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brindaneer · 3 years

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7th July, 2021 shall go down in history as the day India lost one of her greatest stalwarts, the legend himself- the unimitable Dilip Kumar. Possibly the best actor Indian cinema has ever had, Sri Dilip Kumar was an institution in himself, teaching aspiring actors the art of nuanced acting through his varied works. Originally known as the 'Tragedy King', he excelled equally in comic roles, thereby proving his versatility to the world. Today, we dedicate this special blog to him. If not for 'Mughal-e-Azam', 'Jodha Akbar' would probably remain unmade. Had there been no Dilip Kumar, who would have inspired the next generations?

For every movie buff, the dvd release of a favourite film has great significance- the extra reels!! Scenes that were edited out, 'behind the screen' actions, interviews- there is a lot of stuff that we get to watch on the dvds and nowhere else (until some kind soul uploads them 😉😛).. However, a lot of the times, we are left wondering if the dvd was indeed worth our money. Of course, we get to watch the film whenever we want to, but what about the rest? If there is one dvd that gives buyers their money's worth, it is Jodha Akbar.

Ashutosh makes history even here; he is probably the only director who has had to edit out so many fabulous scenes from his film. Others are less unfortunate- they usually edit out unimportant bits, and even if those are good, most of the times, they are dispensable. In Jodha Akbar, most of the deleted scenes seem just the opposite. Once you have seen them, watching the edited version of the film feels somewhat incomplete.

The first scene that comes to mind is 'Jodha talking to her friends about Ratan Singh'. Yes, yes, we do not like Ratan Singh either! However, he is not the reason why we are mentioning this scene here, Jodha is. While the rest of the scene seems totally editable, Jodha's answer to her friend's question about whether she will willingly surrender to Ratan Singh proves that no matter how unimportant a Gowariker scene seems at first, one must never judge before it ends. In the film, we see a bold and opinionated Jodha breaking the stereotypical norms of her society and daring to express her unwillingness to surrender on the very first night. Naturally, when we saw the scene for the first time, we took Jodha's words at face value; we assumed she was not ready because of the forced marriage. However, the deleted scene proves that she would have done the same even for Ratan Singh. She would never have loved someone unless he gave him the resepect she deserved. What a woman!

Next in line is the 'Bidaai' scene, whose essence can literally be summed up in the question that Raja Bharmal's aide asks- 'Ye bidaai hai ya bali?' Jodha indeed is akin to a sacrificial lamb in this scene, and Aishwarya's tears express it all.

Of course, we are interested in Jodha and Akbar's interactions more than anything else, and in all honesty, that was why we all were so impatient for the deleted scenes to come out back then. And thankfully, we do get some unseen moments, although it would be wonderful if the entire 'deleted scene' reel had been just them! 😄😂🤩🥰

Horrified after witnessing Jalal's abject cruelty towards Adham, Jodha confronts her husband and reprimands him for his actions. She is shocked that he never even spared a thought for Maham Anga before taking such a drastic decision. Jalal, however remains adamant as well as furious, and maintains that Adham got what he deserved. Although initially unable to come to terms with it, she soon realizes his reason for doing whatever he did. As a broken and helpless Jalal confesses that if Maham Anga has lost a son, he has lost a father, Jodha understands the agony her husband is going through. Hrithik is brilliant, first as the incandescent Jalal, and then as the heart-broken one. As Jodha places her hand on his shoulder to console him, one can't help but wonder why this scene was edited out of the original reel! What harm would an extra few seconds or even minutes do? 😭

Then comes Mahesh Das aka Birbal. The two scenes through which Ashutosh narrates the history of Mahesh Das's transformation into Birbal are undoubtedly the jewels in the crown of the deleted reel. In the first, Jalal and Jodha meet Mahesh Das who cleverly prevents the emperor from hunting, much to Jodha's pleasure (and ours too). When he claims to know exactly how many birds there are in the land, Jalal tells him that he will be punished if he is wrong. However, Mahesh Das's wit is unparalleled and he rattles a random number. As Jalal and Jodha both look at him with surprise, he explains. If his answer is more than the actual figure, it will mean that birds from the neighbouring land have visited; if less, it will imply that birds from Agra have gone to visit their relatives. Naturally, both the emperor and the queen are impressed. Jalal gives his ring to Mahesh Das and asks him to visit the Deewan-e-Aam.

In the second scene, Mahesh Das visits the Deewan-e-Aam but encounters a corrupt guard who refuses to let common people enter the court without a bribe. When Mahesh Das shows him the emperor's ring, the latter allows him to enter on one condition- Mahesh Das must share half of whatever gift he receives from the emperor with him. Little does he know that he is talking to one of the 'would be' Navratnas of Akbar's court, incidentally one of the most famous ones! Mahesh Das agrees to his condition and asks for a prize of 50 whip shots from Jalal, much to his and evryone else's shock. When he explains the reason for making such a strange request, Jalal calls the guard and orders him to be whipped 50 times instead as a punishment for corruption, which he insists shall have no place in his empire. Fascinated with his wit, Jalal invites Mahesh Das to be a part of the Mughal court. However, Mulla Do-Piyaza objects, and Jalal gives him permission to test the former. If he is able to answer Mulla Do-Piyaza's question, he will be accepted in court. If not, he will be punished. That is the deal. Also, if Mahesh Das wins, then Mulla Do-Piyaza promises to bow before him every day. Jalal agrees, and so does Mahesh Das. After much deliberation, Mulla Do-Piyaza asks Mahesh Das to guess what he is thinking at the moment. Of course, it is an impossible task. However, Mahesh Das is not someone to give up; nor does he need to. His intellect is ready with an answer. He tells the court that at this moment, Mulla Do-Piyaza is praying to the All Mighty for the emperor's long life, good health and prosperity. Is there anything left for Mulla Do-Piyaza to do except accept defeat? 😂😂 Having proved his cleverness to everyone, Mahesh Das attracts appreciation from one and all, and earns a priceless reward from the emperor himself- the name 'Birbal' (meaning quick-witted or 'dimaag mein taaqat'). Having these excellently scripted, directed and enacted scenes in the film would have been worth the extra time!

Two more deleted sequences deserve mention. The first is the moment of Maham Anga's death. Jalal comes to see her as she lies on her death bed, frail and ill. We understand this is the first time he is interacting with her since the betrayal. If not for anything else, this scene should have been included only for Hrithik's exceptional performance, and of course for Ila Arun ji. As Maham Anga finally admits to Jalal that she had wronged Jodha on account of her overpossessiveness for him, and asks him to call him like he used to one last time, we see a completely devastated Jalal, not the Shahenshah of Hindustaan, but just a grieving son. As if she was waiting for that one word from him, Maham Anga passes away the minute Jalal calls her 'Badi Ammi' again. The scene is a strange mixture of melancholia and poeticness, and Hrithik's wonderful emotive capacity makes it one of the best bits of the whole film, both the edited and the unedited versions. On another note, how does someone look so handsome and flawless while sobbing? Is Hrithik even human? 🙄🤨😐😑🤗🤗🤗🤗🤗

The second is the scene when Jalal comes to meet Jodha and his mother before departing for the war with Shareefuddin. Jodha says she is praying for three lives- her husband, her brother Sujamal, and her sister-in- law Bakshi Bano Begum (Shareefuddin's wife). Nonetheless, Jalal vows to protect Amer, no matter what it takes. The scene is poignant and yet another example of the magical on screen chemistry between Hrithik and Aishwarya. Seriously, we deserve them again!!

In conclusion, we reiterate that we would not have minded had the film been half an hour longer due to the inclusion of all the scenes mentioned above

With that, we have come to the end of this blog. Hopefully, you will join us on our next too. Stay safe. Stay well.

Once again, this one is for you Dilip Kumar Saab. You showed the way; so, we have Jodha Akbar. Thank You Sir. May you Rest In Peace 🙏🙏

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ambidextrousarcher · 3 years

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Sarcastic StarBharat Reviews-Episode 22: In which horny deer rishis set off a chain of events.

Hello everyone! I’m back after a VERY long hiatus, had some real life issues to deal with, along with the aggravation of changing an url and some online drama too. And I’m right in time for Diwali, too, yay! Happy Diwali, people! Also Happy Children’s day!

Tagging my usual taglist: @ambitiousandcunning @medhasree @shaonharryandpannisim @hermioneaubreymiachase @hindumyththoughts @chaanv @ratnas-musings @whydoyoucareaboutmyusername @justahappyreindeer @milesbianmorales @allegoriesinmediasres @pratigyakrishnaki @iamnotthat @adishaktis @ratnas-musings. Enjoy your day, everyone!

Review is under the cut.

PS: Nila updates- The Sarcastic StarBharat review of episode 18 is missing from my blog for some reason, I’ll reupload it. Also, for anyone who’s listening to my song covers, the next items are Karam Ki Talwar from Arjun the Warrior Prince, Moh Moh Ke Dhage from Dum Laga Ke Haisha and Jo Beji Thi Dua, from Shangai.

Okay. Rehash is in order, along with some new nicknames. Till the last episode, Madri has reached Hastinapur, the precap of the last episode makes it clear that this is the episode with horny deer rishis.

I had made a numbering mistake in counting the number of canon fails, my bad, so, as of now, we’re at canon fail #49.

Here’s the nickname rehash and additions to be made-

1. Bhishm-Mr. Paragon of Perfection

2. Dhritrashtra- Mr. Drama Queen (Honorary mention-DisasterRashtra, courtesy of @iamnotthat)

3. Pandu-Honey Boy/Lord of Cheesy Lines

4. Gandhari-Ms. Always Patnidharma

5. Shakuni-Mr. Ominous Music/Mr. Annoying Poseur

6. Karn-Mr. Glitterwash

7. Kunti-Ms. Melodrama/Lady of Cheesy Lines

8. Amba (deceased)-Psycho Princess

9. Satyavati-Psycho Mum

10. Vichitraveerya (deceased)-Drunk Kid

Here are the new additions:

11. Vidur (finally)- Picking the line where he likens himself to a thorn during Pandu’s coronation, he’s Mr. Weepy Thorn.

12. Madri-Ms. Smarmy Tears

13. Krishn-(Parody version, anyway, also, FINALLY) Mr. Excess Gyaandaan.

Now, let’s get to business.

Alright, so, last episode, Gandhari was told that Drama Queen wants her in his chambers. Being the aadarsh, Ms. Always Patnidharma that she is, she goes immediately, and that’s where today’s episode of choice begins.

She stumbles in and stutters out her usual ‘Husband?’ (International viewers, please note, Hotstar has rolled out the English subtitles for your most unfavorite show. It translates ‘Arya’ as Lord, but I’m keeping the ‘husband’ variation, because no.)

Anyway. He shushes her. ‘Don’t say anything, Gandhari, just listen. The mind is so weird, isn’t it?’ Okay…why this sudden volte face? Ah, he’s trying to apologise, I guess? He says that he was absorbed in his negative emotions of hurt, grief and jealousy, but when no news of Honey Boy came from the battlefield, he realized that he still worries and cares for his little brother, and that he was merely unfortunate, not conspired against, concluding that he was unjust to Honey Boy. O…kay? Should I count this as a canon fail? Canon Dhritrashtra can be two-faced, so eh, leave it.

Ms. Patnidharma is shaking her head next to him, because of course, she’s that much of a doormat. ‘I was unfair to you too. I had rejected you, Gandhari, but if I realise my mistake, will you accept me?’ Ah. I see what this is. Anvil-shadowing. Just before Pandu ‘loses’ his ability to ‘be a husband’ Drama Queen and Patnidharma make up with each other. Newsflash, writers: Nothing is this clean cut.

Of course, that was precisely the opening Ms. Patnidharma was waiting for, so she feels her husband up as they hug. Drama Queen’s heart, apparently, very anomalously, is overflowing with happiness, now that he has unloaded his weakness onto Patnidharma, or so he says. Don’t believe him, though, don’t be the naïve idiot Patnidharma is, because that weakness of his wreaks bloody wrecking ball havoc in the future.

‘So what if I don’t become the King?’ Excuse me. I just choked on my water. What’s up with this volte-face? Just what? ‘I have more respect here than the King himself!’ I think I’m gonna count this as canon fail #50 because nah, he ain’t gonna say this in any adaptation that’s sane. And of course, since he’s randy too, it seems, he goes ‘When you give me a son, he’ll be the eldest son and King after Pandu. I’ll also get the pleasure of being a King. Will you give me the gift of such a talented son?’ Ah. So that’s what the volte-face is for. Canon fail #50 cancelled. Drama Queen would say anything at all to get his way, that’s right. Patnidharma, predictably, goes all gushy. ‘Yes, husband, for your sake, I’ll go to the portals of Yamlok themselves!’ Ah, sheesh, sometimes, watching this show makes me think that I should projectile-yeet myself to Yamlok.

He laughs. ‘When the time comes,’ he says, ‘we’ll go to the portals of death together, Gandhari.’ Well, that, at least, is true. He continues that they still have many happy moments to experience. She nods, melting into his embrace.

Scene changes to a green vista, the whickering of horses heard. Madri, henceforth known as Ms. Smarmy Tears, is laughing, Ms. Melodrama being stony faced and stoic. (That’s a change, though the music manages to make even THAT dramatic) The camera focuses on a deer, and Smarmy asks Honey Boy to stop, because it’s a beautiful deer. Okay…I know what’s coming up next. Anvil-shadowing, anyone? I realise it was very long ago when we were introduced to Ms. Melodrama, but I’ll give you a short rehash. She was introduced saving a deer from hunters. Anyone got the hint? It’s an obvious ‘Madri is an evil witch!’ gambit. Please do not take it. I know that in canon, Kunti and Madri probably had a fractious relationship given the whole fracas over the boon, but I refuse to believe Madri would be this transparently biatch-y.

And…bingo! Smarmy says that the deer is absolutely unique, and follows it up with a request for its skin. Melodrama, of course, is having none of it. She passionately launches into defence of the deer’s children who’d be orphaned, basically echoing her very first piece of dialogue on this show. Do you think there’s a chance that they dubbed it in? I mean…I wouldn’t be able to say that twice with a straight face. But, whatever gives, I guess. Fawn get orphaned often, goes Smarmy. It’s not like I’m asking you for the position of the Queen, can’t you do this much for me? Since StarB has a thing of making women either bitches or doormat ditches, its Honey Boy who cuts in. ‘Speak of good things alone.’ Did this guy get a theology class between the ‘war’ and this moment? ‘I’ll get the deer for you, the rest of you please stay here.’ And then the show takes yet another opportunity to set Melodrama as good and Smarmy as bad, as Melodrama tries to give Smarmy a moral lesson about abstaining from killing for no reason, and Smarmy going all casteist (not sure if that’s the right word, since afaik Kunti’s maternal family are also Kshatriyas? Yadava is not one family. It’s an entire dynasty.) And here’s canon fail #50 and #51. #50 is the fact that Pandu, in canon, hunts the deer because he wants to. Madri has nothing to do with it in the text. #51 because the jibe about Yadavs being shepherds that Madri makes smacks of a misconception about politics in the MBH. The idea of ‘Yadavas’ being shepherds is present because of the lore of Krishn and Balaram in Gokul. While I’m sure there might be some branches of the family that may dabble in those pursuits, typically, considering the social structure of that time, Kunti’s family is of quite royal pedigree.

The scene switches to Honey Boy looking for deer, listening attentively to the rustling leaves. Really, this question goes for canon too, haven’t these guys learnt a thing at all from the whole Dashrath/Sravan Kumar fracas? That it is TOTALLY not a good idea to just randomly shoot in a random forest, anyone? At least sight the prey a little, no?

Regardless, he shoots an arrow, the tell-tale thunk is heard, followed by a human scream (the typically serial-ish ‘nahi, nahi!’ aka ‘no, no!’). Alarmed, he sets off in pursuit of the sound. The camera focuses on a bloody arrow then showing us a rishi and a rishin. ‘Maharishi Kidam?’ exclaims Pandu. ‘It was you?’ ‘What have you done? You shot an arrow without recognizing me! I was dallying (read: deer hanky-panky-ing) with my wife in the form of a deer, and you shot an arrow without considering that the grace and the form of the deer could only mean it is such?’ Okay, for all that I want to call this canon fail #52, I’ll be honest…because such a scene, at least one of Pandu killing Kidama when he’s in sexual congress with his wife in the form of a deer does happen. Sometimes, *sigh* canon itself is quite strange.

But…in the whole of this thing, I have an observation to make, a few questions to ask, in the context of this serial:

1. Madri saw only one deer? What was the deer rishi doing, a deer mating ritual of some sort? Where was the wife then?

2. Does what he said mean that there might be…other rishis doing deer hanky panky?

3. Kidama was a rishi, right? He’d have figured out Pandu wants the ‘deer’ when he saw them and vanished? He could have, IDK, sprinted off real quick, or turned back into human, or just vanished once more. Why escalate it this much?

Honey Boy is very contrite and begs for forgiveness. Canon fail #53. In canon, he basically goes, well, Kings hunt deer, why cry about it? (That is, the dialogue given to Madri to establish her as ‘bad’) The deer rishi brings up the Dashrath point I gave above and says that Honey Boy’s crime can’t be pardoned, that he shouldn’t have killed a man in congress with his wife, so he curses him that he’ll die the moment he’ll have congress with any woman. Canon fail #54. The original curse specifies ‘his loved one’ not any random woman.

Cue dramatic panoramic shot and dramatic title bgm. Honey Boy is in tears. The rishi dies.

Scene changes and we’re back in Hastina, where the court fool is entering. He says he has a lot of questions. Mr. Weepy Thorn prompts him to ask his questions. So there’s this long drawn out riddle session that’s set up to predict that Gandhari is pregnant, and Drama Queen will be experiencing the love of a son soon. There’s happiness all round, lots of hugs too. Of course, this show takes no rest from anvil shadowing either, so exactly at this moment enters Honey Boy with his wives. Honey Boy is welcomed with joy and immediately apprised of the news. In his head, the dying deer rishi’s words echo, even as his wives smile by his side. (Ah, apparently, there’s anvil juxtaposition, too! Whee!)

Anyway. Satyavati notices he ain’t looking happy and she asks him if he got what she said. He manages to sponge her off, hug his brother and congratulate him. When he does that, Annoying Poseur closes his eye.

As he ascends the throne, deer rishi’s words come back to him, asking what kind of a King he is. Honey Boy refrains from climbing the final stair, turning. He says that he has something of great importance to announce, confessing that he has killed Kidama and is no longer worthy of being a King.

His announcement is met with shock all around, as he renounces the throne of Hastina. Cue dramatic title bgm again. Camera focuses on Satyavati (who’s quite less psycho nowadays), then panning one by one to Drama Queen, Paragon of Perfection, Smarmy, Melodrama, Patnidharma, Ambika, Ambalika, a grinning Poseur (both eyes open), back to Honey boy and Mr. Paragon as he drops his angvastr limply.

Scene changes as Mr. Perfection walks inside Honey Boy’s chambers and they have an argument about his responsibilities. Honey Boy puts forward that for all that Satyavati wants a worthy King, he is no longer worthy, that even Indra renounced heaven for the killing of a sage and meditated for eons, that mere charity and abstinence as suggested by Mr. Thorn and Kripacharya won’t be enough. He continues that the duty of a King, the man who holds the royal scepter is to dispense justice to his people. He asks who would mete justice out on a King? The camera pans out to Mr. Perfection, standing mute, ending the episode.

Alright, this whole thing is canon fail #55. Pandu does not go back to Hastina, he sets out immediately to atone. Also #56, his wives know everything as he does. He doesn’t keep it hidden from them.

Precap: ‘But the crime was ours’ says Smarmy. ‘the punishment, however, has to be borne by our yet unborn children!’ ‘You can’t ever have children.’ Announces Honey Boy, going on to inform them of the curse.

#sarcastic starbharat reviews #scribbler scribbles #nila writes #nila rants #nila gets salty #pandu #aka honey boy #kunti #aka ms melodrama #dhritrashtra #aka drama queen #gandhari #aka ms always patnidharma #madri #aka ms. smarmy tears #bhishm #aka paragon of perfection #diwali update

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salmankhanholics · 4 years

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★ Salman Khan: We have Dabangg part 4 written too !

Salman Khan on plans to take the Dabangg franchise forward even after a prequel; bringing Chulbul, Radhe and Devil in a crossover film and being approached by Farhan Akhtar with a script...

Roshmila Bhattacharya | December 12th 2019

He arrives like the star he is. And instantly, the slumbering parking lot of Mehboob Studio comes alive. Flashbulbs pop as Bhai strikes a pose. There are journalists waiting to meet Salman Khan and a Bangladeshi cricketer too. He obliges some of those waiting, before beckoning you to take two chairs, one stacked on top of the other so you are at his eye level. Excerpts: This time, we believe you have been credited with the story, screenplay and dialogue. What makes Dabangg 3 diff erent from the earlier two films? When I heard the story of the first Dabangg, which Dilip Shukla had written, I liked the plot but thought the character wasn’t noble. There were no songs, he was grey, corrupt and ruthless. I changed him into the Chulbul Pandey you see, and it worked. There was a lot of angst. The mother passes away, after which he accepts his father and brother as family. That script was not mine; we retained the mota mota plot and made the scenes more massy and today, with a different kind of swagger. If you were to meet Chulbul on the road, toh aap usey maroge because he’ll appear arrogant and badtameez. But on screen, you like him. He does tedha things but for the right reasons. Like the zehreela sharab scene in Dabangg was negative but uska fayda was positive. In Dabangg 2, they wanted just Chulbul, without the family. I argued that Chulbul worked because of his mother, father, Makkhan Chand Pandey, Bobby ji, Tiwari ji, Pichkari ji, Rajjo, everyone. How could I take them out? So, we retained them. The third part is about how Chulbul became the man he is. We’ve dug up his past, there’s pain. It’s an emotional vendetta story. At a time when filmmakers are struggling with sequels, you’re coming with a prequel… We have Dabangg 4 written too. Yeah you are going up to Dabangg 743 as you mentioned in our last interview. Seriously, how do these ideas happen? (Laughs) They just come about. Sometimes, one film gives you an idea for the next. In Dabangg 3, we explore why Rajjo’s father was an alcoholic and how Chulbul met her. Aap jab picture dekhoge toh aapko samajh mein aayega kahan kahan se nikle hain hum. After two films, today, the minute I walk into the Dabangg set, I stop being Salman Khan, the actor, and become Chulbul Pandey. Ditto, Sonakshi who transforms instantly into Rajjo. That’s how it is with the whole cast; we’ve become a real family. Do you have a personal connection with Chulbul? Well, I’m writing it, playing the character, so there has to be some thought behind it. The director this time is Prabhudheva and he knows the pulse of the audience… Yeah, that’s why he’s in the film. Arbaaz (Khan, brother and the director of Dabangg 2) would take time to understand, his BP would shoot up and down. So, this time, the first thing he said was that he wouldn’t direct the film and we should get someone else. I suggested Prabhu, and his reaction was, “Fantastic!” Prabhu is very receptive, he gets what I want to say in a second. Language is a problem with him, so I have to explain things to him, but once he gets it, he executes it beautifully... Largerthan-life, with humour and emotion. Bang on! With a film like Dabangg, we go from high point to high point. We’re not pakaoing anyone. The message comes through the scenes. Even before Dabangg 3 was complete, you announced Radhe with Prabhu. Obviously, you have a lot of confi dence in him and he reiterates you share a great equation, which is rare... Yes, we have a good working relationship and I believe one shouldn’t spoil that. We were looking for a director for Radhe. My friend Prashant suggested Prabhu. I recalled he had told me that after Dabangg 3, he was going on a twomonth holiday, but Prashant urged me to speak to him and Prabhu agreed. The script was halfway through. I was working on a film at the time... I don’t remember the name... and it was to come out on Eid, which didn’t happen… Inshallah with Sanjay Leela Bhansali? Wasn’t that the film? Inshallah… Inshallah… Radhe is happening Inshallah on Eid. We are working day in and day out to put it out on Eid. You were saying Radhe’s script was ready… With us, plots are always ready, then, they evolve. You write at home, in a hotel or an office. But then, when you come on the sets, the story changes with the setting. Radhe is also your story? No, but we have made a lot of changes. Eid is your date… No, it’s not, it’s nobody’s date, anyone is welcome to release a film on the day. It’s just that my films happen to come on Eid. Actually, my last film, Bharat, released during Ramadan, three days before Eid. And now, Dabangg 3 is arriving on Christmas. I’ve had releases during Diwali and Republic Day too. Any festive day is a good day. Next Eid, Akshay Kumar’s Laxmmi Bomb is releasing with Radhe... Yes, and there is scope for another two-three films to come on that day. Then, the audience decides which film to spend on. Agar picture achhi lagi, they will watch it. If they don’t, toh nahin dekhenge, festive date ho ya koi bhi date ho. Bharat has made a lot of money at the box-office. But do you think the scale of the film magnified the expectations? Not really. I just thought towards the end, the father should have come back. That was my problem with the film. But aaj kal ke yeh new people think that a reunion with the father is a cliché. Father ki age kya hogi? Uski story kya hogi? I don’t give a damn, he should have come back. Yes, the film did phenomenal business, my sister (Alvira) is happy, we’re happy with the product. But if we had shown a 70-yearold man and a 90-year-old man having a conversation, it would have been a more emotionally satisfying film. Bharat’s whole journey was about him waiting for his father to come back to him. So, for me, the film looked incomplete. Talking about fathers, Salim Khan saab recently said that Farhan Akhar has come to you with a script and you have liked it. Is the film happening? I don’t know. Farhan has come to me with a script and I like him. He is like a kid brother; he has grown up with us. That bond will always be there with Zoya (Akhtar) and him. They are like my younger siblings. Rohit Shetty and you have been talking too. Will Chulbul Pandey join Rohit’s cop universe, with Singham and Simmba? Chulbul is a universe within himself. So is Singham. This is a separate film, then? Nothing’s finalised. We’ve been talking about other things too. But Kick 2 is definitely happening and we are told it could arrive in December 2021? It could. How does it feel to bring Devil back? He has his own fans... Yeah, one thing I want to do later is bring Kick’s Devil, Dabangg’s Chulbul Pandey and Radhe together. That’s a wonderful idea. If The Avengers can do it, why not Salman Khan. Are you joking or is it a possibility? No, I have something in mind. Kick is Sajid’s film. He is not just a producer but a good friend... Yes, he’s like a brother to us. And what is it like bringing him back as a director? (Laughs) He didn’t even know he was directing Kick, he got to know on Twitter. You have introduced several newcomers to Hindi cinema, not just technicians but actors, too. From Sonakshi Sinha to Saiee Manjrekar now... Saiee is a sigh of relief for the industry. Watch out for her. ' We have heard that she is playing a mute in the film, no dialogue, speechless… True? Nooo, you guys will be speechless when you see her. I’d introduced Sonakshi at an award show and this time too, I took Saiee along. As soon as we faced the paparazzi, they started saying, we want solo pictures of her. So, I thought, ho gaya Saiee ka. Rocket Singh, straight out! Then, I heard this comment, “Saiee, tu sahi aahes.” We thought you were introducing Saiee’s sister, Ashwami? Are you? We don’t have anything right now, but she is very talented. How does Bigg Boss feel after all these years? It’s become a part of you? Yeah, a part of mine wants to cut that part and throw it out and the other part wants to keep it. And the latter is haavi on the part that wants to throw it out. You don’t like the show? I like it. It gets stressful, but I learn a lot. And I get to know where the country is going, what is happening to values, morals, scruples and principles. We see it right there, with celebrities. The beauty is once they are out of the house, they are not like that at all. It’s not as if they are giving performances, the house makes them like that. Has being in a particular place changed your personality? No. What’s happening with Sohail Khan’s film Sher Khan? That film requires a lot of visual effects. After it is shot, it will take six-eight months, almost a year, for it to be ready. After the next two-three films, Sher Khan goes on the floors. It’s beautiful. I’m not going to ask you about marriage this time… Okay. …But whenever I see you with kids, I feel a child is missing out on a really good father. Even I feel that way. Are there plans of having a child through adoption, surrogacy, though that’s outlawed... No, not yet. So, no plans? No, when it happens, it happens. How will it happen? (With a straight face) I can’t describe the whole process to you. What I mean is that you don’t want to get married or adopt… There are enough kids in the house. Another child will be born now, in December. Would you like to raise your sister Arpita’s child? No, Arpita does a fantastic job of raising her child, in fact, she is raising all of us correctly right now. Your dad, even at 84, is all there… Yeah, because there were five of us, and now many more, so he has to be all there. It’s wonderful how he knows everything that is happening with all your projects. I share things with him when he is sitting across the table, tell him the basic plot. He will say, “Yeh galat hai, isey nikalo.” When he sees the film, too, there are times he says, “Yahaan mazaa nahin aa raha hai, isey nikalo.” Some bits we do listen to. Did he have any suggestions for Dabangg 3? No.

Mumbai Mirror

#salman khan #dabangg 3 #dabangg 3 interview #interview #text interview #mumbai mirror #bharat #Bigg boss #bb13 #kick 2 #sher khan #Chulbul pandey #saiee manjrekar #farhan akhtar #Dabangg 4

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filmmakersvision · 5 years

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Top 10 Hindi Films of 2018

January 13, 2019

by Inakshi Chandra-Mohanty

1. October

October is like poetry unfolding on screen. An amalgamation of visual pleasure, a heart-warming score, and some of the strongest, most emotional performances of the year, this film is the definition of beauty. With an extremely simple plot, October thrives on the humorous antics of the eccentric Dan (Varun Dhawan) as he develops an unspoken bond with Shiuli (Banita Sandhu). As the trailer stated, it’s not a love story, but instead a story of love. There is the love between mother and daughter, which is tested time and again as the mother (Gitanjali Rao) is pushed by her brother-in-law to take Shiuli off the ventilator. And on the other hand, there are the selfless emotions that Dan has for Shiuli. His feelings for her are never explained, while what she feels for him can never be known. There is so much more to explore in the film, so many more nuances to touch on, which is why it is the best film of the year.

2. Tumbbad

“So jaa varna hastar aa jayega.” When children cry at night, mothers say phrases like this interchanging the villain (for example, Gabbar Singh), to make the children go to sleep. It has become such a popular phrase in the media, that the Tumbbad writers used it as the catchphrase of their film. This mythological horror fantasy film told in three phases, deserves to be recognized for being one of the most imaginative, surreal films made in Hindi cinema. A combination of frightening visual effects, a heart-racing background score, mindblowing cinematography, and creative storytelling, this film is about a man who encounters a mythological demon while searching for an ancient, hidden treasure in his ancestral ‘haveli’ (mansion) situated in the village of Tumbbad. Behind this unique storyline, is a very basic concept of greed in human nature. However, the film manages to present it in a fresh way. The best aspect of this film is the fact that it is a pure entertainer, which is commercially viable. The regular Indian film-going audience would love this film, if they were taken to see it. Unfortunately there is no known name associated with the film, therefore most of this audience has not even heard of the film, let alone gone to see it.

3. Mukkabaaz

Though many people characterize Mukkabaaz as a film about boxing and the hardships sports players in India face, I believe that it is at its core a love story. The heroine, Sunaina Mishra (Zoya Hussain), is the driving force behind the hero, Shravan Kumar Singh’s (Vineet Kumar Singh), passion for boxing. The first time he sees her he rebels against his good-for-nothing, but powerful coach, Bhagwan Das Mishra (Jimmy Shergill), who also happens to be Sunaina’s uncle, in an attempt to impress her. Throughout the film, his motivations, his passion, and his support all derive from his love for her. And even his decision at the end of the film is for the safety and happiness of Sunaina. His passion for boxing is secondary to his love for his wife, which is proven again and again by his actions. Mukkabaaz is Anurag Kashyap’s first attempt at creating a love story and is much better than his latest film, Manmarziyan, which after a certain point, becomes frustrating. Not only is Mukkabaaz a fresh and unique love story, but it also contains elements of Anurag Kashyap’s trademark style, so no true Anurag Kashyap fan will leave the film feeling disappointed.

4. Andhadhun

For many critics and audience members, Andhadhun is being lauded as the film of the year. It is no doubt a great film. The writing is intelligent for the most part, the direction is crisp, and the performances are phenomenal. But in my opinion it is fourth on this list primarily because I viewed it less in comparison to the other films of this year, and more in the context of Sriram Raghavan’s body of work. If compared to his other films, Andhadhun is closest in style and storytelling format to Johnny Gaddaar. Both are told as flashbacks. Both begin with a small mistake spiraling out of control. Both are an ode to 60s and 70s Bollywood crime capers. Both have elements characteristic of a neo-noir. And both are extremely intelligent edge-of-the-seat thrillers, with twists and turns at every moment keeping the suspense high. However, Johnny Gaddaar has a far tighter script than Andhadhun, especially in the second half where Andhadhun becomes slower and slightly less interesting due to the introduction of less entertaining characters. Therefore, Andhadhun is still one of the best films of the year, but my love for Johnny Gaddaar prevents me from rating it higher on this list.

5. Raazi

Bias is the biggest weakness of any film based off of real events. The director’s most difficult obstacle is to not let his/her own views reflect on the objectiveness of the story, while still keeping the emotions intact. With Raazi, Meghna Gulzar has so brilliantly manipulated the audience into empathizing with every character in the film, regardless of nationality, therefore feeling patriotism regardless of country. After watching this film, you won’t hate Pakistan, nor will you hate India. You will just hate war altogether. Everyone will leave the theater feeling patriotic with no specific country in mind. Raazi follows the character Sehmat (Alia Bhatt), the daughter of an Indian spy, who gets married to a Pakistani military officer, Iqbal Syed (Vicky Kaushal), in order to gather information on the Pakistani military plans during the Indo-Pakistani War of 1971. Sehmat is such a well-written character with multiple dimensions. On one side, she is bound by her patriotism towards India, and the promises she has made to her father. And on the other hand, her growing love and affection for her husband and his family comes in the way of her mission. Ultimately, she is torn between these two and can no longer distinguish between right and wrong. There are very few films, which explore so many emotions and so many different sides to an issue with minimum bias, and Raazi is one of them.

6. Mulk

In the current times, when the Hindu-Muslim animosity is still fatal, and when anti-Muslim hatred is spreading widely throughout the world, a film like Mulk is essential. The film explores the backlash and ostracization Muslims face from Hindus and even from their own community, when the word terrorism is applied to a member of their family. After his nephew, Shahid Mohammed (Prateik Babbar), turns to terrorism, it is up to a respected advocate Murad Ali Mohammed (Rishi Kapoor) and his daughter in law Aarti Mohammed (Taapsee Pannu) to reclaim their family’s honor and fight for their prestige, as the whole family is prosecuted in court on charges of terrorism. The issues discussed in Mulk are tackled with sensitivity and minimum bias by writer-director Anubhav Sinha, and are made to resonate with the audience through the poignancy of the film. The film is not a landmark film, but it is an important one and hopefully it will allow people to gain a broader understanding of the type of anti-Muslim hatred that plagues the country.

7. Laila Majnu

It is very difficult to recreate a timeless, epic love story in a period where in film, practicality and realistic situations have begun to take over the classic notion of love. Making people believe in the intensity of emotions and craziness of love is a complicated task. The plot of Laila Majnu is a basic love story, boy meets girl, they fall in love, and their family enmity causes obstacles in the path towards their union. The first half is full of clichés yet remains fresh because of the new faces, the beautiful music, and the strong chemistry between the leads. However, it is the daring second half, when we see the love being torn apart, where Majnu’s separation from Laila causes him to succumb to depression, that makes this film worthy of being on this list.

8. Stree

After Bhool Bhulaiyaa, here is another brilliant horror comedy that has truly left the audience frightened by some scenes but has also managed to make them laugh extremely hard in others. A town is terrorized by a woman, called Stree (Flora Saini), who abducts men, leaving their clothes behind, and Vicky (Rajkumar Rao) attempts to solve this mystery and rid the town of ‘Stree’ forever. The three male leads, Rajkumar Rao, Aparshakti Khurrana, and Abhishek Banerjee, as well as Pankaj Tripathi have impeccable comic timing, which is supported by the hilarious dialogues. And yet the film still lives up to its role as a horror comedy since it is filled with scary moments and jump scares, the essence of which are not affected by the comedy. Stree is an overall entertainer, and its box office success is proof of that.

9. Pari

Pari was harshly criticized by film critics and the audience because it promised a horror film, yet it was not scary. However, its approach at creating a unique universe and widening the imagination of the audience is commendable. Pari is the story of a man, Arnab (Parambrata Chatterjee), who takes in an apparent victim of abuse, Rukhsana (Anushka Sharma), after her mother is killed in an accident caused by his car. However, everything is not as simple as it seems and soon Arnab realizes he has been dragged into a very dark world filled with conspiracies and supernatural forces. The line between good and evil has been blurred, and he no longer knows whom to trust. Though not scary in the moment, it leaves people with nightmarish thoughts and goosebumps afterwards, as the concepts and characters, which are thoroughly developed, are quite frightening. It would have been on the same level of Tumbbad if not for the weak script that completely derailed in the second half. However, despite that, the film works, partly because of the daring to try something new, and the brilliant performances, especially by Anushka Sharma, which will continue to haunt you for days.

10. Blackmail

At the time of its release, this film went almost completely unnoticed, due to bad PR and few noticeable actors. When I went to see the film, there were only two people apart from me in the theater. However, this black comedy is such a hilariously entertaining film. A man, Dev Kaushal (Irfan Khan) returns home one day to find his wife, Reena (Kirti Kulhari), cheating on him, and instead of confronting her like any normal person would, his sadistic mind convinces him to anonymously blackmail her and her lover, Ranjit Arora (Arunoday Singh). What begins as a simple plan, turns into a convoluted game as Ranjit’s wife, Dolly Verma (Divya Dutta), an employee at Dev’s office, Dolly’s father, and a private detective get involved. Though I do believe that a lot more could have been done with the story to make more comedic situations using the unique characters, the film was still thoroughly engaging due to the witty dialogues and brilliant characterization, emphasized further by the amazing performances.

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word-of-sanjana · 4 years

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Local Offices 2020

Ok, I am very hesitant to put my specific location info out there on the internet, but suffice to say, I am a Santa Clara County voter, and these are the offices at stake here in my area.

Researchers

Sanjana and her brother Aditya

all opinions belong to Sanjana

Short Guide:

US House of Reps, District 18: Vote Anna Eshoo over Rishi Kumar - those of you who know what it’s like living in a community with Rishi Kumar, I hope you are big enough not to wish such a nauseating fate on all of us in the United States

CA State Senator, District 15: Pick Cortese over Ravel, even though both candidates seem pretty solid!

CA State Assembly, District 28: Obviously pick Evan Low over Republican weirdo real-estate agent Carlos Rafael Cruz.

Judge of the Superior Court, Office No. 24: Stuart Scott gives me a bad vibe so I’m going to ABSTAIN from this one.

SUSD Board: The only candidate I feel comfortable recommending you vote for is Scott Adler. As risk management, for a second candidate, I will recommend Melissa Stanis because she seems more trustworthy than any of the other remaining candidates.

City Council: After watching the City Council Candidates Forum, I recommend Renee Paquier and Kookie Fitzsimmons. But even more than that, I recommend you watch the Forum and make up your own mind. I suspect that my priorities (connecting with other communities, making space for non-wealthy people, thinking about the needs of the larger Bay Area, dismantling the illusion that Saratoga is a “semi-rural” town), are not necessarily yours. Anyways, my former write-up is below, and I take it back because some of the candidates did touch upon at least a part of what I am concerned about. As they say, op-ed writing means always having to say you’re sorry.

Oh wow, turns out (to no one’s surprise), most of Saratoga and I have different ideas about responsibility, humanitarianism, sustainability, and above all courage. I am of course, talking about Saratoga’s complete refusal to consider affordable housing. This is the central issue for the campaigns for city council, and no candidates reflect my values, so I will be endorsing none. Privately, I will most likely vote for this office as a form of risk management, so if you want to do that as well, please consult the longer explanations below.

Long Guide:

US House of Reps, District 18: Ah, the local kiss-ass is trying to go to Congress. Rishi Kumar snaked his way into being a local “leader” in the community I live in just a couple of years ago. His main platform has been cuddling up with law enforcement, creating “neighborhood watch groups” that profile people on the streets, and showing an overall tone-deafness about privilege, race, class, and basic decency. A lot of my stories about him involve other people, so unfortunately I am not at liberty to share them here, but here’s a fun one that was published in local news. Rishi Kumar is slimy both in policy and personality, and if you support him, you’re a fool to think he would remember you ever again if somehow he went to Washington.

As for Anna Eshoo, she’s nowhere near my ideal rep- she’s a classic establishment Democrat and career politician, and I can’t see her pushing for much-needed changes in the Democrat Party despite her influence. She’ll keep doing what she always does, and “the usual” is not something I’m satisfied with. However, for this office this year, we didn’t have any good candidates, and out of all the scrubs who showed up, she at least has some basic competency to get the job done. So, for the sake of not unleashing Rishi Kumar on the nation, I’ll endorse Eshoo for US Rep.

Sources: candidate campaign websites, community connections

CA State Senator, District 15: I have some internal conflict over this one. Dave Cortese has been involved in South Bay politics for years, and has a strong backing from progressive groups. But on the other hand, Ann Ravel has a record of bravery in fighting dark money, and also, I like what I’ve seen of her character. Honestly, I wish both of them could go to State Congress (and how rare is it to feel that way about an election!) In the end, I am going to endorse Cortese for State Senator simply because progressive orgs that know more than me are backing him. Ultimately, you want a senator that will work with the local groups doing the work on the ground, and if these groups are backing him, then they must have faith that he will get the job done in Sacramento as well. Still hoping to see more from Ann Ravel in the future!

Sources: candidate campaign websites, this interview on Valley Politics August 2020, SF Chronicle endorsement, Progressive Voters Guide, research I did back in the primaries

CA State Assembly Member, District 28: This one is a no-brainer; vote Evan Low. He’s been around for a few years now and from what I’ve seen, he’s alright. Actually when I get more time to be a politics nerd, I might go through his voting record and see what I find in there; I was told by Progressive Voters Guide that it’s mixed, and I’m curious to see for myself. Oh yeah, the opponent in this race is Carlos Rafael Cruz, who is a never-held-office Republican real estate agent, who seems to think Sacramento is trying to take over parenting? He garbled something about how children are all gonna be “emancepated wards of the state”. Anyways, the choice is clear just from the ballot itself- there really was no other research necessary heh.

Sources: candidate campaign websites, Progressive Voters Guide, official ASM28 website, research I did back in the primaries, background knowledge on Evan Low from a few years ago in his last election

Judge of the Superior Court, Office No. 24: My friend in Chicago gets to vote Yes/No on Judges?! And here in California we basically don’t have a choice by the time the General election rolls around. Anyways, this dude, Stuart Scott gives me a bad vibe. He’s super pals with the police– and he used to be a prosecutor– and this incident rubs me the wrong way. So instead of voting for him, I will ABSTAIN.

Sources: Ballotpedia, 2016 Mercury News article, Gilroy Dispatch article

SUSD Board:

Scott Adler mentioned that he wants to “acknowledge and address racism, sexism, harassment and bullying” which sounds good to me. It could be empty words, but at least mentioning these realities is a needed start. I’ll give him a shot and say YES.

Melissa Stanis seems like a dedicated parent volunteer, which is not necessarily what the school board needs. I’m more interested in finding someone who will bring challenging issues to the forefront. But she does seem to really care about the students and the district, and that is not a bad base for a school board. (Plus, I didn’t like the candidates below very much.) So while it’s not an enthusiastic endorsement, she has at least half a YES from me.

Cecile Cohen-Jonathan mentions “social-emotional programs” for students, which sounds intriguing, but I’m unclear what these programs are without concrete details. Can’t support without enough info so it’s a NO.

Sunita Verma’s “Voice of the community” section says ”I will work to ensure visibility to all district stakeholders through open and timely communication,” and if I was a corporation, that would sound great. Unfortunately for her I am a human, so her corporate tone plus a lack of any interesting policies makes her campaign a NO in my book.

Azadeh Weber says some great things about mental health and about connecting with the larger community. However, she is also supported by the Libertarian Party, so... hm. In politics, it’s always best to look at actions first, allies second, and words third, so even though the words are good, the allies are not, so it’s a NO from me.

Sources: candidate campaign websites

City Council: Ugh. Ok, first things first- all these candidates are against SB 35, the bill that mandates counties build affordable housing. There are valid reasons to be concerned with putting local control in the hands of the state; HOWEVER, to my understanding, we in this area have not made ANY notable steps to build affordable housing on our own, so OF COURSE the state is going to take control when there is this crisis going on. Despite what many want to believe, Saratoga isn’t a separatist, elitist colony– we’re as much a part of the larger Bay Area community as anyone, and if we can help with the housing crisis, we have a responsibility to step up. SB 35 may or may not be the best way to force this town to help our community; there are, as always, legitimate concerns as to how changes will play out. But the housing crisis has gone too far for us to not take action, let alone pretend like we don’t have the means to do something. I find it shameful that so many of the candidates for city council are more interested in pushing back against SB 35 than looking for ways we can actually share support with the communities in crisis outside our borders.

[10/12, 11:30 pm: The City Council section is revised, with the old write-ups crossed out. I did indeed have to eat my own words on some of what I said previously, so please forgive me for being sharp-tongued on limited information. I have made the updated recommendations after watching the Saratoga City Council Candidates Forum.]

Belal Aftab may be what I initially suspected: a sheltered South Bay tech guy with political aspirations and a myopic sense of vision that extends to wealthy counties in the Bay Area and no further. He thinks Saratoga is doomed by SB 35. It’s a NO for him because while I don’t think he’ll change Saratoga at all, I do think he’ll continue the cycle of Saratoga elitism. Also, I don’t want to enable his inevitable State Congress run.

Belal Aftab is a finance/tech guy, but I wonder if he has higher political aspirations, given the pandering tone of the website. Anyways, his agenda has a couple of interesting ideas, like a “Psychiatric Response Unit“ and more city budget transparency. He also wants to work closely with the Sheriff’s dept. and wants to push back against SB 35, so clearly he and I are not on the same page here. I can’t in good consciousness endorse someone has a less than 50% chance of representing my values, so I’ll give him a MAYBE.

Renee Paquier seemed fairly balanced in her forum appearance. She talked about economic recovery for local businesses, which no one else addressed early on. She also consistently brought up discussion with community members, and deferred to the people most impacted when considering proposals. She also said she’s not against housing in principle, which is what I’m looking for (because I have lowered my standards after seeing the other candidates). Also, very tellingly, she was the ONLY candidate who supported Prop 15 (and one of two that supported Prop 16). I am still wary of her ties to policing, and given that we have a county Sheriff’s Office in our town, this is an important consideration. But by far she seems more progressive than any of the other candidates. Now that I have a better sense of her, I will say an uncontested YES.

Renee Paquier is a former cop turned West Valley Dean. She had no notable ideas, as far as I could tell. She does want to expand the Neighborhood Watch Program, you know, the one championed by the illustrious barf bag Rishi Kumar. Anyways, if it wasn’t clear before, it’s a NO.

John Fitzpatrick is obsessed with open space areas, and connects every question back to that. He says his lawyer skills will help when dealing with Sacramento. Altogether, it’s not enough so NO.

John Fitzpatrick seems really devoted to keeping low-income people out of Saratoga. His website even said “more highly skilled jobs in Saratoga could prevent the high density development that we are now facing,” which is real telling. I don’t have a NO strong enough for this asshole.

Kookie Fitzsimmons is a bit scattered but also does her research. She was open to new housing options and supports Prop 16 (one of only two people who do). I wonder if she’s too soft, but I’ll take nice over a snake any day of the week. Compared to everyone else here, she’s in the top 2 so it’s a YES from me.

Kookie Fitzsimmons has the worst website I’ve seen so far. I didn’t see any specific policies proposed, but maybe it’s just on a page I can’t access cause the HTML is so screwed up. No policy, so it’s a NO.

Doug Case had a good answer to the housing question about the need for space for people who need a place in Saratoga, like non-white collar workers whose children can go to the schools. But that was the only point on which we fully agreed. So he’ll come in third with a NO.

Doug Case has no website, and his candidate statement just talked about his life. So as usual, no policy, NO endorsement from me.

Tina Walia is very against SB 35 and very in love with self-promotion. She knows her policy and is ready to wield it against new housing as much as possible. She’s smart, so some of her suggestions are reasonable, but I see no evidence of a heart there. She kinda feels like a person who would be the headmistress of a school but doesn’t seem to care about humans as individuals to the point that you feel like, why did you choose this career? Anyways it’s a NO.

Tina Walia seems to have a great grasp of how Saratoga works, and would no doubt be an efficient and positive addition to the council. However, her policies are all in favor of minimizing Saratoga’s housing supply, with no other ideas detailed on her website. Hmm, should I vote for a probably decent person who has clashing values with me? MAYBE, but I don’t know what I’ll choose yet.

Sources: candidate campaign websites, LWV Candidate Forum - Saratoga City Council

Conclusion

Finally I am DONE! Researching those local offices ended up being pretty grueling. But they are all very important, so I hope you will vote in these elections, or whichever downballot elections are in your area. These are the positions that most directly affect people’s lives, so don’t forget about them! As of now [Oct. 12, 2020], this section is complete!

#santa clara county #california #ballot #election 2020

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mrhotmaster · 4 years

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Best Amazon Prime Video Movies In India (February 2020)

Best Movies Of Amazon Prime Video In India (February 2020)

Terminator 2: Judgment Day From Jaane Bhi Do Yaaro.

Amazon Prime Video's motion picture acquisitions probably won't have a similar global profundity as Netflix, yet it's without a doubt more grounded and more extravagant in its nearby assortment, with its titles spreading over the Tamil, Telugu, and the Malayalam universe of filmmaking notwithstanding Bollywood. Furthermore, that is coordinated with an incredible assortment of American imports, to convey an assortment that can more than hold fast against the world's greatest spilling administration. It needs with its unique endeavors — a couple are available underneath, for what it's worth — but at the same time it's significantly increasingly moderate at Rs. 999 every year, versus Netflix's Rs. 650 per month. To pick the best motion pictures on Amazon Prime Video, we depended on Rotten Tomatoes, Metacritic, and IMDb appraisals to make a waitlist. The remainder of them was favored for Indian movies given the setbacks of surveys aggregators in that office. Furthermore, we utilized our own article judgment to include or expel a couple. This rundown will be refreshed once at regular intervals if there are any commendable augmentations or if a few motion pictures are expelled from the administration, so bookmark this page and continue checking in. Here are the best movies right now accessible on Amazon Prime Video in India, arranged one after another in order.

12 Years a Slave (2013)

Hoodwinked into servitude on the record of work, Steve McQueen's adjustment of a free New York dark man's (Chiwetel Ejiofor) nineteenth century journal is a staggering genuine story, and a significant watch.

3 Idiots (2009)

Right now the Indian training framework's social weights, two companions relate their school days and how their third tragically deceased musketeer (Aamir Khan) propelled them to think imaginatively and freely in a vigorously conventionalist world. Co-composed and coordinated by Rajkumar Hirani, who stands denounced in the #MeToo development.

Agantuk [The Stranger] (1991)

In Satyajit Ray's last film, a secretive and world-tired pioneer comes back to India following 35 years to see his lone enduring family member, his niece, however experiences difficulty persuading the family who he professes to be.

Aladdin (1992)

Disney puts its activity season onto the well known society story of a road urchin who camouflages himself as an affluent ruler in the wake of finding a genie in an enchantment light, trying to dazzle the Sultan's little girl.

Amal (2007)

After just a few days before his arrival a poor Delhi rickshaw driver (Rupinder Nagra) was named sole inheritor by a very rich near by person (Naseeruddin Shah).

American Beauty (1999)

A discouraged promoting official (Kevin Spacey) amidst an emotional meltdown succumbs to his high school little girl's closest companion, in Sam Mendes' parody of American white collar class that at last won five Oscars including Best Picture.

Anand (1971)

Rajesh Khanna stars as the eponymous giddy man, who doesn't let his conclusion of an uncommon type of malignant growth impede making the most of what's before him. Told from the perspective of his PCP companion (Amitabh Bachchan). Hrishikesh Mukherjee coordinates.

Anbe Sivam (2003)

Kamal Haasan and right now R. Madhavan star in this tamil cult film, in which both flights are spread over a thousand kilometers from home after a substantial flight drops all the flights. The material was also written by Haasan.

Andaz Apna (1994)

Two bums (Aamir Khan and Salman Khan) who have a place with white collar class families compete for the expressions of love of a beneficiary, and unintentionally become her defenders from a nearby hoodlum in Rajkumar Santoshi's religion parody top pick.

Ankhon Dekhi (2014)

After an enlightening encounter including his little girl's marriage, a man in his late 50s (Sanjay Mishra) settle that he will have a hard time believing anything he can't see, which normally prompts some emotional intricacies.

Aruvi (2016)

A social parody from a debutante essayist chief, which follows an eponymous young lady (Aditi Balan), who experiencing an episode of existential emergency, chooses to sparkle a light on the consumerist and misanthropic practices in her general public.

Back to the Future (1985)

Relatively few movies approach the overall intrigue and inheritance left by this science fiction passage including the notorious DeLorean that Michael J. Fox's character uses to (incidentally) time travel to when his folks were his age. Unusual then that it didn't get the green light for a considerable length of time.

Bajrangi Bhaijaan (2015)

The intensely dubious Salman Khan stars as a sincere Hindu Brahmin and an enthusiastic lover of Hanuman, who sets out on an excursion to rejoin a quiet six-year-old Muslim young lady, lost in India, with her folks in Pakistan. Kareena Kapoor co-stars. Salman is an indicted poacher, out on bail, and blamed for chargeable manslaughter, pending intrigue.

A Beautiful Mind (2001)

The life of John Nash, a splendid however asocial mathematician, from his winding into neurotic schizophrenia and taking a shot at a mystery venture he made up, to recovering authority over his life and turning into a Nobel Laureate.

The Big Sick (2017)

Kumail Nanjiani stars as himself right now approximately dependent on his sentiment with his significant other, in which a hopeful entertainer interfaces with his sweetheart's folks after she falls into a strange trance state.

Blood Diamond (2006)

Set during the Sierra Leone Civil War when the new century rolled over, an arms dealer (Leonardo DiCaprio) vows to support an angler (Djimon Hounsou) discover his family in return for an extremely valuable precious stone the last found in a stream.

Bombay (1995)

Set during the 1992–93 Bombay riots, author chief Mani Ratnam offers a gander at the public pressures that cause a strain on the connection between a Muslim lady (Manisha Koirala) and a Hindu man (Arvind Swamy).

The Bourne set of three (2002–07)

Actually not a set of three, yet the initial three parts — Identity, Supremacy, and Ultimatum — featuring Matt Damon in the number one spot as the main CIA professional killer experiencing amnesia were acceptable to such an extent that they changed the longest-running covert agent establishment ever: James Bond.

Brazil (1985)

Terry Gilliam mixes social parody with his mark visual imaginativeness right now fi set in a retro-future world, which follows a modest agent who turns into a foe of the state in the wake of attempting to address a managerial blunder.

Commander Fantastic (2016)

After his bipolar spouse out of nowhere bites the dust, a single parent (Viggo Mortensen), who raised his six kids living off the matrix and detached from society, must acquaint them with this present reality just because.

Ditty (2015)

Cate Blanchett and Rooney Mara star right now, and exquisite show around two lesbians living in perfect inverse universes in 1950s New York, as they explore cultural traditions and their own needs. In light of Patricia Highsmith's tale, The Price of Salt.

Cast Away (2000)

After his plane accident arrives in the Pacific, a FedEx worker (Tom Hanks) awakens on a betrayed island and must utilize everything available to him and change himself genuinely to endure living alone.

Catch Me If You Can (2002)

Leonardo DiCaprio and Tom Hanks appear in Frank Abagnale's (DiCaprio) biopic by Steven Spielberg, who, while being checked out by FBI director, created large numbers of dollars of check as a young person.

Chak De! India (2007)

Excluded and denounced by the press and open, a previous Muslim men's hockey chief (Shah Rukh Khan) plans to vindicate himself by training the unpolished Indian ladies' hockey group to brilliance.

Act (1963)

After her important fellow has been killed while trying to leave Paris, three men who need a fortune he has taken and are looking for the help of the outsider (Cary Grant) are looking for a young lady (Audrey Hepburn)." The greatest film ever made by Hitchcock" is known as "Hitchcock."

Charlie and the Chocolate Factory (2005)

Visit colleagues Tim Burton and Johnny Depp are behind this 'redo' of the 1971 unique dependent on Roald Dahl's 1964 book, where the title character — a little fellow (Freddie Highmore) — wins a voyage through an inventive chocolatier's chocolate industrial facility with four different children.

Chhoti Si Baat (1976)

This transformation of the 1960 British Film School for Scoundrels is the story of a smooth and striking man for love's expressions, Bombay, where a gentle young man (Amol Palekar) went to Colonel (Ashok Kumar) for life mentorship. It appears as Amitabh Bachchan, Dharmendra and Hema Malini. The co-ordinatesof Basu Chatterjee.

Chupke (1975)

Hrishikesh Mukherjee's change of the Bengali film Chhadmabeshi, in which a recently married spouse (Dharmendra) chooses to pull tricks on his significant other's (Sharmila Tagore) as far as anyone knows brilliant brother by marriage, discharged in a similar year as Sholay. Amitabh and Jaya Bachchan additionally star.

Guarantee (2004)

Tom Cruise plays a contract killer who takes a cab driver, played by Jamie Foxx, prisoner in Michael Mann's neo-noir wrongdoing spine chiller, in which the last should make sense of how to stop the previous.

The Conjuring (2013)

A couple of paranormal examiners (Patrick Wilson and Vera Farmiga) are procured by a family who have been encountering progressively upsetting occasions at their farmhouse, right now from James Wan.

Insane Rich Asians (2018)

In light of the novel of a similar name, a Chinese-American educator ventures most of the way around the globe to Singapore to meet her sweetheart's incredibly rich family, where she should battle with abnormal family members, envious socialites, and the beau's opposing mother (Michelle Yeoh).

A Death in the Gunj (2016)

In Konkona Sen Sharma's full length directorial debut, a timid and touchy Indian understudy (Vikrant Massey) addresses a substantial cost for his delicacy, while on an excursion with his vain family members and family companions. Ranvir Shorey, Kalki Koechlin star close by.

The Death of Stalin (2017)

Veep maker Armando Iannucci approaches this earth shattering event throughout the entire existence of Russia through the perspective of dark parody and political parody, portraying the force battles that resulted following the main tyrant's demise in 1953. Jeffrey Tambor, who stars, stands denounced in the #MeToo development.

Dil Chahta Hai (2001)

Farhan Akhtar's directorial debut around three indistinguishable cherished companions whose uncontrollably extraordinary way to deal with connections makes a strain on their fellowship stays a faction top choice. Saif Ali Khan, Preity Zinta & Amir Khan star.

Dilwale Dulhania Le Jayenge (1995)

Shah Rukh Khan and Kajol's characters experience passionate feelings for during an excursion to Europe with their companions right now film — which is as yet playing more than two decades later in a solitary screen Mumbai theater — however face jumps as the lady's preservationist father has guaranteed her deliver union with another person.

Dum Laga Ke Haisha (2015)

After a court request orders a video tape storekeeper and a RSS volunteer (Ayushmann Khurrana) and a larger measured instructor in-preparing (Bhumi Pednekar) to rescue their bombing marriage, the two start to imagine each other's perspective, before choosing to participate in a piggyback race. Won a National Award.

Ee. Mama. Yau [R.I.P.] (2018)

A child battles to arrange the terrific entombment he guaranteed his father right now dark satire that is to a great extent shot in characteristic light. Lijo Jose Pellissery coordinates.

The Exorcist (1973)

One of the best blood and gore movies ever, that has left an enduring impact on the class and past, is about the satanic ownership of a 12-year-old young lady and her mom's endeavors to spare her with the assistance of two clerics who perform expulsion.

Fantastic Mr. Fox (2009)

Roald Dahl's kids' novel about a fox who takes nourishment from three mean and well off ranchers gets the prevent movement treatment from Wes Anderson, including the voices of George Clooney, Meryl Streep, Bill Murray, Willem Dafoe, and Michael Gambon.

Fight Club (1999)

Brad Pitt and Edward Norton star right now from David Fincher, about a white-nabbed sleep deprived person disillusioned with his free enterprise way of life, who frames an underground battle club with a flippant soapmaker, which advances into something considerably more.

Forrest Gump (1994)

A moderate witted however kind-hearted man (Tom Hanks) participates in a progression of characterizing occasions of the second 50% of the twentieth century in the US, while pining for his youth love.

Forushande [The Salesman] (2016)

Oscar-victor Asghar Farhadi utilizes Arthur Miller's play "Passing of a Salesman" as his story inside a story, to portray topical equals with the crumbling relationship of an Iranian couple after an ambush on the spouse. The spouse needs to discover who the aggressor is against her desires, while she manages post-injury stress.

Gangs of Wasseypur (2012)

Roused by the 2008 Tamil-language film Subramaniapuram, Anurag Kashyap comes up with a hoodlum epic that mixes legislative issues, retribution, and sentiment as it takes a gander at the force battles between three wrongdoing families in and around the Jharkhand city of Dhanbad, the focal point of the coal mafia.

Ghare Baire (1984)

In light of Rabindranath Tagore's epic of a similar name, and set in the disorderly repercussions of the segment of Bengal, author executive Satyajit Ray recounts to the narrative of a lady wedded to a ground breaking man whose lives are overturned by the presence of the spouse's extreme companion.

Ghostbusters (1984)

A lot of capricious paranormal lovers start a phantom getting business in New York, and afterward unearth a plot to unleash ruin by bringing apparitions. Brought forth one of the most notable tune verses ever.

Gladiator (2000)

Victor of five Oscars, including Best Picture and Best Actor for Russell Crowe, this Ridley Scott-coordinated film recounts to a moving story of a Roman general (Crowe) who loses everything — his family and rank — to wind up as a slave and afterward looks for retaliation on the culprit (Joaquin Phoenix).

The Godfather (1972)

In what is viewed as probably the best film ever, a maturing pioneer (Marlon Brando) of a New York mafia moves control of his domain to his most youthful child (Al Pacino), who goes from a hesitant untouchable to a heartless chief.

The Godfather Part II (1974)

Francis Ford Coppola's follow-up to his unique, fixating on Michael Corleone (Al Pacino) at the highest point of the hierarchy while offering a glance back at his dad's (Robert De Niro) past, is considered by some to be superior to its ancestor.

Gol Maal (1979)

A sanctioned bookkeeper (Amol Palekar), with a skill for singing and acting, falls where it counts the bunny opening in the wake of misleading his supervisor that he has a twin, right now parody.

Gone Girl (2014)

In light of Gillian Flynn's top of the line novel and coordinated by David Fincher, a puzzled spouse (Ben Affleck) turns into the essential suspect in the unexpected riddle vanishing of his better half (Rosamund Pike).

Gravity (2013)

Two US space explorers, an amateur (Sandra Bullock) and another on his last strategic (Clooney), are stranded in space after their van is annihilated, and afterward should fight flotsam and jetsam and moving conditions to get back.

Gully Boy (2019)

A hopeful, youthful road rapper (Ranveer Singh) from the ghettos of Mumbai decides to understand his fantasy, while managing the intricacies that emerge out of his own life and the financial strata to which he has a place. Zoya Akhtar coordinates, and Alia Bhatt stars nearby.

Harry Potter and the Prisoner of Azkaban (2004)

Alfonso Cuarón ventured behind the camera for what many consider to be the best Harry Potter film, as the kid who lived enters his third year at Hogwarts, and is informed that Sirus Black, an escapee from the wizarding scene jail Azkaban, is after his life.

Harry Potter and the Goblet of Fire (2005)

Working off the tone set by Alfonso Cuarón, the fourth section in the arrangement finds the main picked one maneuvered into a between school supernatural competition, while doing combating the upsetting dreams and the hurting torment that originate from his brow scar.

Harry Potter and the Deathly Hallows: Part 2 (2011)

Right now section, the renowned trio — Harry, Ron, and Hermione — face a test of skill and endurance to discover and pulverize Voldemort's remaining Horcruxes, while the understudies and educators of Hogwarts join to protect the school.

Heat (1995)

Al Pacino and Robert De Niro star on inverse sides of the law — the previous a criminologist, the last a cheat — in Michael Mann's expressive wrongdoing show, with a gathering of burglars arranging a heist ignorant the police are onto them.

Hera Pheri (2000)

Jobless and battling with cash, a proprietor and his two occupants (Paresh Rawal, Akshay Kumar, and Sunil Shetty) chance on a payment call and plan to gather the payoff for themselves right now the 1989 Malayalam film Ramji Rao Speaking.

How To Train Your Dragon (2010)

Raised in reality as we know it where Vikings have a custom of being mythical serpent slayers, a youthful adolescent turns into an unexpected companion with a youthful winged serpent and realizes there might be more to the animals than everybody might suspect.

The Hurt Locker (2008)

Best picture champ at the Oscars, another pioneer (Jeremy Renner) of a bomb removal squad astounds his subordinates with his perspectives and careless way to deal with the activity in the Iraqi capital. Kathryn Bigelow turned out to be first lady to win best chief.

Indiana Jones and the Raiders of the Lost Ark (1981)

Coordinated by Steven Spielberg off a story by George Lucas, an eponymous classicist (Harrison Ford) ventures to the far corners of the planet and fights a gathering of Nazis while searching for a secretive antique, in what is currently frequently considered as perhaps the best film ever.

Into The Wild (2007)

In light of Jon Krakauer's genuine book, Sean Penn goes behind the camera to coordinate the tale of a top understudy and competitor who surrenders all belongings and investment funds to good cause, and catches a ride across America to live in the Alaskan wild.

Iruvar (1997)

Aishwarya Rai made her acting introduction with a double supporting job in Mani Ratnam's personal film, which is motivated by the genuine contention of 1980s Tamil Nadu political symbols M. Karunanidhi (Prakash Raj) & M.G. Ramachandran (Mohanlal).

Jaane Bhi Do Yaaro (1983)

Right now legislative issues, administration, and the media, two picture takers (Naseeruddin Shah and Ravi Baswani) incidentally catch a homicide while attempting to uncover the rich. A Mahabharata performance in the third demonstration is a prestigious feature.

JFK (1991)

At the point when a New Orleans lead prosecutor (Kevin Costner) attempts to uncover the secret and potentially connivance behind the death of previous US President John Kennedy, he's confronted with impressive weight from the legislature. Tommy Lee Jones, Gary Oldman co-star. Oliver Stone coordinates.

Jurassic Park (1993)

It may be more than 25 years of age now yet viewing the absolute first Jurassic film from Steven Spielberg — in light of Michael Crichton's tale, which he co-adjusted — is an extraordinary method to remind yourself why the new arrangement, Jurassic World, has no clue why it's doing.

Kaagaz Ke Phool (1959)

Master Dutt coordinated and featured in what is viewed as probably the best movie ever, about an acclaimed chief (Dutt) who throws an obscure lady (Waheeda Rehman) in his next film, and the contradicting directions of their professions subsequently.

Kannathil Muthamittal (2002)

After discovering that she is embraced, a little youngster sets out on an excursion across common war-assaulted Sri Lanka to locate her organic mother who is a piece of the progressives. Mani Ratnam coordinates.

The King of Comedy (1982)

In Martin Scorsese's disregarded parody of big name love and media culture, a trying comic (Robert De Niro) stalks his late-night syndicated program symbol to win a major break, and afterward abducts him when things don't work out.

Kumbalangi Nights (2019)

Four siblings who share an affection despise relationship remain behind one of their own in issues of the heart right now family dramatization that investigates manliness with subtlety and in detail. Directorial introduction of Madhu C. Narayanan.

Kung Fu Panda (2008)

After a hefty kung fu fan panda is apparently erroneously picked as the Dragon Warrior to battle an approaching risk, he is reluctantly educated by an older ace and his understudies who have been preparing for a considerable length of time.

L.A. Confidential (1997)

As debasement blends in post-war Los Angeles, three cops — one corrupt (Kevin Spacey), one severe (Russell Crowe) and one moralistic (Guy Pearce) — research a progression of murders in their own specific manner, and structure an uncomfortable coalition. Spacey stands charged in the #MeToo development.

Lage Raho Munna Bhai (2006)

Right now the 2003 unique (likewise on the rundown), the Mumbai black market wear (Sanjay Dutt) begins to live by the lessons of Mahatma Gandhi to dazzle a radio racer (Vidya Balan) he's stricken with. Some felt it impaired Gandhism. Co-composed and coordinated by Rajkumar Hirani, who stands denounced in the #MeToo development.

The Legend of Bhagat Singh (2002)

Ajay Devgn plays the main communist progressive and political dissident in essayist executive Rajkumar Santoshi's biopic, which follows Singh — and later his partners, Shivaram Rajguru, Sukhdev Thapar, and Chandra Shekhar Azad — from the Jallianwala Bagh slaughter to the besieging of Parliament House. Some didn't care for its treatment of Gandhi.

The Lego Movie (2014)

A conventional, rules-following Lego minifigure (Chris Pratt) is erroneously distinguished as the most uncommon individual and the way to sparing the world from a malevolent dictator, for which he is entertainingly underprepared. It brought forth the hit single, "Everything Is Awesome".

Lipstick Under My Burkha (2016)

Denied for a discharge for a half year, this dark satire fixates on four ladies in community India who set out on an excursion to find opportunity and satisfaction in a traditionalist society.

The Lord of the Rings set of three (2001-2003)

Subside Jackson brought J.R.R. Tolkien's far reaching Middle-Earth to life in these three-hour sagas, which diagrams the excursion of a tame hobbit (Elijah Wood) and his different sidekicks, as they attempt to stop the Dark Lord Sauron by crushing the wellspring of his capacity, the One Ring.

Maanagaram (2017)

Emergencies happen to a couple of adolescents — a taxi driver, a BPO interviewee, and a hot-headed sweetheart — whose lives are interlinked after they show up in a major city right now spine chiller. Full length debut for author executive Lokesh Kanagaraj.

Manichitrathazhu (1993)

Right now suspenseful thrill ride exemplary, a youthful spouse (Shobana) is controlled by the soul of a vindictive artist after she opens a secured room their new spooky chateau. To help dispose of it, the spouse's therapist companion (Mohanlal) recommends an unordinary fix.

Mean Girls (2004)

Tina Fey's faction hit youngster satire follows a self-taught 16-year-old (Lindsay Lohan) who's a moment hit with A-rundown young lady coterie at her new school, until she tragically falls for the ex of the club's alpha.

Men in Black (1997)

Will Smith and Tommy Lee Jones star as two operators of an eponymous mystery association, whose activity is to screen extraterrestrial life on Earth and conceal their quality from people, utilizing neuralysers to delete recollections whether need be.

Mera Naam Joker (1970)

By a wide margin the longest movie on this rundown with a four-hour runtime, this semi-self-portraying take on executive, maker, and lead star Raj Kapoor's own life is about a carnival comedian (Kapoor) who must make his crowd giggle regardless of how troubled he is inside. Told in three parts, it highlights three ladies — Simi Garewal, Kseniya Ryabinkina, and Padmini — who formed his reality. Contrarily got upon discharge, it later experienced a basic revaluation.

Minority Report (2002)

Steven Spielberg freely adjusts Philip K. Dick's short story of a future where an uncommon police unit can get hoodlums before a wrongdoing is submitted because of an innovation, and what happens when an official from that unit (Tom Cruise) is himself blamed for a homicide.

Mission: Impossible – Ghost Protocol (2011)

After the organization he works for is wrongly ensnared in the shelling of the Kremlin, Ethan Hunt (Tom Cruise) and another group are compelled to denounce any and all authority and away from manager's name right now of the establishment.

Mission: Impossible – Rogue Nation (2015)

With the association he works for disbanded and his nation after him, Hunt (Cruise) attempts to beat the clock to demonstrate the presence of the rogues calling the shots right now. Acquainted Rebecca Ferguson with the establishment.

Mission: Impossible – Fallout (2018)

In what is ostensibly the best section in the establishment yet — 6th, in case you're tallying — insight operator Ethan Hunt (Tom Cruise) and Co. set off on a globe-running experience from Europe to Kashmir, to recover three plutonium centers from the hands of fear mongers. Henry Cavill joins the good times.

Moneyball (2011)

In light of the genuine story of Oakland Athletics and supervisor Billy Beane (Brad Pitt), it follows the last's endeavors to assemble a serious group by depending exclusively on measurable examination, with assistance from a Yale graduate (Jonah Hill).

Munich (2005)

After a Palestinian psychological oppressor bunch murders 11 Israeli competitors at the 1972 Olympics in Munich, the last's administration dispatches a mystery counter, entrusting five men to chase and execute those liable for the slaughter. Steven Spielberg coordinates, in light of a genuine story.

Munna Bhai M.B.B.S. (2003)

After his folks discover he has been professing to be a specialist, a genial Mumbai black market wear (Sanjay Dutt) attempts to vindicate himself by selecting a clinical school, where his sympathy catches up on against the tyrant senior member (Boman Irani). Co-composed and coordinated by Rajkumar Hirani, who stands charged in the #MeToo development.

Mustang (2015)

Set in a remote Turkish town, this presentation include by a Turkish-French chief portrays the lives of five youthful stranded sisters and the difficulties they face experiencing childhood in a moderate society.

Nayakan (1987)

Propelled by The Godfather — however good karma getting author executive Mani Ratnam to let it be known — and the life of Bombay (presently Mumbai) wrongdoing supervisor Varadarajan Mudaliar, it delineates and the life and passing of Velu (Kamal Haasan) who turns into a criminal and assembles a domain.

Newton (2017)

Champ of the National Award for best Hindi film, in which Rajkummar Rao stars as an administration agent who attempts to run a free and reasonable political decision in the Naxal-controlled clash ridden wildernesses of India.

Once Upon A Time in America (1984)

Spreading over four decades, Sergio Leone's last rambling film about a child in a Jewish ghetto (Robert De Niro) who ascends to unmistakable quality in New York's universe of sorted out wrongdoing stays one of the best hoodlum movies ever.

Once Upon A Time… in Hollywood (2019)

Margot Robbie, Brad Pitt, Leonardo DiCaprio Leads outfit cast of Quentin Tarantino's "fantasy tribute" to the winding down days of Hollywood's brilliant age, which follows a maturing entertainer (DiCaprio) and his long-lasting companion and trick twofold (Pitt) as they explore an evolving industry.

Padosan (1968)

Sunil Dutt, Saira Banu, Mehmood, and Kishore Kumar star right now the 1952 Bengali film Pasher Bari, about a youngster (Dutt) who begins to look all starry eyed at his new neighbor (Banu) and afterward enrolls the assistance of his artist on-screen character companion (Kumar) to charm her away from her music instructor (Mehmood).

Pariyerum Perumal (2018)

A hopeful youngster from a poor, abused station family hits a fellowship with an a lot wealthier female cohort at graduate school right now film, procuring him the fierceness of her family members and the general public on the loose. Introduction for author chief Mari Selvaraj.

Peranbu (2019)

After his better half forsakes him and their cerebral paralysis little girl for another man, a single parent (Mammooty) filling in as a taxi driver in Dubai must get back and bring up his solitary child, while on the precarious edge of vagrancy.

Pinjar (2003)

In light of Amrita Pritam's Punjabi tale of a similar name and set in the years when the Partition, a Hindu lady (Urmila Matondkar) comes back to her Muslim ruffian (Manoj Bajpayee) after she's repudiated by her family after getting away. Won a National Award.

The Prestige (2006)

After a heartbreaking mishap, two individual entertainers (Hugh Jackman and Christian Bale) turn unpleasant adversaries right now Christopher Nolan, and participate in a fight to make a definitive hallucination, while giving up all that they have.

Prisoners (2013)

After his girl and her companion are hijacked, a dad (Hugh Jackman) assumes control over issues while the police deliberately track down different leads, pushing himself into difficulty. Jake Gyllenhaal co-stars.

Pyaasa (1957)

Master Dutt coordinated and featured right now in then-Calcutta which follows a battling, anguished writer named Vijay (Dutt) who can't get acknowledgment for his work until he meets Gulab (Waheeda Rehman), a whore with a kind nature.

Raazi (2018)

In view of the genuine occasions portrayed in Harinder Sikka's 2008 novel "Calling Sehmat", Alia Bhatt stars as a covert Kashmiri RAW operator who weds into a Pakistani military family to keep an eye on the adversary before and during the 1971 Indo-Pak War. A few pundits thought that it was unlikely.

The Report (2019)

An optimistic government examiner (Adam Driver) reveals stunning privileged insights as he plunges into the CIA's post-9/11 utilization of "improved cross examination procedures" — in more straightforward words, torment — and faces extreme pushback from those aware of everything.

Roja (1992)

Before Dil Se.. what's more, Bombay, Mani Ratnam's investigation of human connections against the setting of legislative issues started with this Tamil-language film, about a recently marry lady who moves to Kashmir and battles to discover her significant other after he is seized by Kashmiri separatists.

Rosemary's Baby (1968)

Right now dependent on Ira Levin's top rated novel, a youthful pregnant lady (Mia Farrow) suspects a detestable clique — including her neighbors — needs to take her child for use in their customs.

Sahib Bibi Aur Ghulam (1962)

In view of Bimal Mitra's correspondingly titled 1953 Bengali tale and set throughout the fall of British Raj feudalism, low maintenance hireling (Guru Dutt) builds up a nearby, dispassionate bond with the disregarded, desolate spouse (Meena Kumari) of a privileged person (Rehman). Waheeda Rehman likewise stars.

Sankarabharanam (1980)

Victor of four National Awards, an old style music legend faces ruin right now dramatization attributable to changing music patterns and the sudden bond he shapes with a whore's little girl, who is crashed into outstanding conditions.

Sparing Private Ryan (1998)

In Steven Spielberg's World War II show, while war seethes on in Normandy, a military commander (Tom Hanks) is given the errand of looking for a specific private (Matt Damon), whose three siblings have just been executed.

Looking (2018)

Told completely through screens — PCs and cell phones — a dad (John Cho) breaks into his young little girl's PC after she disappears and criminologists can't locate a solitary lead.

A Separation (2011)

Asghar Farhadi's Oscar-winning show follows an Iranian white collar class couple, whose 14-year-old marriage starts to break down after they arrive at an intersection over the spouse's desires to leave the nation and the husband's interests for his old Alzheimer's dad.

Sholay (1975)

Relatively few movies have a degree of noticeable quality in well known Indian culture that is appreciated by this fine case of "Curry Western", which mixes genuine components with crafted by Akira Kurosawa and Sergio Leone. Amitabh Bachchan, Dharmendra, Hema Malini, Sanjeev Kumar, and Jaya Bhaduri (presently Bachchan) star.

Screen Island (2010)

Leonardo DiCaprio and Martin Scorsese work together for this adjustment of Dennis Lehane's 2003 novel, around two US Marshals (DiCaprio and Mark Ruffalo) researching the vanishing of a criminally-crazy patient, who was detained for suffocating her three youngsters.

Siddharth (2013)

After a poor Delhi man's (Rajesh Tailang) 12-year-old child disappears while away on work many kilometers away in Punjab, he sets out the nation over to discover him, dreading he's been dealt.

Insect Man 2 (2004)

In what many consider the best Spider-Man film ever, Peter Parker (Tobey Maguire) can't get a break. He loses his employment, his forces, and the adoration for his life Mary Jane (Kirsten Dunst). What's more, his closest companion (James Franco) is out for Spider-Man's blood to vindicate the passing of his dad.

Creepy crawly Man: Into the Spider-Verse (2018)

Drawn with a blend of PC produced and hand-drawn craftsmanship, Miles Morales is brought into a between dimensional clash not long after he's bit by an insect and additions superpowers, pushing him to collaborate to spare the multiverse. Set for a 2022 spin-off.

A Star Is Born (2018)

Bradley Cooper and Lady Gaga star right now fourth, in case you're checking — change of the 1937 exemplary story, of a heavy drinker blurring star (Cooper) meeting and finding a future star (Gaga). Cooper denotes his directorial debut.

Star Trek (2009)

J.J. Abrams reboots the Trek film establishment by bringing it into an other reality, where the youthful Kirk and Spock on board USS Enterprise must battle a decided foe from what's to come, who's making dark gaps to obliterate planets individually.

Sully (2016)

The genuine story of the 2009 crisis plane arriving on New York's Hudson River gets the regular saint treatment from Clint Eastwood, concentrating on the pilot's (Tom Hanks) heroics and the ensuing examination that attempted to paint him in any case.

Eliminator 2: Judgment Day (1991)

Arnold Schwarzenegger returns as the android, presently reconstructed and sent back in time (once more) to ensure a more youthful rendition of an opposition chief, in James Cameron's spin-off of the first that is viewed as probably the best film ever.

Thalapathi (1991)

Mani Ratnam coordinates this Tamil-language wrongdoing show inexactly dependent on Karna and Duryodhana's kinship from Mahabharata, where everything changes for a ghetto abiding vagrant (Rajinikanth) who's taken under the wing of a nearby pack master (Mammooty) with the appearance of another region judge.

Tumbbad (2018)

While searching for a mystery treasure in a town in twentieth century Maharashtra, a man and his child face the outcomes of building a sanctuary for an incredible devil who shouldn't be loved right now film.

Unda (2019)

In light of a genuine story, a nine-man Kerala police unit (Mammootty among them) must guarantee serene decisions in the Maoist-inclined territories of Chhattisgarh with a lacking number of shots — unda is Malayalam for "projectile".

Vaastav: The Reality (1999)

Approximately dependent on the life of Mumbai hoodlum Chhota Rajan, a youngster (Sanjay Dutt) from the ghettos incidentally kills somebody, which drives him into an existence of wrongdoing where he quickly moves up the stepping stool — before propelling into a winding.

Virus (2019)

Set against the setting of the 2018 Nipah Virus episode in the Indian province of Kerala, people from different backgrounds meet up to contain its spread right now language spine chiller. Parvathy, Revathi star & Tovino Thomas.

Whiplash (2014)

A driven youthful drummer (Miles Teller) is pushed as far as possible and past by a damaging teacher (J.K. Simmons) in what became author executive Damien Chazelle's leap forward.

The Wolf of Wall Street (2013)

Leonardo DiCaprio stars as a genuine stockbroker who cheated over $100 million from purchasers and misled his way to the top, before he was gotten and accused of extortion, defilement, and tax evasion. Martin Scorsese coordinates, in manners that were blamed for celebrating its hero's unpardonable activities.

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shankarjaikishanfansassnintl · 5 years

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Shailendra’s Teesri Kasam: Sapne Jagaa Ke Tune Kaahe Ko De Di Judaai

August 30, 2019 | By Ratnottama Sengupta

Teesri Kasam was made in another age and time. But more than 50 years after it briefly lit up the screen before it was yanked off the majestic Apsara Cinema of Bombay, “the finest human document written on celluloid”— as one viewer describes it— continues to live in the heart of every single viewer. Ratnottama Sengupta pays a tribute to the man behind this ‘love-lyric on celluloid’ – Kaviraj Shailendra, with some untold stories about the making of the classic.

Was it 1966 or 1967? Radio was big then. There was no television, so cinema lived in the lives of us pre-teenagers only through the songs. There was this kid who was boasting to his friend— both about ten years old— that his father had bought a new car. This had raised the social status of his family, a fact both the kids were aware of even at that juvenile age. Just then, Mukesh’s voice rang out, Na haathi hai, na ghoda hai, wahaan paidal hi jana hai… Sajan re jhootth mat bolo…” As if on cue, the second child responded, “Heard that? We will all have to go to God on foot. So what good is your father’s car?”

Song link Sajan re jhooth mat bolo (Shankar-Jaikishan/ Shailendra/ Mukesh)

That was the impact of the enchanting combination of Shailendra’s words, Mukesh’s voice, and Shankar-Jaikishan’s melody. And the song got further etched in my consciousness once I saw the film – albeit long after its release in 1967. By then it had got the National Award for the Best Film of 1966. Shailendra had passed away. Waheeda Rehman was a major star for me after Guide. I had come to revere Subrato Mitra as a hero who had made Pather Panchali – in fact the Apu Trilogy – a lesson in cinematography. Phanishwar Nath Renu had come to our house in Malad, to discuss Maila Aanchalwith my father – Nabendu Ghosh – and I had learnt that Baba was a screenplay writer who was soon turning director with that novel. And what is screenplay? “It is direction on paper,” my mother Kanaklata had simply explained.

Got the hang of it? Teesri Kasamwas made in another age and time. But more than 50 years after it briefly lit up the screen before it was yanked off the majestic Apsara Cinema of Bombay, “the finest human document written on celluloid”— as one viewer describes it— continues to live in the heart of every single viewer. Yes, Raj Kapoor was somewhat flabby, and looked too sophisticated as a gaadiwaan. Yes, the film could have been edited more tightly. Yes, it was rooted in a region that was far, far away from the world of Sangam and Guide, Mamta and Teesri Manzil – the megahits of that time – so the average viewer had to recalibrate his sensitivity in order to relate to a Nautanki dancer in rural Bihar who leaves her company rather than crush the love of a naïve bullock cart driver who worships her as a goddess. Love stories such as Hiraman and Hirabai’s are the stuff of folklore.

song link Laali laali doliya mein (Shankar-Jaikishan/ Shailendra/ Asha Bhosle)

But let me today unfold the other loves that went into the making of Teesri Kasam. And, no two ways about it, I must begin with Shailendra. For, even today, people believe that the lyricist who was anointed Kaviraj by The Raj Kapoor died heartbroken because of the commercial failure of the film which was his first production and his last ‘child’, carrying forward his name in the world of moving images. The truth, his son asserts, is a long way away: “Shailendra was commanding a princely sum for writing songs like Wahaan kaun hai tera. So he would have certainly recovered his financial investment. He was shattered by the shards of his dream!”

Shailendra met Basu Bhattacharya, in all probability, during the making of Parakh. Bimal Roy was an icon for whom he had already written unforgettable songs for Do Bigha Zameen, Madhumati and Yahudi, which anointed him the Best Lyricist at the 6th Filmfare Awards. And Basu was a regular visitor to his house, along with the director’s daughter he would soon marry. Basu Bhattacharya had a striking ability to cast a spell when he spoke: every one from Shailendra to Raj Kapoor, Rajesh Khanna to Sharmila Tagore, Sanjeev Kumar to Rekha— why, even Indira Gandhi!— was to come under his spell.

But, and perhaps more importantly, Shailendra was in love with the rustic simplicity of the two personas, Hiraman and Hirabai, who called each other Meeta. It was a love story rooted in the soil of Bihar, the land of his ancestors who had travelled all the way from Ara district to Rawalpindi where Shailendra was born, and then moved to Mathura. The song writer made up his mind to produce it, perhaps also because the short story had every possibility of becoming a musical masterpiece. Basu Da was to direct it; Mehmood was to be the gaadiwaan, and Nutan the dancer.

Song link Chalat musafir moh liyo re (Shankar-Jaikishan/ Shailendra/ Manna Dey)

The first roadblock came from the actress who had played Sujata. She was pregnant with Mohnish, and refused to shoot any film at that point. Waheeda Rehman was a natural choice, being a dancer and also having acted for Satyajit Ray’s Abhijaan. Subrata Mitra was already on board, remember? Even today we cannot imagine a better Hirabai. Just think Paan khaaye saiyyan hamaro, Laali laali doliya mein, or watch the Mahua ghatwarin sequence!

Song link Paan khaaye saiyyan hamaro (Shankar-Jaikishan/ Shailendra/ Asha Bhosle)

For the sake of realism, actors were picked up from theatre groups. And umpteen other roles were to be enacted by his own family of friends and mates. What a chest of delights the credit titles are! Nabendu Ghosh, who transcripted the short story into ‘a love-lyric on celluloid’ played a drunkard who gets beaten up by Hiraman for suggesting that he pimp on his behalf for the “nautanki ki bai”.

There was Kesto Mukherjee who would later get typed in the role of an alcoholic. It marked the debut of A K Hangal on screen. Iftekhar stepped into the role of the zamindar when a theatre actor from Bihar failed to deliver a single line. Dulari got under the skin of Hiraman’s bhaujai. Pacchi, who had produced Jaali Note in 1960 (directed by Shakti Samanta), was then directing Around the World(1966) pairing Raj Kapoor with Rajshri. And there was the Producer himself, playing a villager, who tries to peep in on the romantic couple when Hiraman and Hirabai are sitting in the open, eating curds and rice. Shailendra runs away when Raj Kapoor chases him. It was a fun role that got deleted in the final cut.

However I am more surprised to see that the credit titles attribute the lyrics to ‘Shailendra-Hasrat’. Why did the man who wrote O Sajna barkha bahar aayi, Yeh mera deewanapan hai, Mera joota hai Japani, among hundreds of other unforgettables, share the songs of his own film with a peer who one expects to be seen as a rival? My reading: The producer was perfecting the mood of the scene since Hasrat Jaipuri had penned the number, Maare gaye gulfaam. There’s another reason, says Dinesh. “Shailendra wanted the team of Shankar-Jaikishan, Hasrat Jaipuri and Shailendra to be together. That is why he shared the credit for lyrics with a peer.”

Song link Maare gaye gulfam (Shankar-Jaikishan/ Hasrat Jaipuri/ Lata Mangeshkar)

So, the unit was one big family of friends in an era of celluloid camaraderie. But that was to take its toll on the producer in terms of both, production cost and emotional turbulence. The first day Shailendra took Basu to meet Raj Kapoor, he hugged the lyricist of Awara hoon and said, “You’ve discovered a genius.” However, after the first day’s shoot, he took Kaviraj aside to say, “You are screwed. This gentleman is a novice in cinema.” This, by some accounts, was not off the mark as Basu had not graduated to be one of Roy’s trusted lieutenants. Later, “Subrata Mitra’s outbursts during the shooting would bear him out,” says Dinesh Shankar, the youngest son of Shailendra.

“The cinematographer, whom Kodak would send their newly developed raw stock for his approval, had startled Mumbai technicians by putting white paper on the walls to obtain ‘bounce light’. He was a very important person all through,” he adds, “as Basu Chatterjee, who was the chief assistant, left even his job as a cartoonist to pursue his own interest in direction. BR Ishara proved to be the only qualified man to shoot a film.” He is said to have written some of the dialogues too. Thus started the journey of a man (BR Ishara) who rose from being a Tea Boy serving on the sets to be a director who, at one point of time, was completing a film virtually every other month – including watershed titles like Chetana – and presenting talents like Rehana Sultan, Anil Dhawan, and Parveen Babi among others.

Another casualty of investing in friends was that a large chunk of the film was shot in Bina in Madhya Pradesh. I know for sure that the riveting last scene, where Hiraman glances back, to see Hirabai’s train recede into the horizon was shot in Borivali, close to Malad in Bombay, and no one can fault it for not being in Bihar. Much else could have easily been shot in some rural pocket outlying Bombay. Yet, the entire bullock cart journey was taken to a far-flung location, only to help the Production Controller Santosh— Shailendra’s wife’s brother— court a lady, later recognised as Nandita Thakur. Their romance had a happy ending when they got married. But in the process, the shooting of the entire film became a picnic for everyone, at the producer’s cost. So much so, that they would shoot during the day, and at night they would go hunting!

One funny incident happened when Pachhi shot what he thought was a Neelgai – and it turned out to be a buffalo owned by the village Pradhan. As a result, the group of shooters were taken into custody and Shailendra had to pay a fine. But at the Police Station they were royally treated by the constables who stood at attention, with folded hands, before the ‘hunters’ as it included Raj Kapoor too! Funny? Yes, but would you like to know the cost of the entertainment? When all the arrangements were made for the outdoor shoot, the Distributor said he had no money to finance the film that was in the making from 1961 till 1966. Further, the leading lady could not be expected to join in until she was paid.

Naturally, the producer was dejected. Seeing his downcast chehra his wife asked him, “What’s the matter?” Once he confided in her, she opened her cupboard, took out her saris one by one, and shook them. As she did so, currency notes started falling on the floor like leaves in autumn. And by the time she touched the bottom of her pile of saris, Shailendra had enough to see him through the shoot – “and more,” Dinesh laughed as he narrated the incident during a screening at Nandan, in March 2016. It had marked the 50th year of Teesri Kasam; of Shailendra’s passing, and had also set off the Nabendu Ghosh Centenary Celebrations.

Song link Haaye gajab kahin taara toota (Shankar-Jaikishan/ Shailendra/ Asha Bhosle)

For those interested in saris, here’s a bit more. Mrs Shailendra, like you and I, was fond of saris and every now and then she would buy what caught her eye. But, instead of taking them home, she would give them for stitching falls and then drop it at the laundry. When the poet husband noticed his wife in a sari he had never seen before, he’d ask her if it was new. She’d point to the laundry tag and say, “This is what happens if one is married to a poet. He doesn’t even notice his wife is wearing only old saris!” What’s more, every day after he came home, the smart lady would siphon off the ‘small change’ he carried in his pocket and stow away the notes in the folds of her ‘fresh from the laundry’ drapes. That’s why she could rise to his assistance when he was let down by his investment in people.

The song book of Teesri Kasam— one of my prized possessions from my school days— opens a can of memories. I had not recognised Baba when I first saw the classic: A beggarly fella who’s beaten up not once but twice by the hero! Not surprisingly, an aunt of his had advised my mother, “Bouma (bahu), don’t you go to watch this movie. Mukul (Nabendu’s pet name) has got such a thrashing from that no-good gaadiwaan!”

My brother Subhankar, director of Woh Chhokri and of the teleserial Yugantar, adds another anecdote. “One night, Shailendra came to Baba accompanied by Renu. ‘Dada, I will trash what I have shot but I will not change the ending just because Raj Saab wants me to,’ he told Nabendu Da. ‘But why would he want that?’ Baba asked. ‘So that the film has a happy ending with Hiraman and Hirabai becoming man and wife. But that would kill the story!’ Renu joined in, ‘Dada you must explain this to Rajji.’ At midnight, they set out to meet the star who told the screenwriter, ‘You have the pen in your hand, you must change the ending.’ Nabendu Da said, ‘Certainly the ending can be changed but before that you must change the Title of the film.’ ‘Why?’ Raj Kapoor was startled. ‘Because, if they marry and settle down, why would he take the third vow and promise that – like smuggled goods and bamboo poles – he will never ferry a dancer in his cart?’ That settled it and— like Bandini— it went on to play out its inevitable resolution, flowing unabated like a river.

Song link Aa aa bhi ja (Shankar-Jaikishan/ Shailendra/ Lata Mangeshkar)

More than half a century ago, when Shailendra screened the completed film for his friends, he meticulously noted down the comments of all those present. While Trade Guide had ranked it as ‘Average’ and Bunny Ruben had written ‘Press report excellent but audience conflicting’, Hrishikesh Mukherjee had predicted, ‘Award film.’

Teesri Kasam remains one of the gems in the filmography of actor Raj Kapoor. The showman knew the potential of the character and had therefore bulldozed his way into the role that had not an iota of glamour about it. But, in return, he did not come forward to give financial tips when his trusted Kaviraj was in deep waters. The optimist that he was, Shailendra had jotted down in his diary, ‘It will be a hit.’ But he was shattered when, though he was too unwell to step out and his entire family was suffering in silence, his dream film was premiered in Delhi with celebrations in full swing.

Song link Sajanva bairi ho gaye hamaar (Shankar-Jaikishan/ Shailendra/ Mukesh)

Some listeners have pointed out that sifting through the songs he penned between 1961 and 1966 gives an insight into his dejection. Sample this: Dost dost na raha… Zindagi hamein tera aitbar na raha in Sangam. When friends offer ‘reasons’ for staying away, he says, Sajan re jhootth mat bolo, Khuda ke paas jaana hai. He questions himself, Tune toh sabko raah bataayi, Tu apni manzil kyoon bhoola (Guide). He concludes: Rula ke gaya sapna mera (Jewel Thief).

“Mukesh was the only one of his many ‘friends’ who had rushed to Northcote Nursing Home on December 14, 1966 when he heard Shailendra’s condition is worsening,” recounts Dinesh. Mukesh alone was let in, while Shailendra’s wife and children stood in the corridor outside the room and the hospital staff kept rushing in and out of the room. Alone, the Voice of Raj Kapoor watched the AwaraPoet give up his battle for life. Two days later, the creditors procured a court order and attached every piece of furniture in Rimjhim, the bungalow in Khar, that had been mortgaged to complete his Teesri Kasam.

But the story has a silver lining. Mukesh came forward to inform Mrs Shailendra that he had paid off the mortgage amount and the bungalow was free again. ”It’s not a favour,” he assured her. For, his company, Mukesh and Sons had acquired the distribution rights of Teesri Kasam for Bombay. That was Mukesh – not only a balmy voice but a friend indeed. The company ensured the film’s release in late 1967, but only for a week, as the theatre was pre-booked for Duniya.

Was it poetic justice that viewers of this film came out singing Hiraman’s lines –

Duniya bananewale, kya tere mann mein samaayi!

Kaahe ko ‘Duniya’ banaayi…?

Song link Duniya banane waale (Shankar-Jaikishan/ Hasrat Jaipuri/ Mukesh)

(The views expressed by the author are personal.)

Courtesy : https://learningandcreativity.com/silhouette/shailendra-teesri-kasam/?utm_campaign=shareaholic&utm_medium=facebook&utm_source=socialnetwork&fbclid=IwAR1D5vibOMN2I2XzA9DR2kYCVeW-8TwMNdP0Gw7f_OnCPtsqtvN1Kob6uMc

#Teesri Kasam #Shailendra and shankar jaikishan #shankar jaikishan with shailendra #shailendra #hasrat jaipuri #mukesh

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bharatiyamedia-blog · 5 years

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Shahid Kapoor's depth is mined for a horrific, harrowing ode to misogyny- Leisure Information, Firstpost

http://tinyurl.com/y5bjlkev Language: Hindi and English with (unsubtitled) Punjabi Ranking: 1 (out of 5 stars) It takes nearly 50 minutes for the heroine of Kabir Singh to utter her first sentence. “Kabir, what do you want in me?” says this fragile-looking child-woman who was a mute puppet in his palms till then. “I like the way in which you breathe,” he replies. Ooh, keh diya na dil ko contact kar jaane waali baat! Shahid Kapoor in and as Kabir Singh Okay, my apologies for the flippant tone, however please excuse it as a defence mechanism in opposition to some of the horrific, harrowing, horrendous odes to misogyny and patriarchy ever created by Indian cinema in any language – humourised and romanticised for our viewing pleasure. Kabir Singh is the Bollywood remake of the 2017 Tollywood blockbuster Arjun Reddy starring Vijay Sai Deverakonda and Shalini Pandey within the roles performed on this Hindi model by Shahid Kapoor and Kiara Advani. To name each problematic is an understatement. As I watched Kabir Singh, I may already hear in my head the drained clichés which might be rolled out as rebuttals to criticism of such movies and are prone to be regurgitated for this one. “C’mon ya, males like that do exist.” “Are you saying movies shouldn’t depict actuality?” “If damaging characters may affect individuals to develop into dangerous then how come optimistic characters don’t instantly reform society?” Or, as Kapoor himself pre-emptively stated earlier this week in a newspaper interview: “If we begin judging characters, we will not make motion pictures which might be actual.” Oh brother, cease. Please cease. That is exhausting, however for the zillionth time: it’s not the depiction of actuality that’s objectionable right here, it’s exactly as a result of violent, damaging misogynists do exist and girls for hundreds of years have suffered at their palms that it’s deeply troubling when a movie portrays such an individual as cool, humorous, and, as Kapoor places it, a person with “a superb coronary heart” who “loves purely” and “wears his feelings on his sleeve”. Once more brother, cease. Cease with the euphemisms, please. Name the Kabir Singhs of the world what they’re and present them up for what they’re: obnoxious, ugly sociopaths. Kapoor performs Kabir Rajdhir Singh, an ill-tempered, aggressive albeit academically sensible medical faculty scholar who sooner or later sees a fairly lady on campus and decides she is his. Her title is Preeti Sikka (Kiara Advani) however he doesn’t know that then. They’ve but to also have a dialog, however like a canine urinating to mark his territory, Kabir goes to an all-men junior class, broadcasts to the scholars that they’ll have their decide of the opposite ladies within the faculty however this one is his lady, and calls for that they unfold the phrase on his behalf. Thoughts you, all this and every thing that comes thereafter (he’s a chain-smoking alcoholic and drug taker who loses himself additional in a spiral of substance abuse and intercourse habit when he’s forcefully separated from Preeti) is depicted in a comical tone and projected as depth, ardour and profound emotion. Each one of many despicable Kabir’s actions is portrayed because the handiwork of a loveable, mad genius. In addition to, the heroine who appears initially intimidated by him quickly falls in love with him, he treats one other lady like meat and he or she too promptly tells him she loves him, his mates – female and male – adore him, he’s well-liked with the nurses in his hospital on whom he threatens to vent his horniness… I imply, c’mon ya, if that’s the case many individuals are obsessed with him he should be having “a superb coronary heart”, no? Choose for your self the guts so good that Kabir kisses Preeti for the primary time whereas she stands statue-like, having not expressed any curiosity in him until then, he bodily imposes himself on her subsequently too, he orders her round like one may a pet animal that one is keen on, after they’ve intercourse for the primary time he instructs her in a proprietorial method to cowl up in public, after she falls for him he roughs her up, treats her like shit, repeatedly hits her and tells her she was a no person in faculty whose id rested totally on her being often known as his lady, and worse. As if none of this was sufficient, a music titled Tera Ban Jaunga has lyrics that go thus: Meri raahein tere tak hain Tujhpe hello toh mera haq hai (Translation: my path, each path I take, results in you / I’ve a proper over simply you.) The purpose about a “proper” over a lover is re-asserted within the music ‘Tujhe Kitna Chahne Lage‘, wherein the phrases go, “Tere ishq pe haan haq mera hello toh hai” (I alone have a proper over your love). Kiara Advani and Shahid Kapoor in Kabir Singh. Picture through Twitter From the 1990s, Hindi cinema steadily bade goodbye to the portrayal of violence, molestation and stalking as professional types of courtship. It by no means went away totally, however for essentially the most half, if a number one man was a stalker, he was categorically slotted because the villain of the piece as he was in Yash Chopra’s Darr. The romanticisation of stalking and the mistreatment of ladies whereas wooing them has made a giant comeback this decade, epitomised by Raanjhanaa (2013) and numerous Salman Khan, Akshay Kumar starrers. Kabir Singh is in the identical league: harmful to the core as a result of it’s such a slick manufacturing. For one, it’s well-acted, particularly by Kapoor, Advani (recognized to date for M.S. Dhoni: The Untold Story, Lust Tales, Bharat Ane Nenu), Arjan Bajwa enjoying Kabir’s brother and Soham Majumdar within the position of the hero’s greatest buddy Shiva. Kapoor, in reality, is so good right here that it’s heart-breaking to see him use his reward thus, to see the spectacular star of Vishal Bhardwaj’s spectacular Haider (2014) descend to this cinematic abomination. The forged is one in all Kabir Singh‘s many pluses. The cinematography by Santhana Krishnan Ravichandran is plush, the modifying by Aarif Sheikh and Vanga himself is really slick, and the songs are engaging. That stated, these numbers are ruined by the way wherein they’re used within the narrative together with the overbearing, ear-splitting background rating. The songs are nice when heard individually, however they’re slammed into the movie’s soundscape like whiplashes akin to the screechy results utilized in dangerous Bollywood thrillers to startle the viewers. Most insidious is the writing of Kabir Singh, which makes use of humour to lull us into an acceptance of its horrible, terrifying hero’s obnoxiousness. As offensive as his patriarchal, misogynistic angle in direction of the heroine and different ladies is the truth that in direction of the top writer-director-editor Sandeep Vanga appears to be attempting to evoke sympathy for him by getting him to tearfully confess that he’s an alcoholic. Clearly with this objective in thoughts, just a few bars from the nursery rhyme Twinkle Twinkle Little Star are additionally woven into the background rating – in a foolish and cheesy vogue, it should be stated – when Kabir is coping with the dying of a beloved one. In direction of the top, Vanga even appears to be trying a press release concerning the limits that supposed democracy locations on us when a lawyer says of Kabir that such free-spiritedness in a democracy isn’t okay. Ah, so being a creep is “free-spiritedness”. Obtained it. That line is one in all many dialogues in Kabir Singh which might be written to sound deep and mental, however imply little to nothing particularly contemplating the context wherein they’re spoken. The naming of the hero in Vanga’s Hindi remake appears to be a bow to poet-saint Kabir, and to underline the purpose, in a voiceover within the opening scene the man’s grandmother (Kamini Kaushal) recites one in all Kabir’s dohas. I have no idea whether or not to chortle or cry at this desecration of the nice man’s writing. Kabir Singh and its Telugu forebear Arjun Reddy should rank among the many most annoying examples of the obsessive stalker hero being glamourised by Indian cinema. !function(f,b,e,v,n,t,s) {if(f.fbq)return;n=f.fbq=function() {n.callMethod? n.callMethod.apply(n,arguments):n.queue.push(arguments)} ; if(!f._fbq)f._fbq=n;n.push=n;n.loaded=!0;n.version='2.0'; n.queue=[];t=b.createElement(e);t.async=!0; t.src=v;s=b.getElementsByTagName(e)[0]; s.parentNode.insertBefore(t,s)}(window,document,'script', 'https://connect.facebook.net/en_US/fbevents.js'); fbq('init', '259288058299626'); fbq('track', 'PageView'); (function(d, s, id) { var js, fjs = d.getElementsByTagName(s)[0]; if (d.getElementById(id)) return; js = d.createElement(s); js.id = id; js.src = "http://connect.facebook.net/en_GB/all.js#xfbml=1&version=v2.9&appId=1117108234997285"; fjs.parentNode.insertBefore(js, fjs); }(document, 'script', 'facebook-jssdk')); Source link

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hotnews69 · 6 years

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She was the self-anointed tragedy queen of the Indian marquee, what with her roles mirroring her life and vice-versa. Meena was born as Mahjabeen Bano in 1932 to a family of poor theatre artistes. She was made to act as a child artiste and was the sole earner for her family from the age of six. Her first film was Vijay Bhatt’s Leatherface (1939). It was Bhatt again who gave her Baiju Bawra (1952), the film which catapulted her into the limelight. She became the first recipient of the Filmfare Award for Best Actress for her performance. She’s popularly known as the ‘tragedy queen’ after playing a suffering woman in films like Parineeta (1953), Daera (1953), Ek Hi Raasta (1956), Sharda (1957), Dil Apna Aur Preet Parayi (1960), Dil Ek Mandir (1963) and Kaajal (1965). She created history during this period by being the only nominee for the Filmfare Award in 1962, for her roles in Aarti, Main Chup Rahungi and Sahib Bibi Aur Ghulam. She won the award for Sahib Bibi Aur Ghulam. Despite the tragedy queen tag, she was also noted for light-hearted comedic roles in films like Azaad (1955), Miss Mary (1957), Shararat (1959) and Kohinoor (1960). Her personal life was fraught with heartburn. She married director Kamaal Amrohi, her senior by 15 years in 1952 when she was just 20. The initial awe she felt towards the intellectual Amrohi soon faded and the couple started having problems. It’s said that Amrohi couldn’t stand his wife’s rising popularity and started mistreating her. The differences led to separation in 1960 and finally to divorce in 1964. The couple did reconcile to finish Pakeezah (1972) (which was started way back in 1956) but the relationship had lost its charm and they separated again. The actress died amidst penury due to complications arising from liver cirrhosis in 1972. Filmfare awards 1954 Filmfare Best Actress Award - Baiju Bawra 1955 Filmfare Best Actress Award - Parineeta 1963 Filmfare Best Actress Award - Sahib Bibi Aur Ghulam 1966 Filmfare Best Actress Award - Kaajal

With Raj Kapoor in Sharda Sharda (1957) This is one of those films where the filmmakers were really ahead of their time. Meena Kumari excelled as Raj Kapoor’s lover forced by circumstances to marry his father (no kidding!). How she reforms the heartbroken and alcoholic stepson might seem a bit melodramatic but is saved from being a farce by forceful acting by both Meena and Raj. Baiju Bawra (1952) Meena Kumari started the martyred woman journey with this musical bonanza of a movie. She was so much in love with Baiju that she even separated from him so that the pain could elevate his music. That’s taking the ‘pain, no gain’ maxim to its limits. A young Meena Kumari played the perfect foil to the debonair Bharat Bhushan and won plaudits for her performance. Parineeta (1953) Move over, Vidya Balan. Meena Kumari was the original Parineeta in the Bimal Roy classic and won her second Filmfare Award for her power packed performance. Her body language, her hurt and anguish when judged wrongly by her fiancée (Ashok Kumar) and the confrontational scenes between the two lead actors formed the crux of the film.

Ek Hi Raasta (1956) Made by the progressive director BR Chopra, the film dealt with the sensitive issue of widow-remarriage, quite a bold theme at the time. The complications that arise when Meena goes into a new relationship with Ashok Kumar are thoughtfully portrayed. The actress’ interactive scenes with her young son (played by Daisy Irani) are a delight.

Miss Mary (1957) People who perceive that Meena Kumari is just a tragedienne will do a rethink when they see Miss Mary. She was paired opposite Rekha’s father Gemini Ganesan and Kishore Kumar also played an important role in the film. It centered around the lost-child-found-again formula and it’s good to see Meena doing a happy-go-lucky role. Her comic timing is impeccable.

Dil Apna Aur Preet Parayi (1960) Doctor-nurse romance anybody? This film was straight out of some Mills and Boon novelette. Meena Kumari played a nurse who suffers unrequited love. Raaj Kumar plays a hard working doctor who marries Nadira for the love of money. And Nadira plays a scorned wife who makes everyone’s life a merry hell. It’s what we call a 12 hanky film. Ajeeb daasatan hai yeh from the film still rules the air waves. Main Chup Rahungi (1962) It’s another of those unwed mother dramas. Sunil Dutt plays her paramour who later suspects her of being a woman of loose character. How the misconception is cleared and the lovers reunite and the child gets a fresh pair of parents forms the crux of this overemotional film.

Kohinoor (1960) It’s a regular Errol Flynn swashbuckler set in India. Dilip Kumar was advised to play light-hearted roles by Harley Street shrinks and Kohinoor was the answer. Both Meena and Dilip had a glad time letting their hair down and it shows. The film confirmed that the tragedy queen and king can act better than anybody else against the type too.

Aarti (1962) If Dil Apna Aur Preet Parayi was about a scorned wife raising hell, then Aarti is about a jilted lover creating misery for his ex. Ashok Kumar brought his villainous side to the fore and Pradeep Kumar played the suffering husband. Meena Kumari played the emotional punching bag which both men abused with much gusto. It’s a weepy to end all weepies.

Sahib Bibi Aur Ghulam (1962) This film came close to mimic Meena Kumari’s real-life trauma. The attraction to younger men, the apathy of the husband, rampant alcoholism – you couldn’t decide where Choti Bahu ended and Meena Kumari began. It gives one goosebumps every time one watches a rerun on TV. It’s considered her best performance till date. She won a well-deserved Filmfare Award for it.

Phool Aur Patthar (1966) He removed his shirt and a nation sighed. Dharmendra’s licence as a sex-symbol got stamped anew in the scene where we think we might get to see some hanky-panky between Meena and him. There were rumours that there was real-life romance going on between the actors during the making of the film. Dil Ek Mandir (1963) Meena Kumari seems to revel in doctor dramas. Here, Rajendra Kumar plays a conscience-stricken doctor who is in a dilemma of whether or not to save the life of his ex-flame’s husband. Watch the scene where Raaj Kumar wants to reenact the suhagraat on his hospital bed. Meena Kumari’s face is a canvass of emotions. The film also has an interesting ham heart attack scene by Rajendra Kumar, but that’s another story. Kaajal (1965) After Sahib Bibi Aur Ghulam, Meena Kumari again falls prey to a debauched husband. This is mostly a reprise of the earlier film and this time the platonic relationship with a younger man more pronounced in the sense that Dharmendra plays her raakhi brother. Choo lene do naazuk hothon ko, where Raaj Kumar extols the virtues of alcohol to his horror-struck wife remains glued to the memory. She won a Filmfare Best Actress Award for her performance. Mere Apne (1971) Meena Kumari plays an old woman who is shunned by her family. She becomes a foster-mother of sorts to two factions of warring local youths. Her death makes them realise that violence doesn’t pay. Meena wasn’t yet 40 when she did the film but yet shone as s septuagenarian. She came up with a strong portrayal of an old woman caught between two street gangs of frustrated, unemployed youth, whose killing finally makes them realise the futility of violence in Gulzar's directorial debut.

Pakeezah (1972) Pakeezah started out way back in 1956. Then differences emerged between Kamal Amrohi and wife Meena. Even then, after all those years, the magic of the story didn’t fade. Everyone loves a golden-hearted courtesan, so you can only nod in sympathy when Raaj Kumar fell for her. And claps again when the besotted lover wants to marry her. The great music by Ghulam Mohammed is still remembered today. And so is the line, ‘Aapke paon dekhe. Bahut haseen hain. Inhe zameen par nahin utariyega. Maile ho jaayenge.’ Sigh! They don’t make such films any more. from filmfares https://ift.tt/2vyf8L1

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4srfriends · 6 years

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Dhadak Movie Review: Ishaan Khatter, Janhvi Kapoor starrer film will scare you of love

Dhadak

Dhadak Movie Review:-

Director Shashank Khaitan who had given two hit films in his career Humpty Sharma Ki Dulhania and Badrinath Ki Dulhania this time decided to make a remake of Marathi blockbuster film Sairat. He also got the big responsibility of launch star kids of Ishaan Khatter and Janhvi Kapoor. Now finally the film is released and let's see how Khaitan has given this film a new flavour.

Movie Name - Dhadak

Star Cast :- Ishaan Khatter, Janhvi Kapoor, Ashutosh Rana, Aditya Kumar, Ankit Bisht, Shridhar WatsarDirector - Shashank KhaitanProducer - Karan JoharMusic - Ajay-AtulGenre - Romantic Tragedy Critics Rating - 3 stars

STORY:-

Dhadak film Now whoever have already watched Nagarjuna Manjule's Sairat then knew the story of this film and who have watched it, then let me tell you this film deals with the social issue of honour killing. Madhukar Vaghla (Ishaan Khatter) is in love with Parthvi (Janhvi Kapoor) daughter of going to be MLA of Udaipur, Rajasthan, Ratan Singh (Ashutosh Rana). Their love story was going well till Parthvi's brother Roop (Aditya Kumar) doesn't catch them red-handed.

Just two days for elections, Roop leaves Madhukar free to not create any drama before the elections. Since Ratan Singh wins the elections his first mission is to kill Madhukar and his friends. While the police were planning to kill them Ratan Singh's daughter Parthvi comes and saves Madhukar by taking on gun-point. Then they both Parthvi and Madhukar run away from Udaipur to Nagpur. Then the story takes forward with the struggle of Madhukar and Parthvi for their new lives and how their past changes their lives.

DIRECTION:-

Dhadak film Shashank Khaitan has the brilliant script of Sairat to make it a remake in Dhadak, well, he has given a new flavour and grandiosity to everything in the film. Shashank earlier had directed Dulhania series and both the films have faced a major loophole and that was its second half. Shashank Khaitan somehow failed to grab the attention of the audience in the second half but however, he managed to recover the same attention through the last twist and turn in the climax.

Well, overall he has done a good job because besides, the remake he also has the responsibility of launching star kids Ishaan Khatter and Janhvi Kapoor. He knew from the first frame where they were lack and where they are good so he used it through as the power of this film.

PERFORMANCES:-

Dhadak performances Ishaan Khatter is a pro in acting and maybe the reason is that this is now Ishaan's first film earlier he had worked Beyond The Clouds. Meanwhile, Ishaan Khatter is at the top of his skills and he will never make you believe that he is a newbie actor who is convincing you through his performance. Ishaan has given all the emotions and actions in a proper manner that is amazing.

Janhvi Kapoor is beauty, yes she will give you all the reasons why she was the most awaited star kid in Bollywood. Since the first, you will be remembered of this thing that she is a daughter of late actress Sridevi and if you don't then the starting of this film will give you a recall. Janhvi Kapoor played a totally opposite character of her life, one hand in real life she is not less than a princess but in this film, she played a struggling lover. Even in the tough situations, Janhvi will make you say wow because there were some scenes that you can't imagine this kind of performance with any debutant. Especially, the climax scene where she said everything with her emotions without saying a single dialogue. Janhvi Kapoor is going to be the next Alia Bhatt for Dharma Productions surely.

Ashutosh Rana

Ashutosh Rana played the powerful MLA and his eyes are enough to make you scared. Although in the first half, his role has much to say but in the second half, he is missing. Aditya Kumar who played the role of Parthvi's brother Roop has the big responsibility but he doesn't impress you much and the same goes to actor Shridhar Watsar who played Madhukar's friend. Shashank gave Shridhar a role to make people laugh but besides two or three scenes he was not funny. Although, another actor Ankit Bisht's performance is quite good.

MUSIC :-

Dhadak film poster Ajay-Atul the original music composer of Marathi film Sairat were chosen to give music in Dhadak also. They took two songs Yad Lagla and Zingaat to recreate them in Dhadak also. Both the songs Zingaat and Pehli Baar are beautiful songs. Whether the title song Dhadak Hai Na will stay with you for a long time. However, another song Vaara Re when it comes and goes you will not come to know about it. Meanwhile, maybe or on two songs were missing in the film.

VERDICT

Director Shashank Khaitan has taken Sairat in his own zone and make it a film to entertain the audience with a beautiful performance of leads and a social message in his own way. Watch Dhadak as a Bollywood film and don't compare it with Sairat because both the films have its own aura and zone.

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brandbaskets · 6 years

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New Post has been published on https://brandbaskets.in/the-new-idea-for-those-striving-to-find-a-middle-path-between-fomo-and-jomo-technology-news-ettech/

The new idea for those striving to find a middle path between FOMO and JOMO, Technology News, ETtech

Nikhil Jois was always online. The 28-year-old, who joined almost every social network, believed that “your network is your net worth”.

“In my vanity, I thought that everyone wanted to know where I had that masala dosa. I was craving for validation. I wouldn’t just post something, I would wait to see who likes it, who laughs at my jokes and who is jealous of me,” says the Bengaluru-based tech entrepreneur.

It soon became a vicious loop that he couldn’t escape. He had a fair idea of what addiction meant, and social media had begun to feel like one.

“I put on weight, got unusually stressed and unnecessarily angry. I wasn’t looking good or feeling good.” He tried turning off his mobile notifications and uninstalling some of the apps but eventually ended up logging on to them from his desktop. “It was like I was trying to sneak past myself.”

Then, in April 2017, Jois asked his brother to change all his social media passwords and not disclose them to him. “That really worked wonders for my health and productivity,” he says.

It’s been a year since and he claims he is no longer a social-media addict. “I sleep better. I feel healthier. I have regained two hours of reading time a day.” The web browser app on his cellphone has been replaced with Kindle just so he reads more long-form writing than bite-sized content. “I still get FOMO once in a while, though,” he says.

FOMO, or the fear of missing out, is a two-decade-old phenomenon acronymised by a Harvard MBA, Patrick J McGinnis, in 2002, and bandied about by every third digital literate since 2014. FOMO is a feeling that if one is not online, one might miss out on what others are experiencing, learning or talking about.

People suffering from FOMO are tethered to their digital devices and are often found rigorously posting their life updates, and liking and commenting on other people’s posts. Some of them passively scroll through social timelines to see what everyone’s up to.

Jois curbs FOMO by meeting people in person instead of going down the online rabbit hole. He’s moving towards JOMO, he believes. JOMO, or the joy of missing out, is a relatively positive belief that cutting off all social media and digital devices can be blissful. It was reportedly coined in 2012 by the American blogger and tech entrepreneur Anil Dash who briefly switched off his devices and went offline after the birth of his son.

FOMO and JOMO are the two ends of a spectrum that includes other social media-borne emotions like FOJI (fear of joining in), MOMO (mystery of missing out), SLOMO (slow to missing out). To Karthik Srinivasan, a communications and digital marketing consultant, JOMO is more a glamourisation of privilege. It’s meant for people who can afford to miss out on opportunities and leads that social media has on offer.

“FOMO and JOMO are two extremes. One is harmful, the other unrealistic for most users. Nobody is talking about a balance between the two, the middle path,” he says.

ET Magazine has decided to call the middle path NEMO, which means Nearly but not fully Missing Out.

Jois is an ideal example of NEMO now. He is away from most online networks but hasn’t turned into a social media recluse. He occasionally logs into Facebook to run an ad for his digital agency. He follows a select set of people on Twitter to get a lowdown on what’s happening in the world.

Palak Kapadia, 22, is another young NEMO-ite. The Mumbai-based writer envied people who seemed to have a better life on Instagram until she became what she resented. In September 2017, she got an offer to teach English in a high school in Nantes in western France. It was a seven-month term that gave her a chance to visit 14 countries in Europe over the weekends. “Now I was showing off how great my life was.”

Travelling also made her introspect. “It was exhausting to stay updated and keep posting everything all the time,” she recalls. During a trip to Italy, she chanced upon a quote that said: “Would you continue to do what you’re doing if you knew nobody was watching?” She recalls: “I realised my fear of missing out on other people’s lives was actually making me miss out on my own.”

Earlier she would post 10 Instagram Stories a day. “Now, I barely do one in a couple of days.” Completely disconnecting from social media was not an option for her as she likes to know what her friends and extended family are up to.

Pankaj Malani, head of content at tech startup Dailyhunt, is a NEMO cadet, too. He quit Facebook four months ago because he couldn’t keep up with the stream of “fake happiness”. “People were getting married, having kids, going on vacations; it’s as if their lives were perfect when in reality I knew it was far from it.”

However, social media has also proved to be a great tool for him at work. “Every time I need a voice-over guy, a small-time actor, a translator, I just tweet it out and find someone within minutes.”

A lot of people depend on social platforms professionally, says Amrita Clements, a Mumbai-based clinical psychologist and marriage and family therapist. A majority of them also try to perfect their image on social media. “Social media has proved to be an amazing tool to connect the older generation but has made the younger generation in big cities even lonelier.” 80% of her patients recognise its role in changing their behaviour and causing them anxiety and depression.

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Instead of asking them to clamp down on a behaviour, she puts them on the path of NEMO. “I tell them to create boundaries: avoid logging in when they are in a bad mood because it may end up making it worse.”

She encourages them to work on real relationships and focus on themselves. One-fifth of her patients who acknowledge social media’s role in increasing their anxiety are removing social network apps from their phones. Detachment from all platforms à la JOMO is still not advisable. “Social media has also helped normalise mental health issues. It’s hard to cut off something that can be so positive at times,” she says.

The middle path propagated by NEMO is finding takers around the world. According to Socialreport.com’s March 2018 report, around 400 million Facebook users are taking a social media detox on a monthly basis, as opposed to a blanket ban. Apps to help people track mobile usage or keep from distractions have come up.

In 2014, Kevin Holesh created an iOS app called Moment to check his device addiction. The app, at 5.3 million downloads right now, tracks your iPhone and iPad usage and sets daily usage limits so you don’t waste time on the gadgets. In-app purchases range from Rs 200 to Rs 2,000. 6% of its user base is from India. “It’s been a wild ride,” says the Pittsburgh-based UI-UX designer who has seen a 100% year-on-year growth in user base in the last four years.

He sees a huge boost in sales early January because of New Year resolutions. The concern around data privacy after the Facebook-Cambridge Analytica debacle was also good for business, he says.

While the future is certainly mobile-based, the highly productive times of many are often on desktop. In 2009, a North Carolina-based tech company called Freedom created an eponymous software that could be used across mobile phones and desktops to block distracting websites and apps as per the user’s wish. A tenth of its 750,000 users are from India, says Fred Stutzman, founder of Freedom.

Neither Stutzman nor Holesh is a proponent of JOMO. “It is unrealistic to expect people to go smartphone-free. Limiting yourself to two hours on the phone daily is a good place to start with,” says Holesh.

JOMO may have been called the next big trend, but it is actually NEMO that is turning out to be a potential global industry, with the emergence of a raft of phone-tracking and meditation apps that helps you have a balanced digital life.

Digital wellbeing is being turned into an experiential business too. A weekend of digital detox retreat at select tourist locations across the world ranges between $200 and $4,000.

In India, even the internet de-addiction centres in metros don’t talk about completely cutting off social media and digital devices. “Complete abstinence will be met by complete resistance. We have to reduce the dysfunctional part of one’s behaviour that leads to addiction,” says Dr Manoj Kumar Sharma, a clinical psychologist at NIMHANS, who was instrumental in setting up the Services for Healthy Use of Technology (SHUT) clinic under the aegis of the Bengaluru-based medical institution that deals with mental health and neurosciences.

It’s also fashionable to look at social media addiction as a thing in itself when addictive behaviour is actually a lot more complex, says Dr Alok Sarin, a Delhi-based psychiatrist.

“People with addiction are prone to dependency behaviour. This dependency can be on a variety of things, including gambling, gaming and technology in general. It’s difficult to say if the problem is with the behaviour or the platform,” he adds. Companies like Google and Samsung are doing their bit to ensure their platforms offer a balance between digital connectivity and digital wellbeing.

Earlier this year, Arianna Huffington, cofounder of Huffington Post, launched the beta version of a digital wellness app called Thrive in India through the Samsung Galaxy Store and the Google Play store. “We will be officially launching the app in India this summer,” says Danny Shea, head of global expansion at Thrive Global.

Last month, Sundar Pichai, CEO of Google, announced a host of features for its upcoming products under the digital wellbeing umbrella while addressing the audience at the tech giant’s annual I/O conference. Finding a balance between FOMO and JOMO was key to his speech as well. A balance that, ironically enough, even the makers of apps like Moment and Freedom are striving to achieve. Everyone is indeed on a quest towards finding their NEMO.

Acronyms of Social Media Age

FOMO (Fear of Missing Out)

It is the anxiety caused by the assumption that if you are not online, you might miss out on what others are experiencing, learning or talking about

FOJI (Fear of Joining In)

It is the worry that your social media friends may not like or comment on your posts and pictures so you are less likely to post updates and could out of platforms at once. FOJI is exhibited by people who delete their post if it hasn’t received too many reactions within an hour of posting

MOMO (Mystery of Missing Out)

When you notice that your friends haven’t posted in a while and you feel anxious that they are having too much fun without keeping you in the loop

FOMOMO (Fear of the Mystery of Missing Out)

The feeling that you are missing out due to a broken or out-of-battery phone

SLOMO (Slow to Missing Out)

When you sleep through the night unaware of your friend’s party, only to wake up to a timeline full of pictures and updates from the same

BROMO (Bros Protecting you from Missing Out)

When your friends don’t post pictures from a fun gig just so you don’t feel left out

JOMO (Joy of Missing Out)

The belief that cutting off from social media and digital devices can lead to happiness

NEMO (Nearly but not fully Missing Out)

The acronym coined by ET Magazine to describe the balance a lot of users are trying to strike between FOMO and JOMO. NEMO is when you have not fully cut off from your devices or social media. (Source: theguardian.com and other media reports)

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lazyupdates · 6 years

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Bollywood films are no doubt known for the factory fresh romance they churn out year after year but have also been popular for showing the bond and affection that exists within a family. Whether it’s the bond between mother and son (Deewaar), mother and daughter (Mom) between brothers and sisters (Dil Dhadakne Do), there are numerous examples galore besides the obvious ones mentioned here. We will be focussing on the father-son bond as seen in Hindi films which remains another strong pillar when it comes to serving us oodles of mush, not to mention family values. Presenting a list of film where strong men showcased tough love towards each other…

Paa Director : R. Balki (2009) Star Cast: Amitabh Bachchan, Abhishek Bachchan, Vidya Balan, Paresh Rawal and Arundhati Nag

Paa was something that nobody had ever seen in Bollywood and even though the film is close to a decade old now, we are unlikely to see it in future as well. In the film, Amitabh Bachchan is playing is playing a 12 year old boy called Auro, who is suffering from a disease called Progeria. So, even though he is just a 12 year old boy, he looks five times his actual age. Despite his condition, Auro is living a happy life with his mother Vidya (Vidya Balan), who is a gynaecologist by profession. Amol (Abhishek Bachchan), Auro’s father is an aspiring politician, who doesn’t know he even has a son due to the fact that Vidya conceals this from him. He meets him at an event at Auro’s school where he goes as the chief guest. During their meeting, Auro expresses his desire to visit the President’s House to Amol. So, Amol takes Auro along with him to visit the President’s house. The story takes a turn during Auro’s 13th Birthday. Auro tells Amol that he is son and wants to reunite his mother back with his father. But, Vidya doesn’t like the idea as she is still hurt by the fact that Amol tried to convince her about an abortion when they first found out about her pregnancy. Amol realises his mistake though, and proposes to Vidya, as he is still in love with her. He stays by Auro’s side when he finds out that Auro is his son. Auro’s health begins to deteriorate as he reaches his 13th birthday, his physical defects catching up. They perform their wedding rituals in the hospital in the presence of Auro. Even though Auro realises that he doesn’t have any time left he realises that he can die peacefully after re-uniting his parents. Paa showcased a father son relation in a way like never before. The most interesting part of the film was the roles of the father and son in the film were actually reversed. In an interview with a leading daily, R. Balki also spoke about how the idea for this role reversal came about. He said, “I had gone to Amitji’s office once and saw him talking to Abhishek. Abhishek was talking very wisely and Amitji was playing the fool. That made me think how a role reversal would look if Abhishek played Amitji’s father. I thought of making a fantasy film with this idea. But I also wondered if I could make a real story, if there was any medical condition that would help this story. I spoke to doctors and learnt about Progeria. Quite a few movies have been made on this so I did not want to make another one on it. Instead, I wanted to concentrate on the father-son relationship.”

Udaan (2010) Director: Vikramaditya Motwane Star Cast: Rajat Barmecha, Ronit Roy, Aayan Boradia, Ram Kapoor and Manjot Singh

The story of Udaan revolves around 17 year old boy called Rohan (Rajat Barmecha), who is expelled from the reputed Bishop Cotton School, Shimla along with three of his friends after they were caught watching an adult film by their warden. Rohan returns home to an abusive and an alcoholic father (named Bhairav) and a 6 year old half brother named Arjun. Once he’s back, his father takes complete charge of his life. He is forced to wake up every morning for a run and later work at his father’s metal factory and attend engineering class at the local university. His father’s disappointment in him takes a form of constant humiliation along with verbal as well as physical abuse. Rohan secretly has a passion for writing and wants to pursue a career in it, he simply doesn’t have the courage to confront his father about it. Rohan comes home one day to find his step brother Arjun seriously wounded. When Rohan asks his father about what happened to Arjun he tells him that Arjun fell down a flight of stairs. After admitting Arjun in the hospital, the father leaves for Kolkata for a business trip. Rohan learns from Arjun that his father was the reason for his condition and he lied to him about the stairs. After his father returns, he learns that Rohan has failed his engineering exams. Furious by this fact, he burns the diary in which Rohan had written all his poems and stories. He later informs his children that he will be marrying again and has decided to send Arjun to a boarding school and make Rohan a full time employee at the factory. Rohan manages to run away from the house that night and the next day also takes Arjun with him leaving a note behind for his father which said that if he came looking for them Rohan would inform the police. In the film, Bhairav treats both his kids like “projects”. He wants them to stay out of his life and he feels being a father means just to provide and ensure that his sons are disciplined. In a way, had the older brother not been subjected to his father’s behaviour he may not have turned out to be the man he became at the end of the movie. This film also makes us realise the value of our relationship with our father and cherish what we have. Udaan was truly an inspiring film which tells us to never let our dreams die and fight for them till we succeed. In all our lives there resides a Rohan and like Rohan all we need is to fight for what we desire. Although the film didn’t do well commercially, it managed to bag several awards. Udaan is extremely high on the emotional quotient. There is something in this film which we all can relate to and this is what makes it a must watch for everyone. And unlike most films, it also treated us to the dark truth that some fathers can be monsters too.

Wake Up Sid! (2009) Director: Ayan Mukerji Star Cast: Ranbir Kapoor, Konkona Sen Sharma, Anupam Kher, Supriya Pathak, Rahul Khanna and Shikha Talsania.

Wake Up Sid! was Ayan Mukerji’s first film as a director and with Ranbir Kapoor. The story of the film is about a young boy named Siddharth Mehra or Sid (Ranbir Kapoor). Sid is the son of a wealthy businessman Ram Mehra and his wife Sarita Mehra (Supriya Pathak). Living in Mumbai, Sid has always got what he wanted since he was a kid. He was never told NO for anything. So, he grows up to be a carefree and lazy spoilt brat. Since he has no interest in studies, his father forces him to work for his company. But, Sid is unable to give in to that as well. Things take a turn for the worse when he find out that he has failed his graduation. Unable to deal with his parents after his failure, he decides to leave his house and lives with his friend Aisha (Konkona Sen Sharma), who recently moved in from Kolkata. During his stay there, he realises that you have to work for everything in life and it just doesn’t get handed to you like it was until now. Sid always had a passion for photography, so, he decides to pursue a career in something that he will enjoy doing. With the help of Aisha, he gets a internship at a magazine as a photographer. Slowly but steadily, he realises the value of hardwork. He realises that all the things that his father kept telling him and which he found useless, were actually true. In the end, when he gets his first paycheck, he rushes to his father’s office. Upon seeing him, his father comes into tears after looking at this new avatar of his son and asks him to return home. Wake Up Sid! showed us that what our parents keep lecturing us might seem annoying but they do this because they want the best for us.

Waqt : The Race Against Time (2005) Director: Vipul Amrutlal Shah Star Cast: Amitabh Bachchan, Akshay Kumar, Priyanka Chopra, Shefali Shah and Boman Irani.

In this film, Akshay Kumar plays Aditya, a young man belonging to a wealthy family, who doesn’t have any interest in achieving something in his life. He gets married to his girlfriend Pooja (Priyanka Chopra), without informing anyone in his house. This makes his father, Ishwar (Amitabh Bachchan), realise that his son treats everything in his like a game and he needs to bring in some sense of responsibility into him. In a sudden turn of events, he kicks out Aditya from his house along with his wife and they are forced to live in the outhouse. Aditya eventually realises that he should take responsibility for himself and his wife, who is soon expecting a baby. He works hard and soon becomes a film star. He’s nursing resentment towards his father and refuses to patch up but all that goes away when he finds out that his father is suffering from cancer and was doing all this so that his son would grow up in real terms. He immediately rushes to his father and thanks him for all that he’s done in making him the man he was. Waqt taught us a very important message which is to cherish each moment that we have with our loved ones since we may never know when the time may run out. And also to not have ego clashes with our elders as you never know when they’ll take their last breath.

Patiala House (2011) Director: Nikhil Advani Star Cast: Akshay Kumar, Anushka Sharma, Rishi kapoor and Dimple Kapadia.

Patiala House is said to be loosely based on the life of English cricketer Monty Panesar. The concept of the film was conceived by Rohan Nanda, who is the son of popular Hindi novelist Gulshan Nanda. In the film, Akshay Kumar plays the character of Parghat Singh Kahlon who for strange reason is called Gattu. Gattu is living the life his father, Gurtej (Rishi Kapoor) chose for him. Gattu had always been good at cricket and he wanted to play the game at the highest level. Since he was living in England, his dad didn’t let him follow his passion as this would mean that Gattu would represent the English national team, a country in which he has always faced severe racism. His father even goes as far as telling him that he will commit suicide if Gattu ever touches the willow again. Years later, Gattu gets a chance to play for England one for time. His siblings and cousins convince him to give it a shot saying that, if he makes it to the national team, his father would realise that the world isn’t as racist as it used to be earlier. As he gets picked for England, the family tries to hide it from his father. But, Gurtej eventually finds out the truth and has a heart attack because of that. Gattu continues to follow his passion by playing cricket hoping that his father will change his opinion. Disappointed by this behaviour, Gurtej locks himself up in the house. At this moment, his wife shows up and tells him that all her life she sided with her husband but she didn’t realise she had the responsibilities towards her son as well. She turns on the T.V. wanting to see her son fulfil his dream. Gurtej watches with her and realises how badly he had treated his son. Later, Gurtej decides to go to the stadium to cheer his son who was having a bad game since his problems with his father was working on his mind. Upon seeing his father in the stands with a smile, Gattu is able to get his mind back into the game and manages to make England win the championship at the very last ball. Patiala House gave us a good glimpse of what Monty Panesar went through in his life before making the English cricket team. This film serves notice to all fathers, stating that they should let their children follow their dreams. Even though the career they choose might not be as stable as a 9 to 5 job it is important that they come to terms with what their children have chosen as their life’s calling.

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thedeadshotnetwork · 6 years

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It's Getting Harder for People of Color Like Me to Inhabit White Spaces I feel aggravated all the time. More annoyed than usual when people repeat my name back to me with a question mark. Anxious and restless when I look around a room and realize I’m the only person of color in it. It’s been like this for over a year now. I never used to be this kind of person. Most of my friends are white; a lot of them are men. They’re not used to seeing me this way and don’t really know what to say. For a while, I even struggled myself to pin down what exactly accounted for this shift in my personality, even as the obvious answers continued to pile up, almost 24/7. The Muslim ban. The border wall. Charlottesville. Palestine. Puerto Rico. Donald Trump and Harvey Weinstein and Woody Fucking Allen. Loud talkers and manspreaders and make-room-for-me-on-the-sidewalk motherfuckers. White supremacy and toxic masculinity are nothing new, but today, America is in the midst of a reckoning. Every headline feels like a new saturation point, but the spigot just continues to run. And more and more, I find it difficult to wring myself out and get on with everyday life. It feels like I’m suffocating. Especially when I find myself in spaces and rooms dominated by people who are white, straight, or otherwise privileged. Friends of color I spoke with for this story agreed this is a conversation we’ve been having more lately than ever before. We’re of various backgrounds, and each of us experience our otherness in vastly different ways, but we’re all accustomed to being among the minority in most settings. And all of us agreed to feeling some heightened sense of anxiety and defensiveness in majority-white spaces. Overwhelming resentment like this is new territory for me. Though I grew up as one of few minorities in an affluent suburb, my attitudes toward our cultural difference weren’t always acute. My parents, who emigrated from India in the 70s, made it their mission to make my brother and I feel like we belong here. The fact that my home life felt worlds away from the America I navigated at school and saw on TV didn’t carry much more weight than my desire for boys over girls. Any way you looked at it, I didn’t fit in. So I made white friends. And when I finally had the opportunity, I made queer friends, most of whom are also white. For better or worse, I have always felt thoroughly assimilated into white American culture. I think it made life easier for me in a lot of ways. But it’s beginning to backfire. “That anxiety is never far from the surface,” said Thomas A. Parham, a psychologist, adjunct professor, and vice chancellor of student affairs at University of California, Irvine, who has written extensively on minority psychology. “All you have to do is be reminded through social circumstance that things are the way they are. That’s why the social climate is forcing people of color to confront it every day.” Parham stressed that these feelings aren’t new for most minority groups, but they are being exacerbated in a new way. “The emotional reaction that most people of color are having is not ‘anxiety’ in the clinical sense,” Parham said. “It’s more a reaction to specific instances where they’re dealing with microaggressions, microassaults, or microinvalidations”—especially so in a climate where people feel more emboldened to make them. Here’s one example. I was at a cocktail party, milling around with more than a dozen gay men, all of them white. When another brown face approached and introduced himself, we recognized each other as South Asian and said as much. When another guest asked how we knew, I looked at him and deadpanned, “How do you know you’re white?” I said it was nice to have another person of color in the room, referring to the obvious makeup of the group. The same white guest looked around as if to find some proof I was wrong. “Well, it’s not like being white comes with some big prize,” he said with a smirk as he turned back to us. Was he joking? I honestly couldn’t tell. I felt the back of my neck prickle. I wanted to scream and throw something. “Except for… extreme privilege?” I half muttered with a question mark, as though cautious not to offend him, before I turned and walked away. Watch VICE profile fashion designer Yasmine Yasmine: “I’ve just seen such crazy shit happen that it makes me nervous to be around that many white people,” said my friend Zoe Jackson, a TV producer who is black, of scenes like the one I experienced. “More so for my own emotional protection. I’m just waiting for someone to say some stupid shit to me, and for it to put me in a bad mood.” I knew exactly what she meant. “I’m more apt to count all the people of color in the room, which I didn’t always do,” said Nadia Brittingham, a TV editor whose father is white and mother is Taiwanese. She said that if and when she gets into conversations about race and gender with white people when she first meets them, she ends up “being more on the defensive." “I start to question myself, actually,” Jackson said. “Because I’m like, ‘Why am I in a space like this? Did I make this choice or was it made for me?’” “There are assumptions that come into play whenever I walk in a room,” said Marcus Barnes, a vice president of a bank who is black. Before moving to Switzerland last year, Barnes spent his life in the US. “My default tendency is to turn it in on myself,” he said, describing a cycle of negative self-talk that it took many years to let go of. “Like, if nobody else like me is here, then they don’t want people like me here. They don’t want people like me here because I’m too dark. My nose is too big, I don’t dress well enough, my hair looks a mess. If only I were more respectable, etcetera.” He said he feels much more welcomed living abroad than he did in America. Parham said he tries to help patients, students and other minorities he works with employ strategies derived from cognitive behavioral therapy to cope with increased identity-based anxiety. “We try to to help people focus less on the eight out of ten things they don’t control, and more on the two out of ten that they do,” Parham said; in this way, they can “reframe circumstance in a way that it doesn’t all become bad, or that everybody doesn’t become racist.” Those are strategies people I spoke with for this piece seemed to be turning to subconsciously. “I get myself back to the reality of, ‘I don’t actually know what these people are thinking of me,’” said Barnes. “The more time I spend up in my head, the less time I’m actually focusing on the people around me.” “You can’t live your life from a place of fear,” she added. “But I also don’t bite my tongue. I don’t mind making other people uncomfortable if I’m right.” Listening to her made me wish I had a more clever clapback for my rude party guest, but I was too shocked. I was at a party, for fuck’s sake—I couldn’t muster the energy in that environment to have a productive conversation about why what he said was so upsetting. Brittingham said she's had "more intense conversations” with white friends of late just to gauge their reaction. But “at the same time, I tend not to, because I’m just othering myself further.” I’ve felt the same way over and over—that pointing to my difference only sets it in sharper relief, when I may be the only one constantly preoccupied with it. “I’m like, ‘If I have to think about this so much, why don’t you?’” Brittingham said. At the same time, we all agreed to feeling fortunate for the white friends who’ve proven themselves incredible allies, if just by listening and acknowledging the limits of their understanding. In just coming together to talk (and in some cases vent), we rehearsed another strategy Parham pointed to in coping with some of these feelings. “Part of what you want to do in putting people in groups and having them talk through these issues is to let them know that they are not in it alone,” Parham said. As obvious as that may sound, it’s easy to feel isolated when, whatever the circumstance, you find yourself among the only POC in the room. Carving out space and time to specifically address these experiences can be invaluable. “Keeping those conversations going is really important and really therapeutic for me,” Jackson said. “Finding ways of just sharing and talking about it and supporting each other—I think we need it. It makes it easier to get out there.” Follow Naveen Kumar on Twitter . December 12, 2017 at 03:47PM

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