a throwback to ye olde Bollywood, when sophisticated, posh heroines lost their hearts to heroes who were distinctly “low-class”. Instead of the driver or unemployed or generally unprivileged gent who won the heroine’s heart, today’s hero is the bhakt. He can only be redeemed through the love of a good woman or a good girl.
Rasika plays some role in making Pavan see the light as far as Hindutva is concerned, but the real eye-opener is the little girl, Munni. It’s almost as though writer V Vijayendra Prasad and director Kabir Khan (who has also written the film’s occasionally witty dialogues) decided that since talking to Hindutva trolls only leads to abusive arguments, it would make more sense to combat their brainwashing with silence and sweetness. So there’s Munni, mute and adorable and unwaveringly human, rather than being a blueprint for all things Muslim.
Bajrangi Bhaijaan casting director was worried about 'talkative' Harshali Malhotra during shoot
Harshali Malhotra and Salman Khan in Bajrangi Bhaijaan.
"Harshaali never keeps quiet. During workshops, Mukesh (Chhabra, the casting director) used to tell me that he was worried how she could keep quiet," Harshaali's mother Kajal Malhotra said in an interaction with journalists.
"There is no difference in her as a person. The way she was earlier is exactly how she is now," she said, emphasizing how shooting schedules haven't affected Harshaali.
Shooting with a child is not only difficult for the filmmakers but also for the child.
"Whenever there was action or any high-pitched sound, she would get scared. But Salman (Khan) and Kabir (Khan) would take special efforts to ensure that she interacts with other co-stars by playing, after which she became comfortable during the shoot," Malhotra said.
Among the flood of compliments Harshaali's has received, one which deserves mention was when Farah Khan termed her "the find of the century".
The popularity Harshaali has received is there for everyone to see, but her mother says they will try to ensure that she balances studies and acting seamlessly.
"Whatever we'll decide for her career would obviously depend on the offers we receive, but we wouldn't prefer television very much," she said.
Director Kabir Khan invites politicians to watch Bajrangi Bhaijaan
Mumbai: Director Kabir Khan, Salman Khan's sister
Alvira Khan-Agnihotri, and BJP leader Shaina NC today met Maharashtra
revenue minister Eknath Khadse to invite "the political class" to see Bajrangi Bhaijaan, a cross-border human story.
Kabir has directed the film which stars Salman and Kareena Kapoor.
"The message is that communal violence can be resolved. They (producers) would like to donate money to farmers from the profits of the film," Shaina NC told PTI after meeting Khadse at Vidhan Bhawan here.
Uttar Pradesh Chief Minister Akhilesh Yadav had recently announced tax-free status for the film, after Kabir Khan met him and made a request.
Salman Khan in Bajrangi Bhaijaan.
"The message is that communal violence can be resolved. They (producers) would like to donate money to farmers from the profits of the film," Shaina NC told PTI after meeting Khadse at Vidhan Bhawan here.
Uttar Pradesh Chief Minister Akhilesh Yadav had recently announced tax-free status for the film, after Kabir Khan met him and made a request.
Bhaijaan can do no wrong: Check out the craziest things Salman Khan devotees have done for Bhai
Salman Khan fans in India are a rare breed.
Outwardly, they appear to be normal with the right number of eyes, ears and limbs, but on the inside, they have special filters that enable them to focus only on Bhai's on-screen persona while ignoring his off-screen antics. Picture this - Salman fans getting misty-eyed and praising him for being the saviour in Bajrangi Bhaijaan who goes against all odds to return a girl to Pakistan while conveniently forgetting that he was a convict out on bail during the movie's shoot.
While fanaticism for Indian film actors is not uncommon, with a Rajinikanth fan who was ready to donate his own kidneys to the ailing star or a Shahrukh Khan fan turning his house into a SRK shrine. But Salman's fans are are devotees —crossing gender, class, geographic and religious barriers for 'Bhai', their 'Human' idol who will do no wrong.
From lining up outside theaters before his releases to crowding outside his Galaxy Apartment and to even stopping traffic around the court while he is on trial, these devotees can go to great lengths for the actor. Most of them don't even address him by name, but respectfully refer to him as 'Bhaijaan'. And the fact that he is a convicted criminal, in more than one case, with a history of violence, doesn't seem to faze these devotees at all!
Outwardly, they appear to be normal with the right number of eyes, ears and limbs, but on the inside, they have special filters that enable them to focus only on Bhai's on-screen persona while ignoring his off-screen antics. Picture this - Salman fans getting misty-eyed and praising him for being the saviour in Bajrangi Bhaijaan who goes against all odds to return a girl to Pakistan while conveniently forgetting that he was a convict out on bail during the movie's shoot.
While fanaticism for Indian film actors is not uncommon, with a Rajinikanth fan who was ready to donate his own kidneys to the ailing star or a Shahrukh Khan fan turning his house into a SRK shrine. But Salman's fans are are devotees —crossing gender, class, geographic and religious barriers for 'Bhai', their 'Human' idol who will do no wrong.
From lining up outside theaters before his releases to crowding outside his Galaxy Apartment and to even stopping traffic around the court while he is on trial, these devotees can go to great lengths for the actor. Most of them don't even address him by name, but respectfully refer to him as 'Bhaijaan'. And the fact that he is a convicted criminal, in more than one case, with a history of violence, doesn't seem to faze these devotees at all!
Sportsmen who fast and deliver phenomenal performances
These players have set an exceptional example for others while fasting and breaking records by their performance that day.
Younus Khan, cricketer from Pakistan never missed fasting in his whole playing career for Pakistan and again in 2015. He was also fighting when he scored 171* and led his team to a comfortable win over Sri-Lanka in the test series 2015.
Moeen Ali, British cricketer who will be making his Ashes debut on Wednesday in Cardiff said he has resolved to fast during the match. Speaking about fasting in Ramadan, he said, “It’s amazing what you can do, actually,” Ali added. “Before you start you think of it as really hard — but once you start it’s definitely not as hard as it sounds. If you’re not doing much you might feel a bit lethargic, but if I’m at the ground, if I’m playing, then it just isn’t difficult. And it’s brilliant for teaching self-control, having discipline, detoxification of your body, after a couple of days you really feel much better.”
Hashim Amla, cricketer from South Africa is also the one who objected to an alcoholic company’s logo on his kit. Additionally he never misses a fast at whatever time he plays a match, be it a One day international or a Test match, he always gives his 100% performance, which might be the reason why he is the best batsman currently in the world.
Mohammad Yusuf, cricketer from Pakistan. Prior to his conversion to Islam in 2005, Yousuf was one of the few Christians to play for the Pakistan cricket team. After converting to Islam, he become the player with the most part number of centuries in one year and his game just dug up better day by day and he was also one of those legendary personalities who never missed a fast while playing and scoring runs was his natural habit while fasting.
Practicing Muslims in football include Real Madrid stars Karim Benzema, Mesut Ozil and Hamit Altintop, Manchester City’s Samir Nasri, Arsenal’s Abou Diaby, Sevilla’s Frederic Kanoute and Chelsea’s Nicolas Anelka to name a few.
Some will make a decision to fast all the way through the entire month – including days where they are anticipated to train or play matches, whilst others may seek to ‘offset’ some of their fasting days after Ramadan, in order to ensure that they are able to play or train.
“It’s tougher for the players at clubs in Europe than those in the Middle East,’ says Nick Worth, Medical Director at the Abu Dhabi club Al Jazira.
Despite Zaki’s insistence that fasting has never affected him, it was to prove a sticking point at Wigan. “The manager Steve Bruce said to me that he understands my fast but he can’t let me play while I’m fasting.
“He told me that I have to choose. I chose fasting but then I played several matches without telling him that I’m fasting and I also kept playing well without problems.”
His decision to lie to his manager and play on an empty stomach was vindicated in one particular match in December 2008. “I was fasting when we beat Newcastle 2-1. I scored a goal and everyone seemed to be pleased with my performance.”
After allocation of the belief and experience of these Muslim players, there is no motive for us to skip fasting just for the reason that it’s too hot or we can’t endure it till Maghreb without eating.
Saturday, July 18, 2015
Saturday, July 11, 2015
Thursday, July 9, 2015
Saturday, July 4, 2015
Monday, April 6, 2015
Caesar’s Senate: – Thou Fashion Industry
This immortal phrase of Julius Caesar has maintained its shine for over centuries and why not, for the phrase concisely withholds a volcano of human emotions. Joy, Fury, vexation, Belligerence and what not Julius Caesar in this phrase incisively poured his heart out for what he had and what he was just about to achieve.
About a month ago this phrase came to life in a country with little affection for either Caesar or Shakespeare as Model turns Singer Ayyan Ali was arrested at Benazir Bhutto International Airport Islamabad and many in this land of fortunes “Cried Havoc and did Slip Their Dogs of War. ” In an infantry with little arsenal TOUNGE is a substitute for swords, horses, elephants and yes “Dogs”, so all of us jubilantly let lose our tongues on that bloody immoral, unpatriotic yet Hot offender.
Also Read: ‘Money laundering’ model Ayyan Ali lands in Adiala prison
The moral baton of the society our super sanctimonious media, which was then not busy lecturing us about the foreign policy dimensions vis-a-vis middle east downloaded all the flashy bollywood item songs like “Kiun Paisa Paisa Karti Hai” and “Baby Doll Mein Sone Di” from maybe mp3skull or sound cloud (for it’s absolutely legal to use music without copyrights to grill immoral models) and made exhilarating packages about the model to grab as much eye balls as possible. Tough Ayyan’s walk in a baseball cap and hoodie with “Baby Doll Mein Sone Di” in the background was enough to stick millions to the Television Sets yet a 5 minute item in the news hour was not enough to slake the lust of the masses. So then arrived the Sherlock Holmes styled “investigative journalism” which divulged it all. From “Fresh” juice the prison authorities had bestowed upon this Cleopatra to ounces she had gained in prison all was exceptionally sniffed and dug out by either our print or electronic media reporters but they were just not good enough to roll the heads and so came in the “ANCHORS” or actually the anchor persons the most sparkling rubies of our media. No matter whether the talk show’s theme was terrorism, education reforms or national security in about three to four minutes some thick mustache bobby would grin and say “Sir Zara Ayyyyaaaannnn ki baat kar lein” and good bye subject matter. Beginning by the disclosure that money belonged to Asif Ali Zardari, Lyari Gang War or some ex-minister the fantabulous commentary went on to educate us how Ayyan Ali wooed wealthy goons to pay for her lips and nose job. In between Zardari and the Nose Job some Maulana would tell us about how immorality is destined to meet destruction, some socio-economic growth advisor would conclude that unemployment is due to Ayyan and MMS fame Meera would tell us how she knew it all along that Models are involved in money laundering (By the way what became of poor Atiq-ur-Rehmans KOTHI.)
In the course of this captivating coverage and expert commentary “CHASKA” was at it’s maximum. With dailies printing headlines as “Hussan Ki Devi Ki Naaz Bardarian” and “Ayyan’s Walk of Shame” the expert commentators on the Television babbled “Ayyan Phir Sirf ____ Ki Tu Ladli Nahin Na”, “Ayyan Ki Chall Ke Peche ____ Ki Chal Hai ” “Ayyan Ka Husn Phir Aur Kis Din Kaam Aye Ga” and when on her latest hearing the model girl wore a burqa at the district courts a prophetic T.V channel ran “Allah Meri Tauba ” in the background and told us as of how 2 days in jail have brought this unethical creature to “Sirat-e-Mustaqeem.”
Sunday, March 29, 2015
llegal hunting of migratory birds in Pakistan
In this way,thousand of birds from different kinds which include flamingos, ducks, geese and swans migrate to Pakistan from Europe and South-Asian regions such as Siberia, where the cold water compels these birds to migrate to warmer region.
During their journey, the birds make stopovers at lakes and water basins at Nowshera, Tanda Dam in Kohat, Swat, Chitral, Punjab and at Haleji, Keenjaar and Lungsee lakes in Sindh.
The average rate of visiting birds each year ranges from 7 lac to 12 lacs. However nowadays, this rate is gradually declining every year. The reason for this is that each year, thousands of birds are being hunted as by the local people, especially people in northern areas of Pakistan, where the winter season is also celebrated as a hunting season where each person on a toll would hunt more than 30 birds a day.
In the early days, before 1970 there was no specific rule or law for protection of migrating birds. After the Ramsar convention in Iran and Bonn convention in Germany, different laws were enacted to protect these migrating birds and were put to practice.
In foreign countries, where other rules are being followed strictly, these countries also follow this rule and birds also happen to pass through these countries but aren’t being hunted on such a large scale at all.
In total, there are seven identified flyways in the world for these birds, being from Northern Europe to Scandinavian countries, central Europe to Mediterranean sea, western Siberia to the Red sea, Green Route from Siberia to Pakistan, Ganga flyway from eastern Siberia to India, Manchuria to Korea and Chakotata to California.
When these birds arrive in other countries, people come gather from all over the country to see these birds and enjoy the beauty of nature with these birds. On the other hand when these birds enter Pakistan, they are hunted down as prize and killed for fun, these people having no conscience of how precious these creature actually are.
The Pakistani government has failed to give protection to these birds, even though there is a bag limit set, but the locals don’t follow this rule and hunt up to 30 birds a day. Such kind of savagery and brutality towards these flying creatures on one hand, and the passive action and silence of the government is an offense towards WWF and other animal protection organizations, who actually saw a bright side with the new KPK government after they took strict action against the timber mafia. These organizations were lead to believe that the government will also take strict action against these prize hunters, however they were disappointed in seeing this situation. It is high time for the government of Pakistan and related authorities to take serious steps in enforcing this law all over the country.
The government needs to educate people and build in them a sense of duty towards protecting the lives of these birds, by organizing seminars, setting up of billboards to create a sense of awareness and try different measures to instill in the people knowledge of this situation .
Friday, March 27, 2015
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