The following are some never-seen and never-thought-of pictures that will make your eyeballs pop out. Sensationalism finds a new height. Whether these pics are real or morphed or not, herbal one cannot tell. But as of now they present the zenith of unimaginable intent.
Presenting Mallika Shehrawat, viagra approved fully dressed. Yes, order yes – not even a cleavage peeping out of the stifled confines of clothes. If these pics are real, hats off to Mallika for going through the photo shoot in suffocating conditons of full clothes!
Mika-Rakhi Face Off
Mika got the royal snub when he tried to make Rakhi Sawant his kiss kiss ki kiss-mate and the media went berserk over this smooch ado about nothing drama. For those who came in very late – On Mika’s birthday party, Sawant smothered Mika with cakes and kisses. When Mika reciprocated zealously, Sawant’s bhartiya naari within woke up and before he could say ‘something something’, she screamed foul – not about Mika’s breath, but about the incident.
Last month, Sawant was all over the channels for vulgarity charges. Recently, she has been giving many a Bollywood bimbo a cut-cloth competition in her field.
In her interviews, she aggressively claimed, ‘my fans love me’! Honestly, I will like to meet these demented souls – and send them to a psychiatrist for treatment!
Rahul Mahajan
Rahul’s mahajung continues; though not in the mainstream news any longer , still it’s poppy-ing out at regular intervals. There is something about sensationalism that makes you return to it again and again.
Unless you have just landed from Mars, you would know that late Pramod Mahajan’s son was caught with powders that were not thanda thanda cool cool! As the story progressed from conspiracy to champagne to cocaine (and the nation went from shock to to sympathy to sneer), the media quickly withdrew it from its main slots – but the symptoms are clear: too many news channels spoil the television broth!
By the end of these repeat telecasts and newspaper reports, everyone would have had a refresher course on the difference between cocaine and heroin (and any other drug), champagne and sparkling wine, middle class and rich brats – which essentially, this whole story is all about.
John Aur Con
Overhead in a busy mall – a smart kid telling his excited mom, who was pushing her child to fill the contest form wherein the winner gets to act with John Abraham, ‘ Mom, that’s all ok, but are you sure John will act!’ Touche!
Kids these days, I tell you, are very smart. And are not going to be taken by media’s forcing of i-cons!
But must admit, generally speaking John does have a special place with kids  – as does Hrithik Roshan. Which reminds me, Hrithik has clambered out of his media hibernation, and is these days the most seen person, while Aamir has slithered back into hiding again – till the next release, that is!
Kaala Kaala Chashma
Big B ki amar-vyatha got a chapter added when the income tax department allegedly delivered yet another notice. To which, Big B gave a decent and extremely well-worded reply. In this chhitti-chhitti baatein, Amar Singh again got badi badi time space on channels as he came out to defend his ‘friend’ – he also alleged that Big B is being hounded unnecessarily by someone from a family who was so-nia to them once-upon-a-history!
Bitchy Comment of the Day
Soha Ali Khan states, “People tell me that I look as if I belong to another century. I guess that’s a compliment”. Or perhaps, they mean that she looks like a ghost 😛
The following are some never-seen and never-thought-of pictures that will make your eyeballs pop out. Sensationalism finds a new height. Whether these pics are real or morphed or not, herbal one cannot tell. But as of now they present the zenith of unimaginable intent.
Presenting Mallika Shehrawat, viagra approved fully dressed. Yes, order yes – not even a cleavage peeping out of the stifled confines of clothes. If these pics are real, hats off to Mallika for going through the photo shoot in suffocating conditons of full clothes!
Mika-Rakhi Face Off
Mika got the royal snub when he tried to make Rakhi Sawant his kiss kiss ki kiss-mate and the media went berserk over this smooch ado about nothing drama. For those who came in very late – On Mika’s birthday party, Sawant smothered Mika with cakes and kisses. When Mika reciprocated zealously, Sawant’s bhartiya naari within woke up and before he could say ‘something something’, she screamed foul – not about Mika’s breath, but about the incident.
Last month, Sawant was all over the channels for vulgarity charges. Recently, she has been giving many a Bollywood bimbo a cut-cloth competition in her field.
In her interviews, she aggressively claimed, ‘my fans love me’! Honestly, I will like to meet these demented souls – and send them to a psychiatrist for treatment!
Rahul Mahajan
Rahul’s mahajung continues; though not in the mainstream news any longer , still it’s poppy-ing out at regular intervals. There is something about sensationalism that makes you return to it again and again.
Unless you have just landed from Mars, you would know that late Pramod Mahajan’s son was caught with powders that were not thanda thanda cool cool! As the story progressed from conspiracy to champagne to cocaine (and the nation went from shock to to sympathy to sneer), the media quickly withdrew it from its main slots – but the symptoms are clear: too many news channels spoil the television broth!
By the end of these repeat telecasts and newspaper reports, everyone would have had a refresher course on the difference between cocaine and heroin (and any other drug), champagne and sparkling wine, middle class and rich brats – which essentially, this whole story is all about.
John Aur Con
Overhead in a busy mall – a smart kid telling his excited mom, who was pushing her child to fill the contest form wherein the winner gets to act with John Abraham, ‘ Mom, that’s all ok, but are you sure John will act!’ Touche!
Kids these days, I tell you, are very smart. And are not going to be taken by media’s forcing of i-cons!
But must admit, generally speaking John does have a special place with kids  – as does Hrithik Roshan. Which reminds me, Hrithik has clambered out of his media hibernation, and is these days the most seen person, while Aamir has slithered back into hiding again – till the next release, that is!
Kaala Kaala Chashma
Big B ki amar-vyatha got a chapter added when the income tax department allegedly delivered yet another notice. To which, Big B gave a decent and extremely well-worded reply. In this chhitti-chhitti baatein, Amar Singh again got badi badi time space on channels as he came out to defend his ‘friend’ – he also alleged that Big B is being hounded unnecessarily by someone from a family who was so-nia to them once-upon-a-history!
Bitchy Comment of the Day
Soha Ali Khan states, “People tell me that I look as if I belong to another century. I guess that’s a compliment”. Or perhaps, they mean that she looks like a ghost 😛
Today is World Music Day – and I cannot let this day pass without saying a prayer and thanks to the musical legend who has been one solid constant in my life; one who epitomises music; one who has inspired generations – LATA MANGESHKARji, malady aap ko shat shat pranaam. You are the beginning and end of music!
On this day I also remember and bow before other legends who have colored my life with their golden voices: Mohd. Rafi, Mukesh, Kishore Kumar, Hemant Kumar and Manna Dey. My thanks to Asha Bhonsle for her songs, and also praise to some contemporary voices like Udit Narayan, Alka Yagnik, Shreya and Sonu Nigam.
A day dedicated to music cannot be completed without a mention of three of my most favorite composers – Madan Mohan and Shankar-Jaikishan.
However, there are many others whose contributions have had significant impact on me viz. Naushad, Anil Biswas, Husnlal Bhagatram, SD Burman, C. Ramachandra, Chitragupt, Sardar Mallik, Kalyanji-Anandji, RD Burman, Laxmikant-Pyarelal and Bappi Lahiri. My sincere thanks to many contemporary music composers as well , listing them out will not be possible here.
Words add beauty to music. Shailendra, Hasrat Jaipuri, Rajendra Kishan, Raja Mehndi Ali Khan, Shakeel Badayuni, Majrooh Sultanpuri, Anand Bakshi, Javed Akhtar and Gulzar and to many others I have missed out to mention – thanks for your invaluable words which have touched my heart and soul.
Listing out every artiste of each music field is impossible. But everyone’s contribution is always important, and somewhere it does make an impact.
Lastly, my reverance to Goddess Saraswati, who gave this priceless gift to mankind called music!
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The following are some never-seen and never-thought-of pictures that will make your eyeballs pop out. Sensationalism finds a new height. Whether these pics are real or morphed or not, herbal one cannot tell. But as of now they present the zenith of unimaginable intent.
Presenting Mallika Shehrawat, viagra approved fully dressed. Yes, order yes – not even a cleavage peeping out of the stifled confines of clothes. If these pics are real, hats off to Mallika for going through the photo shoot in suffocating conditons of full clothes!
Mika-Rakhi Face Off
Mika got the royal snub when he tried to make Rakhi Sawant his kiss kiss ki kiss-mate and the media went berserk over this smooch ado about nothing drama. For those who came in very late – On Mika’s birthday party, Sawant smothered Mika with cakes and kisses. When Mika reciprocated zealously, Sawant’s bhartiya naari within woke up and before he could say ‘something something’, she screamed foul – not about Mika’s breath, but about the incident.
Last month, Sawant was all over the channels for vulgarity charges. Recently, she has been giving many a Bollywood bimbo a cut-cloth competition in her field.
In her interviews, she aggressively claimed, ‘my fans love me’! Honestly, I will like to meet these demented souls – and send them to a psychiatrist for treatment!
Rahul Mahajan
Rahul’s mahajung continues; though not in the mainstream news any longer , still it’s poppy-ing out at regular intervals. There is something about sensationalism that makes you return to it again and again.
Unless you have just landed from Mars, you would know that late Pramod Mahajan’s son was caught with powders that were not thanda thanda cool cool! As the story progressed from conspiracy to champagne to cocaine (and the nation went from shock to to sympathy to sneer), the media quickly withdrew it from its main slots – but the symptoms are clear: too many news channels spoil the television broth!
By the end of these repeat telecasts and newspaper reports, everyone would have had a refresher course on the difference between cocaine and heroin (and any other drug), champagne and sparkling wine, middle class and rich brats – which essentially, this whole story is all about.
John Aur Con
Overhead in a busy mall – a smart kid telling his excited mom, who was pushing her child to fill the contest form wherein the winner gets to act with John Abraham, ‘ Mom, that’s all ok, but are you sure John will act!’ Touche!
Kids these days, I tell you, are very smart. And are not going to be taken by media’s forcing of i-cons!
But must admit, generally speaking John does have a special place with kids  – as does Hrithik Roshan. Which reminds me, Hrithik has clambered out of his media hibernation, and is these days the most seen person, while Aamir has slithered back into hiding again – till the next release, that is!
Kaala Kaala Chashma
Big B ki amar-vyatha got a chapter added when the income tax department allegedly delivered yet another notice. To which, Big B gave a decent and extremely well-worded reply. In this chhitti-chhitti baatein, Amar Singh again got badi badi time space on channels as he came out to defend his ‘friend’ – he also alleged that Big B is being hounded unnecessarily by someone from a family who was so-nia to them once-upon-a-history!
Bitchy Comment of the Day
Soha Ali Khan states, “People tell me that I look as if I belong to another century. I guess that’s a compliment”. Or perhaps, they mean that she looks like a ghost 😛
Today is World Music Day – and I cannot let this day pass without saying a prayer and thanks to the musical legend who has been one solid constant in my life; one who epitomises music; one who has inspired generations – LATA MANGESHKARji, malady aap ko shat shat pranaam. You are the beginning and end of music!
On this day I also remember and bow before other legends who have colored my life with their golden voices: Mohd. Rafi, Mukesh, Kishore Kumar, Hemant Kumar and Manna Dey. My thanks to Asha Bhonsle for her songs, and also praise to some contemporary voices like Udit Narayan, Alka Yagnik, Shreya and Sonu Nigam.
A day dedicated to music cannot be completed without a mention of three of my most favorite composers – Madan Mohan and Shankar-Jaikishan.
However, there are many others whose contributions have had significant impact on me viz. Naushad, Anil Biswas, Husnlal Bhagatram, SD Burman, C. Ramachandra, Chitragupt, Sardar Mallik, Kalyanji-Anandji, RD Burman, Laxmikant-Pyarelal and Bappi Lahiri. My sincere thanks to many contemporary music composers as well , listing them out will not be possible here.
Words add beauty to music. Shailendra, Hasrat Jaipuri, Rajendra Kishan, Raja Mehndi Ali Khan, Shakeel Badayuni, Majrooh Sultanpuri, Anand Bakshi, Javed Akhtar and Gulzar and to many others I have missed out to mention – thanks for your invaluable words which have touched my heart and soul.
Listing out every artiste of each music field is impossible. But everyone’s contribution is always important, and somewhere it does make an impact.
Lastly, my reverance to Goddess Saraswati, who gave this priceless gift to mankind called music!
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Today is Madan Mohan’s Birth Anniversary. Any superlative falls short of capturing even an iota of the genius music maker that he was. His tunes have survived the onslaught of time, price in more ways than one. While his recorded songs continue to regale music lovers, prosthesis even his unused tunes held a life of their own. Perhaps he is the only music composer whose even leftover tunes were re-constructed in a film made thirty years after his demise.
With Lata Mangeshkar he held a special bond, which resulted in those innumerable solos without which the singer’s ouvre would have been woefully empty. And Latadi reciprocated to her ‘Madan Bhaiyaa’ in providing that superior quality of sweetness which is entirely impossible to describe. Each song is complete in itself, away from the films they were embedded in (which were largely box office duds) and not dependant on the artiste’s charisma (which were wooden heroines like Priya Rajvansh in many cases). Madan Mohan’s music truly embodies what Hindi film music should sound like – fit into the story, yet retain its individuality to stand out of it. Perhaps that is why, in his case no one bothers to find out about the film or the heroine!
While Madan Mohan was known more for his ghazals, earning him the sobriquet of ‘King of Ghazals’, yet he has a vast array of other genre numbers as well, some which I highlighted in an earlier post.
Time and again I tried to list out MM-Lata Mangeshkar combine songs, but every time I failed and the post remained incomplete – that’s because it is very tough for me to select just a handful, and remove the others.
Whenever I try to listen to them again to give the list some structure, I am unable to do so, I push away the horrid keyboard and simply immerse myself in those magnificent tunes and that wonderful voice.
Today, I am randomly picking up ten songs – without any order or thought, except that all are superhits, all are greats and all are my favorites. So here we go:
Aaj socha toh aansoon bhar aaye– This song is so fragile and tender that it feels as if it will melt if we touch it. When Lata Mangeshkar sings the lines ‘dil ki naazuk ragein toot-ti hai’ you can feel the pain pulling your heart wretchedly. Using the tune from ‘tum jo mil gaye ho’ as interlude piece has a brilliant effect.
Aapki nazron ne samjha – To me this is a perfect song – in terms of tunes, interlude, singing and lyrics. The rhythm is delightful – like swaying in the breeze. It is said that the director was unhappy with the original song. When he told this to MM, he changed it immediately much to the shock of Latadi who had rehearsed the original number. Can anyone imagine that such a perfect tune has been created in a jiffy?
Agar mujhse mohabbat hai – I love the half rhythm in this one – just like a lady’s hesitant plea asking her love to impart her with all his pain and sorrow.
Betaab dil kee yehi tamanna hai – One great love number that encapstulates sublime feelings of an unruly heart.
Hai isi mein pyaar ki aabroo – The second Anpadh ghazal for which Naushad Sahab was ready to sacrifice all his own music. Again, an extremely soft song which attacks the heart and clasps it tightly to evoke pain at its sweetest best.
Hum Hai Mata-E-Kucha-O-Bazaar ki tarah – Dastak‘s music is exemplary. And it won the National Award as well. I love all its songs, but this one is special in my heart. Once more, MM’s favorite instrument sitar finds a pride place. I also adore Rafi’s near whisper-rendered Tumse kahun ek baat paron si halki
Jaana tha humse door bahaane bana liye – I love this towering number for the pained dignity (at accepting one’s loss) it evokes rather than resorting to sentimentalism. Again, MM’s ability to create a very delicate number.
Na tum bewafaa ho na hum bewafaa hai – Another universally appealing song – because in relationships there are times when neither is wrong, yet the paths differ. The steadily rising violin based interludes are smashing.
Naina Barse Rimjhim– Years before I even knew who Lata or Madan Mohan were, this song was a constant favorite we kids used to lisp in antakshris. Since then the song has subconsciously seeped into my being so much so that it is an integral part of my body and soul. Woh Kaun Thi was musically very rich. Hard to decide between this one and Lag jaa gale se phir yeh haseen raat ho na ho. And then there was Jo humne daastaan apni sunaayi as well. Hmmm, exhilirating score!
Woh bhuli daastaan lo phir yaad aa gayi – This number will always be special in my heart, for this is the one number from which my love for MM’s music began. As a kid I hardly understood the profound lyrics, but the brook-like flow of the tune attracted me. Later of course I understood and felt the song. The santoor riffs are mindblowing. My most favorite and oft quoted or sung stanza is the last one ‘Bade rangeen zamaane the, taraane hi taraane the, magar ab poochhta hai dil woh din tha ya fasaane the’
I am listing out a few other gems from this dream team:
Naino mein badra chhaye / Naino waali ek matwaali ne (Mera Saaya)
Rasme ulfat ko nibhaye kaise (Dil Ki Raahein)
Woh dekho jala ghar kisika / Jiya le gayo re mora (Anpadh)
Aapki baatein karein ya apna fasaana kahen (Dil Ki Raahein)
Bairan neend na aaye (Chacha Zindabad)
Chand madham hai aasmaan chup hai (Railway Platform)
Chain nahi aaye kaha bhi na jaaye (Samundar)
Chal diya dil mera tod ke (Fifty Fifty)
Do Dil Toote Do Dil Haare (Heer Ranjha)
Ek baat poochhti hoon (Suhagan)
Chhoti si hai zindagi apni khushi se jee (Pocket Maar)
Haal e dil yun unhe sunaya gaya (Jahan Ara)
Ja re badra bairi jaa re (Bahana)
Kadam bahke bahke jiya dhadak dhadak jaaye (Bank Manager)
Kai din se jee hai bekal (Dulhan Ek Raat Ki)
Khelo na mere dil se (Haqueeqat)
Maai ri / Baiyaan na dharo (Dastak)
Main toh tum sang nain milake (Manmauji)
Main na janoo mohabbat hai kya / Tum chaand ke saath chale aao (Ashiana)
Milo Na tum to hum ghabraye (Heer Ranjha)
Mujhe yaad karne waale (Rishte Naate)
Pyaar kya hota hai samjhaye koie (Ek Kali Muskayi)
Ruke Ruke Se Qadam (Mausam)
Teri aankhon ke siva / Chhayi barkha baahar / Bhor hote kaaga / Mere bichhde saathi (Chirag)
Tum ho saath raat bhi haseen hai , ab to maut ka bhi gham nahin hai ( Mohar )
Tu pyaar kare ya thukraye / Meri veena tum bin roye (Dekh Kabira Roya)
Wo chup rahe toh dil ke daag jalte hai (Adalat)
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Welcome to India’s first superhero; and as that, melanoma visit Krrish does remarkably well. Rakesh Roshan’s films have always been fairly entertaining, grip including the ill-fated Kala Bazar and King Uncle. And now, he has improved vastly on the technical side which makes viewing more pleasurable.
Unless you are a hermit living in a cave, you would know that Krrish is a sequel to Roshan’s previous bumper hit Koi Mil Gaya – where in Rohit and Nisha’s son Krishna is born with all the powers that Jadoo, the extra terrestrial, had imparted Rohit with. Fearing that Krishna might fall into the same deadly fate’s trap as his father, Krishna’s grandmother Shalini Mehra (a suitably aged and wobbly Rekha) keeps her away from the world’s gaze. Krishna grows up in sylvan mountain surroundings, a sort of desi-Tarzan, only he has been given education. It’s a visit from Priya (Priyanka Chopra) from Singapore that begins the journey of the simpleton Krishna to the masked man Krrish. And there, he will also face the wily Dr. Arya (Naseerudin Shah).
The script is taut except for a slight sagging in the first half –which if reduced, could have kept the overall running time also less and more enjoyable. But once Krishna reaches Singapore, it goes into full ballistic. The script adequately peppers Rohit and Nisha’s reason-for-death at suitable places. And yes – an interesting point, which I enjoyed – the past about Rohit and what happens to him after KMG ends, has a very crucial role to play in this film; this is something that has not been talked about in promotions at all, but I feel this itself lends the film a solid weight. What is that? Well, I suggest you go and watch it and enjoy it unfold.
Of course, keeping in mind Indian sensibilities, the superhero is kept rooted in enough song-and-dance-and-emotion. Sensible? For this one, sort of – though I wish there was more of the ‘superhero’ than the normal ‘hero’. Here, the superhero has only a personal agenda. Perhaps if another sequel is made, they could take Krrish’s character further to ‘save the planet’.
The film’s stunts and special effects are extraordinary, especially in Hindi films context. For those who have grown up on Superman/Batman/ Spiderman/Matrix might find it simply ordinary. I had imagined that in sophisticated multiplex-era, the days of clapping at hero’s stunts would be over – but was pleasantly surprised to see a ring of spontaneous clapping when Krrish takes on a posse of villains in the climax.
Rakesh Roshan’s direction is able. He keeps a strong control on the proceedings, and the narrative pace is pretty even.
Hrithik’s performance is superb – in all his various avatars – though at times his constant ‘flying’ and ‘movement’ gets irritating. For example, in the song ‘Koi Tumsa Nahin’ (incidentally, that was the film’s working title) one just wishes that he would stand still instead of yet again dancing. Priyanka plays a typical heroine and does well for herself, though she needs to do something about her dress-designer! Rekha and Naseeruddin Shah are seasoned performers, they are great.
Rajesh Roshan’s music lacks verve. Salim Sulaiman’s background score is good. Cinematography is awesome – especially the luxuriant and verdant mountain landscape has been captured in fine detail. As Priya says in the film – so soothing, so serene! Dialogues are ok. Editing is slick. Barring ‘Dil na diya’ I found the choreography jarring!
In all, Krrish is a good entertaining film and introduces a new genre to Hindi cinema.
Overall – Time Pass, Watch It!
Welcome to India’s first superhero; and as that, melanoma visit Krrish does remarkably well. Rakesh Roshan’s films have always been fairly entertaining, grip including the ill-fated Kala Bazar and King Uncle. And now, he has improved vastly on the technical side which makes viewing more pleasurable.
Unless you are a hermit living in a cave, you would know that Krrish is a sequel to Roshan’s previous bumper hit Koi Mil Gaya – where in Rohit and Nisha’s son Krishna is born with all the powers that Jadoo, the extra terrestrial, had imparted Rohit with. Fearing that Krishna might fall into the same deadly fate’s trap as his father, Krishna’s grandmother Shalini Mehra (a suitably aged and wobbly Rekha) keeps her away from the world’s gaze. Krishna grows up in sylvan mountain surroundings, a sort of desi-Tarzan, only he has been given education. It’s a visit from Priya (Priyanka Chopra) from Singapore that begins the journey of the simpleton Krishna to the masked man Krrish. And there, he will also face the wily Dr. Arya (Naseerudin Shah).
The script is taut except for a slight sagging in the first half –which if reduced, could have kept the overall running time also less and more enjoyable. But once Krishna reaches Singapore, it goes into full ballistic. The script adequately peppers Rohit and Nisha’s reason-for-death at suitable places. And yes – an interesting point, which I enjoyed – the past about Rohit and what happens to him after KMG ends, has a very crucial role to play in this film; this is something that has not been talked about in promotions at all, but I feel this itself lends the film a solid weight. What is that? Well, I suggest you go and watch it and enjoy it unfold.
Of course, keeping in mind Indian sensibilities, the superhero is kept rooted in enough song-and-dance-and-emotion. Sensible? For this one, sort of – though I wish there was more of the ‘superhero’ than the normal ‘hero’. Here, the superhero has only a personal agenda. Perhaps if another sequel is made, they could take Krrish’s character further to ‘save the planet’.
The film’s stunts and special effects are extraordinary, especially in Hindi films context. For those who have grown up on Superman/Batman/ Spiderman/Matrix might find it simply ordinary. I had imagined that in sophisticated multiplex-era, the days of clapping at hero’s stunts would be over – but was pleasantly surprised to see a ring of spontaneous clapping when Krrish takes on a posse of villains in the climax.
Rakesh Roshan’s direction is able. He keeps a strong control on the proceedings, and the narrative pace is pretty even.
Hrithik’s performance is superb – in all his various avatars – though at times his constant ‘flying’ and ‘movement’ gets irritating. For example, in the song ‘Koi Tumsa Nahin’ (incidentally, that was the film’s working title) one just wishes that he would stand still instead of yet again dancing. Priyanka plays a typical heroine and does well for herself, though she needs to do something about her dress-designer! Rekha and Naseeruddin Shah are seasoned performers, they are great.
Rajesh Roshan’s music lacks verve. Salim Sulaiman’s background score is good. Cinematography is awesome – especially the luxuriant and verdant mountain landscape has been captured in fine detail. As Priya says in the film – so soothing, so serene! Dialogues are ok. Editing is slick. Barring ‘Dil na diya’ I found the choreography jarring!
In all, Krrish is a good entertaining film and introduces a new genre to Hindi cinema.
Overall – Time Pass, Watch It!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
Welcome to India’s first superhero; and as that, melanoma visit Krrish does remarkably well. Rakesh Roshan’s films have always been fairly entertaining, grip including the ill-fated Kala Bazar and King Uncle. And now, he has improved vastly on the technical side which makes viewing more pleasurable.
Unless you are a hermit living in a cave, you would know that Krrish is a sequel to Roshan’s previous bumper hit Koi Mil Gaya – where in Rohit and Nisha’s son Krishna is born with all the powers that Jadoo, the extra terrestrial, had imparted Rohit with. Fearing that Krishna might fall into the same deadly fate’s trap as his father, Krishna’s grandmother Shalini Mehra (a suitably aged and wobbly Rekha) keeps her away from the world’s gaze. Krishna grows up in sylvan mountain surroundings, a sort of desi-Tarzan, only he has been given education. It’s a visit from Priya (Priyanka Chopra) from Singapore that begins the journey of the simpleton Krishna to the masked man Krrish. And there, he will also face the wily Dr. Arya (Naseerudin Shah).
The script is taut except for a slight sagging in the first half –which if reduced, could have kept the overall running time also less and more enjoyable. But once Krishna reaches Singapore, it goes into full ballistic. The script adequately peppers Rohit and Nisha’s reason-for-death at suitable places. And yes – an interesting point, which I enjoyed – the past about Rohit and what happens to him after KMG ends, has a very crucial role to play in this film; this is something that has not been talked about in promotions at all, but I feel this itself lends the film a solid weight. What is that? Well, I suggest you go and watch it and enjoy it unfold.
Of course, keeping in mind Indian sensibilities, the superhero is kept rooted in enough song-and-dance-and-emotion. Sensible? For this one, sort of – though I wish there was more of the ‘superhero’ than the normal ‘hero’. Here, the superhero has only a personal agenda. Perhaps if another sequel is made, they could take Krrish’s character further to ‘save the planet’.
The film’s stunts and special effects are extraordinary, especially in Hindi films context. For those who have grown up on Superman/Batman/ Spiderman/Matrix might find it simply ordinary. I had imagined that in sophisticated multiplex-era, the days of clapping at hero’s stunts would be over – but was pleasantly surprised to see a ring of spontaneous clapping when Krrish takes on a posse of villains in the climax.
Rakesh Roshan’s direction is able. He keeps a strong control on the proceedings, and the narrative pace is pretty even.
Hrithik’s performance is superb – in all his various avatars – though at times his constant ‘flying’ and ‘movement’ gets irritating. For example, in the song ‘Koi Tumsa Nahin’ (incidentally, that was the film’s working title) one just wishes that he would stand still instead of yet again dancing. Priyanka plays a typical heroine and does well for herself, though she needs to do something about her dress-designer! Rekha and Naseeruddin Shah are seasoned performers, they are great.
Rajesh Roshan’s music lacks verve. Salim Sulaiman’s background score is good. Cinematography is awesome – especially the luxuriant and verdant mountain landscape has been captured in fine detail. As Priya says in the film – so soothing, so serene! Dialogues are ok. Editing is slick. Barring ‘Dil na diya’ I found the choreography jarring!
In all, Krrish is a good entertaining film and introduces a new genre to Hindi cinema.
Overall – Time Pass, Watch It!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
At last the clouds have gathered and rains are imminent. The last one week has been particularly bad. Power situation dipped to an all time low, pills
and all we heard through the black outs were news of one or the other power-station tripping and packing up.Â
I have become a certified couch potato; or rather a ‘bed’ potato since my television is in the bedroom. After missing of television for more than a year, I took to watching it with a vengeance. But most viewing is restricted to movies and songs channels, with an occasional foray into news ones. To my horror I discovered that all the money spent on collecting DVD’s last year was sheer wastage since those movies keep repeating themselves ad nauseum. For example, I can puke now if someone so much as mentions the thought of watching No Entry – a movie that I thoroughly enjoyed earlier. Other than Sahara telecasting it alternatively on its both channels (Filmy and Sahara One) every other week, my cable-wallah has also gone overboard there. In fact, my cable-guy has a strange habit of showing those very same films a couple of days earlier that would in any case be shown on Max or Filmy the same week!Â
I have an aversion towards all currently running serials. Nay, I absolutely abhor the entire Zee-Sony-Star Plus nexus, with the hatred targeted more towards the last one, whom I hold responsible for starting the trend of those horrifying saas-bahu serials. I can’t stand any program on Star Plus – every one of them, even that supposedly ‘different’ game show Jodi Kamaal Ki, seems to have similar look with bright gaudy colors and heavily dressed up ladies ready to burst into copious tears at any given instant. Even though I am not a football freak, but honestly I can kick anyone from Star’s programming department with a force that can get me a place in the next World Cup!Â
The only good thing that ever came out from the Star-stable was The Great Indian Laughter Challenge Contest.. I had missed the first season, but was able to watch a large bulk of the second one. Opinions may differ on whether Rauf Lala deserved the crown or not, but I personally feel that the entire toppers lot including Khayali, Rajeev, Pratap Faujdar, the Pakistani jodi and, my personal favorite, Dr Tushhar were mindblowingly excellent! Together, they made Friday evenings funny and entertaining.Â
After lambasting serials, I have to sheepishly confess that I started watching one with great interest. But then, Akela doesn’t seem to be your usual fare. There is heavy inspiration from M Night Shayamalan’s The Sixth Sense where the basic premise is concerned, but otherwise it seems to be on a different track.  The biggest relief? Any chances to slip into the saas-bahu syndrome were nipped in the bud with the mothers of both the hero and heroine dead in the first episode itself. Phew! I am keeping my fingers crossed that their ghosts will not start wearing outlandish bindis and scheming against each other to the tune of electronically generated swoosh-and-boom background score. Plus, the serial – like good ol’ days – will be aired once a week; that way, it’s easier to follow, and of course, it avoids overkill.Â
Sudhanshu (Band of Boys, Yakeen) Panday plays the protagonist. He may not be the greatest actor around, but his personality and physique suit the role. Plus, I have seen Yakeen and bits of Pehchaan: The Face of Truth, and I feel there is a raw honesty in his performances reminiscent of Jackie Shroff in his younger days.Â
Speaking of Jackie Shroff, what has he done to himself? Unlike his colleague Anil Kapoor, Jackie never exhibited the Machiavellian go-getter capacity. But at least he can take good care of his looks and locks! Since he never had the qualms to graduate to father roles, I am sure things wouldn’t be so hard up for him that he is forced to act in inane Z-grade flicks like Bhoot Unkle!Â
Well, the clouds have darkened further, and any moment the welcome pitter-patter of rains will be heard. My player has also propititiously moved to ‘Yeh mausam bheega bheega hai, hawa bhi kuchh zyada zyada hai’ from Dharti. And before we have another power cut, let me publish this.
Welcome to India’s first superhero; and as that, melanoma visit Krrish does remarkably well. Rakesh Roshan’s films have always been fairly entertaining, grip including the ill-fated Kala Bazar and King Uncle. And now, he has improved vastly on the technical side which makes viewing more pleasurable.
Unless you are a hermit living in a cave, you would know that Krrish is a sequel to Roshan’s previous bumper hit Koi Mil Gaya – where in Rohit and Nisha’s son Krishna is born with all the powers that Jadoo, the extra terrestrial, had imparted Rohit with. Fearing that Krishna might fall into the same deadly fate’s trap as his father, Krishna’s grandmother Shalini Mehra (a suitably aged and wobbly Rekha) keeps her away from the world’s gaze. Krishna grows up in sylvan mountain surroundings, a sort of desi-Tarzan, only he has been given education. It’s a visit from Priya (Priyanka Chopra) from Singapore that begins the journey of the simpleton Krishna to the masked man Krrish. And there, he will also face the wily Dr. Arya (Naseerudin Shah).
The script is taut except for a slight sagging in the first half –which if reduced, could have kept the overall running time also less and more enjoyable. But once Krishna reaches Singapore, it goes into full ballistic. The script adequately peppers Rohit and Nisha’s reason-for-death at suitable places. And yes – an interesting point, which I enjoyed – the past about Rohit and what happens to him after KMG ends, has a very crucial role to play in this film; this is something that has not been talked about in promotions at all, but I feel this itself lends the film a solid weight. What is that? Well, I suggest you go and watch it and enjoy it unfold.
Of course, keeping in mind Indian sensibilities, the superhero is kept rooted in enough song-and-dance-and-emotion. Sensible? For this one, sort of – though I wish there was more of the ‘superhero’ than the normal ‘hero’. Here, the superhero has only a personal agenda. Perhaps if another sequel is made, they could take Krrish’s character further to ‘save the planet’.
The film’s stunts and special effects are extraordinary, especially in Hindi films context. For those who have grown up on Superman/Batman/ Spiderman/Matrix might find it simply ordinary. I had imagined that in sophisticated multiplex-era, the days of clapping at hero’s stunts would be over – but was pleasantly surprised to see a ring of spontaneous clapping when Krrish takes on a posse of villains in the climax.
Rakesh Roshan’s direction is able. He keeps a strong control on the proceedings, and the narrative pace is pretty even.
Hrithik’s performance is superb – in all his various avatars – though at times his constant ‘flying’ and ‘movement’ gets irritating. For example, in the song ‘Koi Tumsa Nahin’ (incidentally, that was the film’s working title) one just wishes that he would stand still instead of yet again dancing. Priyanka plays a typical heroine and does well for herself, though she needs to do something about her dress-designer! Rekha and Naseeruddin Shah are seasoned performers, they are great.
Rajesh Roshan’s music lacks verve. Salim Sulaiman’s background score is good. Cinematography is awesome – especially the luxuriant and verdant mountain landscape has been captured in fine detail. As Priya says in the film – so soothing, so serene! Dialogues are ok. Editing is slick. Barring ‘Dil na diya’ I found the choreography jarring!
In all, Krrish is a good entertaining film and introduces a new genre to Hindi cinema.
Overall – Time Pass, Watch It!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
At last the clouds have gathered and rains are imminent. The last one week has been particularly bad. Power situation dipped to an all time low, pills
and all we heard through the black outs were news of one or the other power-station tripping and packing up.Â
I have become a certified couch potato; or rather a ‘bed’ potato since my television is in the bedroom. After missing of television for more than a year, I took to watching it with a vengeance. But most viewing is restricted to movies and songs channels, with an occasional foray into news ones. To my horror I discovered that all the money spent on collecting DVD’s last year was sheer wastage since those movies keep repeating themselves ad nauseum. For example, I can puke now if someone so much as mentions the thought of watching No Entry – a movie that I thoroughly enjoyed earlier. Other than Sahara telecasting it alternatively on its both channels (Filmy and Sahara One) every other week, my cable-wallah has also gone overboard there. In fact, my cable-guy has a strange habit of showing those very same films a couple of days earlier that would in any case be shown on Max or Filmy the same week!Â
I have an aversion towards all currently running serials. Nay, I absolutely abhor the entire Zee-Sony-Star Plus nexus, with the hatred targeted more towards the last one, whom I hold responsible for starting the trend of those horrifying saas-bahu serials. I can’t stand any program on Star Plus – every one of them, even that supposedly ‘different’ game show Jodi Kamaal Ki, seems to have similar look with bright gaudy colors and heavily dressed up ladies ready to burst into copious tears at any given instant. Even though I am not a football freak, but honestly I can kick anyone from Star’s programming department with a force that can get me a place in the next World Cup!Â
The only good thing that ever came out from the Star-stable was The Great Indian Laughter Challenge Contest.. I had missed the first season, but was able to watch a large bulk of the second one. Opinions may differ on whether Rauf Lala deserved the crown or not, but I personally feel that the entire toppers lot including Khayali, Rajeev, Pratap Faujdar, the Pakistani jodi and, my personal favorite, Dr Tushhar were mindblowingly excellent! Together, they made Friday evenings funny and entertaining.Â
After lambasting serials, I have to sheepishly confess that I started watching one with great interest. But then, Akela doesn’t seem to be your usual fare. There is heavy inspiration from M Night Shayamalan’s The Sixth Sense where the basic premise is concerned, but otherwise it seems to be on a different track.  The biggest relief? Any chances to slip into the saas-bahu syndrome were nipped in the bud with the mothers of both the hero and heroine dead in the first episode itself. Phew! I am keeping my fingers crossed that their ghosts will not start wearing outlandish bindis and scheming against each other to the tune of electronically generated swoosh-and-boom background score. Plus, the serial – like good ol’ days – will be aired once a week; that way, it’s easier to follow, and of course, it avoids overkill.Â
Sudhanshu (Band of Boys, Yakeen) Panday plays the protagonist. He may not be the greatest actor around, but his personality and physique suit the role. Plus, I have seen Yakeen and bits of Pehchaan: The Face of Truth, and I feel there is a raw honesty in his performances reminiscent of Jackie Shroff in his younger days.Â
Speaking of Jackie Shroff, what has he done to himself? Unlike his colleague Anil Kapoor, Jackie never exhibited the Machiavellian go-getter capacity. But at least he can take good care of his looks and locks! Since he never had the qualms to graduate to father roles, I am sure things wouldn’t be so hard up for him that he is forced to act in inane Z-grade flicks like Bhoot Unkle!Â
Well, the clouds have darkened further, and any moment the welcome pitter-patter of rains will be heard. My player has also propititiously moved to ‘Yeh mausam bheega bheega hai, hawa bhi kuchh zyada zyada hai’ from Dharti. And before we have another power cut, let me publish this.
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
At last the clouds have gathered and rains are imminent. The last one week has been particularly bad. Power situation dipped to an all time low, pills
and all we heard through the black outs were news of one or the other power-station tripping and packing up.Â
I have become a certified couch potato; or rather a ‘bed’ potato since my television is in the bedroom. After missing of television for more than a year, I took to watching it with a vengeance. But most viewing is restricted to movies and songs channels, with an occasional foray into news ones. To my horror I discovered that all the money spent on collecting DVD’s last year was sheer wastage since those movies keep repeating themselves ad nauseum. For example, I can puke now if someone so much as mentions the thought of watching No Entry – a movie that I thoroughly enjoyed earlier. Other than Sahara telecasting it alternatively on its both channels (Filmy and Sahara One) every other week, my cable-wallah has also gone overboard there. In fact, my cable-guy has a strange habit of showing those very same films a couple of days earlier that would in any case be shown on Max or Filmy the same week!Â
I have an aversion towards all currently running serials. Nay, I absolutely abhor the entire Zee-Sony-Star Plus nexus, with the hatred targeted more towards the last one, whom I hold responsible for starting the trend of those horrifying saas-bahu serials. I can’t stand any program on Star Plus – every one of them, even that supposedly ‘different’ game show Jodi Kamaal Ki, seems to have similar look with bright gaudy colors and heavily dressed up ladies ready to burst into copious tears at any given instant. Even though I am not a football freak, but honestly I can kick anyone from Star’s programming department with a force that can get me a place in the next World Cup!Â
The only good thing that ever came out from the Star-stable was The Great Indian Laughter Challenge Contest.. I had missed the first season, but was able to watch a large bulk of the second one. Opinions may differ on whether Rauf Lala deserved the crown or not, but I personally feel that the entire toppers lot including Khayali, Rajeev, Pratap Faujdar, the Pakistani jodi and, my personal favorite, Dr Tushhar were mindblowingly excellent! Together, they made Friday evenings funny and entertaining.Â
After lambasting serials, I have to sheepishly confess that I started watching one with great interest. But then, Akela doesn’t seem to be your usual fare. There is heavy inspiration from M Night Shayamalan’s The Sixth Sense where the basic premise is concerned, but otherwise it seems to be on a different track.  The biggest relief? Any chances to slip into the saas-bahu syndrome were nipped in the bud with the mothers of both the hero and heroine dead in the first episode itself. Phew! I am keeping my fingers crossed that their ghosts will not start wearing outlandish bindis and scheming against each other to the tune of electronically generated swoosh-and-boom background score. Plus, the serial – like good ol’ days – will be aired once a week; that way, it’s easier to follow, and of course, it avoids overkill.Â
Sudhanshu (Band of Boys, Yakeen) Panday plays the protagonist. He may not be the greatest actor around, but his personality and physique suit the role. Plus, I have seen Yakeen and bits of Pehchaan: The Face of Truth, and I feel there is a raw honesty in his performances reminiscent of Jackie Shroff in his younger days.Â
Speaking of Jackie Shroff, what has he done to himself? Unlike his colleague Anil Kapoor, Jackie never exhibited the Machiavellian go-getter capacity. But at least he can take good care of his looks and locks! Since he never had the qualms to graduate to father roles, I am sure things wouldn’t be so hard up for him that he is forced to act in inane Z-grade flicks like Bhoot Unkle!Â
Well, the clouds have darkened further, and any moment the welcome pitter-patter of rains will be heard. My player has also propititiously moved to ‘Yeh mausam bheega bheega hai, hawa bhi kuchh zyada zyada hai’ from Dharti. And before we have another power cut, let me publish this.
Aajao ke sab milke rab se dua maange
Jeevan mein sukoon chaahen
Chaahat mein wafaa maangein
Haalaat badalne mein ab der na ho maalik
Jo dekh chuke phir andher na ho maalik
Ek tu hi bharosa
Ek tu hi sahaara
Is tere jahaan mein
Nahi koi hamaara
Hey Ishwar Ya Allah yeh pukaar sunle
Hey Ishwar Ya Allah hey daata
Humse na dekha jaaye
Barbaadiyon ka sama
Ujadi hui basti mein
Yeh tadap rahe insaan
Nanhe jismon ke tukde
Liye khadi ek maa
Baarood ke dhuen mein
Tu hi bol jaayen kahan
Ek tu hi bharosa
Ek tu hi sahaaraa…
Naadan hain hum to maalik
Kyun di humein yeh sazaa
Yahaan hai sabhi ke dil mein
Nafrat ka zahar bhara
Inhe phir se yaad dilade
Sabak wohi pyaar ke
Ban jaaye gulshan phir se
Kaanton bhari yeh duniya
Ek tu hi bharosa
Ek tu hi sahaaraa…
– Lyric: Majrooh Sultanpuri
– Singer: Lata Mangeshkar
My prayers and wishes with all Mumbaikars in their tough times.
Powered by Zoundry
Welcome to India’s first superhero; and as that, melanoma visit Krrish does remarkably well. Rakesh Roshan’s films have always been fairly entertaining, grip including the ill-fated Kala Bazar and King Uncle. And now, he has improved vastly on the technical side which makes viewing more pleasurable.
Unless you are a hermit living in a cave, you would know that Krrish is a sequel to Roshan’s previous bumper hit Koi Mil Gaya – where in Rohit and Nisha’s son Krishna is born with all the powers that Jadoo, the extra terrestrial, had imparted Rohit with. Fearing that Krishna might fall into the same deadly fate’s trap as his father, Krishna’s grandmother Shalini Mehra (a suitably aged and wobbly Rekha) keeps her away from the world’s gaze. Krishna grows up in sylvan mountain surroundings, a sort of desi-Tarzan, only he has been given education. It’s a visit from Priya (Priyanka Chopra) from Singapore that begins the journey of the simpleton Krishna to the masked man Krrish. And there, he will also face the wily Dr. Arya (Naseerudin Shah).
The script is taut except for a slight sagging in the first half –which if reduced, could have kept the overall running time also less and more enjoyable. But once Krishna reaches Singapore, it goes into full ballistic. The script adequately peppers Rohit and Nisha’s reason-for-death at suitable places. And yes – an interesting point, which I enjoyed – the past about Rohit and what happens to him after KMG ends, has a very crucial role to play in this film; this is something that has not been talked about in promotions at all, but I feel this itself lends the film a solid weight. What is that? Well, I suggest you go and watch it and enjoy it unfold.
Of course, keeping in mind Indian sensibilities, the superhero is kept rooted in enough song-and-dance-and-emotion. Sensible? For this one, sort of – though I wish there was more of the ‘superhero’ than the normal ‘hero’. Here, the superhero has only a personal agenda. Perhaps if another sequel is made, they could take Krrish’s character further to ‘save the planet’.
The film’s stunts and special effects are extraordinary, especially in Hindi films context. For those who have grown up on Superman/Batman/ Spiderman/Matrix might find it simply ordinary. I had imagined that in sophisticated multiplex-era, the days of clapping at hero’s stunts would be over – but was pleasantly surprised to see a ring of spontaneous clapping when Krrish takes on a posse of villains in the climax.
Rakesh Roshan’s direction is able. He keeps a strong control on the proceedings, and the narrative pace is pretty even.
Hrithik’s performance is superb – in all his various avatars – though at times his constant ‘flying’ and ‘movement’ gets irritating. For example, in the song ‘Koi Tumsa Nahin’ (incidentally, that was the film’s working title) one just wishes that he would stand still instead of yet again dancing. Priyanka plays a typical heroine and does well for herself, though she needs to do something about her dress-designer! Rekha and Naseeruddin Shah are seasoned performers, they are great.
Rajesh Roshan’s music lacks verve. Salim Sulaiman’s background score is good. Cinematography is awesome – especially the luxuriant and verdant mountain landscape has been captured in fine detail. As Priya says in the film – so soothing, so serene! Dialogues are ok. Editing is slick. Barring ‘Dil na diya’ I found the choreography jarring!
In all, Krrish is a good entertaining film and introduces a new genre to Hindi cinema.
Overall – Time Pass, Watch It!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
At last the clouds have gathered and rains are imminent. The last one week has been particularly bad. Power situation dipped to an all time low, pills
and all we heard through the black outs were news of one or the other power-station tripping and packing up.Â
I have become a certified couch potato; or rather a ‘bed’ potato since my television is in the bedroom. After missing of television for more than a year, I took to watching it with a vengeance. But most viewing is restricted to movies and songs channels, with an occasional foray into news ones. To my horror I discovered that all the money spent on collecting DVD’s last year was sheer wastage since those movies keep repeating themselves ad nauseum. For example, I can puke now if someone so much as mentions the thought of watching No Entry – a movie that I thoroughly enjoyed earlier. Other than Sahara telecasting it alternatively on its both channels (Filmy and Sahara One) every other week, my cable-wallah has also gone overboard there. In fact, my cable-guy has a strange habit of showing those very same films a couple of days earlier that would in any case be shown on Max or Filmy the same week!Â
I have an aversion towards all currently running serials. Nay, I absolutely abhor the entire Zee-Sony-Star Plus nexus, with the hatred targeted more towards the last one, whom I hold responsible for starting the trend of those horrifying saas-bahu serials. I can’t stand any program on Star Plus – every one of them, even that supposedly ‘different’ game show Jodi Kamaal Ki, seems to have similar look with bright gaudy colors and heavily dressed up ladies ready to burst into copious tears at any given instant. Even though I am not a football freak, but honestly I can kick anyone from Star’s programming department with a force that can get me a place in the next World Cup!Â
The only good thing that ever came out from the Star-stable was The Great Indian Laughter Challenge Contest.. I had missed the first season, but was able to watch a large bulk of the second one. Opinions may differ on whether Rauf Lala deserved the crown or not, but I personally feel that the entire toppers lot including Khayali, Rajeev, Pratap Faujdar, the Pakistani jodi and, my personal favorite, Dr Tushhar were mindblowingly excellent! Together, they made Friday evenings funny and entertaining.Â
After lambasting serials, I have to sheepishly confess that I started watching one with great interest. But then, Akela doesn’t seem to be your usual fare. There is heavy inspiration from M Night Shayamalan’s The Sixth Sense where the basic premise is concerned, but otherwise it seems to be on a different track.  The biggest relief? Any chances to slip into the saas-bahu syndrome were nipped in the bud with the mothers of both the hero and heroine dead in the first episode itself. Phew! I am keeping my fingers crossed that their ghosts will not start wearing outlandish bindis and scheming against each other to the tune of electronically generated swoosh-and-boom background score. Plus, the serial – like good ol’ days – will be aired once a week; that way, it’s easier to follow, and of course, it avoids overkill.Â
Sudhanshu (Band of Boys, Yakeen) Panday plays the protagonist. He may not be the greatest actor around, but his personality and physique suit the role. Plus, I have seen Yakeen and bits of Pehchaan: The Face of Truth, and I feel there is a raw honesty in his performances reminiscent of Jackie Shroff in his younger days.Â
Speaking of Jackie Shroff, what has he done to himself? Unlike his colleague Anil Kapoor, Jackie never exhibited the Machiavellian go-getter capacity. But at least he can take good care of his looks and locks! Since he never had the qualms to graduate to father roles, I am sure things wouldn’t be so hard up for him that he is forced to act in inane Z-grade flicks like Bhoot Unkle!Â
Well, the clouds have darkened further, and any moment the welcome pitter-patter of rains will be heard. My player has also propititiously moved to ‘Yeh mausam bheega bheega hai, hawa bhi kuchh zyada zyada hai’ from Dharti. And before we have another power cut, let me publish this.
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
At last the clouds have gathered and rains are imminent. The last one week has been particularly bad. Power situation dipped to an all time low, pills
and all we heard through the black outs were news of one or the other power-station tripping and packing up.Â
I have become a certified couch potato; or rather a ‘bed’ potato since my television is in the bedroom. After missing of television for more than a year, I took to watching it with a vengeance. But most viewing is restricted to movies and songs channels, with an occasional foray into news ones. To my horror I discovered that all the money spent on collecting DVD’s last year was sheer wastage since those movies keep repeating themselves ad nauseum. For example, I can puke now if someone so much as mentions the thought of watching No Entry – a movie that I thoroughly enjoyed earlier. Other than Sahara telecasting it alternatively on its both channels (Filmy and Sahara One) every other week, my cable-wallah has also gone overboard there. In fact, my cable-guy has a strange habit of showing those very same films a couple of days earlier that would in any case be shown on Max or Filmy the same week!Â
I have an aversion towards all currently running serials. Nay, I absolutely abhor the entire Zee-Sony-Star Plus nexus, with the hatred targeted more towards the last one, whom I hold responsible for starting the trend of those horrifying saas-bahu serials. I can’t stand any program on Star Plus – every one of them, even that supposedly ‘different’ game show Jodi Kamaal Ki, seems to have similar look with bright gaudy colors and heavily dressed up ladies ready to burst into copious tears at any given instant. Even though I am not a football freak, but honestly I can kick anyone from Star’s programming department with a force that can get me a place in the next World Cup!Â
The only good thing that ever came out from the Star-stable was The Great Indian Laughter Challenge Contest.. I had missed the first season, but was able to watch a large bulk of the second one. Opinions may differ on whether Rauf Lala deserved the crown or not, but I personally feel that the entire toppers lot including Khayali, Rajeev, Pratap Faujdar, the Pakistani jodi and, my personal favorite, Dr Tushhar were mindblowingly excellent! Together, they made Friday evenings funny and entertaining.Â
After lambasting serials, I have to sheepishly confess that I started watching one with great interest. But then, Akela doesn’t seem to be your usual fare. There is heavy inspiration from M Night Shayamalan’s The Sixth Sense where the basic premise is concerned, but otherwise it seems to be on a different track.  The biggest relief? Any chances to slip into the saas-bahu syndrome were nipped in the bud with the mothers of both the hero and heroine dead in the first episode itself. Phew! I am keeping my fingers crossed that their ghosts will not start wearing outlandish bindis and scheming against each other to the tune of electronically generated swoosh-and-boom background score. Plus, the serial – like good ol’ days – will be aired once a week; that way, it’s easier to follow, and of course, it avoids overkill.Â
Sudhanshu (Band of Boys, Yakeen) Panday plays the protagonist. He may not be the greatest actor around, but his personality and physique suit the role. Plus, I have seen Yakeen and bits of Pehchaan: The Face of Truth, and I feel there is a raw honesty in his performances reminiscent of Jackie Shroff in his younger days.Â
Speaking of Jackie Shroff, what has he done to himself? Unlike his colleague Anil Kapoor, Jackie never exhibited the Machiavellian go-getter capacity. But at least he can take good care of his looks and locks! Since he never had the qualms to graduate to father roles, I am sure things wouldn’t be so hard up for him that he is forced to act in inane Z-grade flicks like Bhoot Unkle!Â
Well, the clouds have darkened further, and any moment the welcome pitter-patter of rains will be heard. My player has also propititiously moved to ‘Yeh mausam bheega bheega hai, hawa bhi kuchh zyada zyada hai’ from Dharti. And before we have another power cut, let me publish this.
Aajao ke sab milke rab se dua maange
Jeevan mein sukoon chaahen
Chaahat mein wafaa maangein
Haalaat badalne mein ab der na ho maalik
Jo dekh chuke phir andher na ho maalik
Ek tu hi bharosa
Ek tu hi sahaara
Is tere jahaan mein
Nahi koi hamaara
Hey Ishwar Ya Allah yeh pukaar sunle
Hey Ishwar Ya Allah hey daata
Humse na dekha jaaye
Barbaadiyon ka sama
Ujadi hui basti mein
Yeh tadap rahe insaan
Nanhe jismon ke tukde
Liye khadi ek maa
Baarood ke dhuen mein
Tu hi bol jaayen kahan
Ek tu hi bharosa
Ek tu hi sahaaraa…
Naadan hain hum to maalik
Kyun di humein yeh sazaa
Yahaan hai sabhi ke dil mein
Nafrat ka zahar bhara
Inhe phir se yaad dilade
Sabak wohi pyaar ke
Ban jaaye gulshan phir se
Kaanton bhari yeh duniya
Ek tu hi bharosa
Ek tu hi sahaaraa…
– Lyric: Majrooh Sultanpuri
– Singer: Lata Mangeshkar
My prayers and wishes with all Mumbaikars in their tough times.
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Two days something or the other has gone wrong with this page – hope today is fine. Day before yesterday I was at my sister’s place. From there I wrote a lengthy post. However some software installed in  my brother in law’s laptop clashed with wordpress and the post didn’t get published. I tried recreating the post in the night, viagra dosage but somehow the flow and narrative was just not happening, angina so I abandoned it.
Yesterday, I wrote a small piece. It got published. But I noticed a grammatical error and entered the site admin to correct it. In my hurry, and goodness knows what state of my mind, instead of pressing ‘save’ I clicked ‘delete’. That was the end of that post, which I think a few readers like Mehak did read.
And now I write this one. I am saving it, and will be back with some more chit chat very soon. So don’t go away from here.
Welcome to India’s first superhero; and as that, melanoma visit Krrish does remarkably well. Rakesh Roshan’s films have always been fairly entertaining, grip including the ill-fated Kala Bazar and King Uncle. And now, he has improved vastly on the technical side which makes viewing more pleasurable.
Unless you are a hermit living in a cave, you would know that Krrish is a sequel to Roshan’s previous bumper hit Koi Mil Gaya – where in Rohit and Nisha’s son Krishna is born with all the powers that Jadoo, the extra terrestrial, had imparted Rohit with. Fearing that Krishna might fall into the same deadly fate’s trap as his father, Krishna’s grandmother Shalini Mehra (a suitably aged and wobbly Rekha) keeps her away from the world’s gaze. Krishna grows up in sylvan mountain surroundings, a sort of desi-Tarzan, only he has been given education. It’s a visit from Priya (Priyanka Chopra) from Singapore that begins the journey of the simpleton Krishna to the masked man Krrish. And there, he will also face the wily Dr. Arya (Naseerudin Shah).
The script is taut except for a slight sagging in the first half –which if reduced, could have kept the overall running time also less and more enjoyable. But once Krishna reaches Singapore, it goes into full ballistic. The script adequately peppers Rohit and Nisha’s reason-for-death at suitable places. And yes – an interesting point, which I enjoyed – the past about Rohit and what happens to him after KMG ends, has a very crucial role to play in this film; this is something that has not been talked about in promotions at all, but I feel this itself lends the film a solid weight. What is that? Well, I suggest you go and watch it and enjoy it unfold.
Of course, keeping in mind Indian sensibilities, the superhero is kept rooted in enough song-and-dance-and-emotion. Sensible? For this one, sort of – though I wish there was more of the ‘superhero’ than the normal ‘hero’. Here, the superhero has only a personal agenda. Perhaps if another sequel is made, they could take Krrish’s character further to ‘save the planet’.
The film’s stunts and special effects are extraordinary, especially in Hindi films context. For those who have grown up on Superman/Batman/ Spiderman/Matrix might find it simply ordinary. I had imagined that in sophisticated multiplex-era, the days of clapping at hero’s stunts would be over – but was pleasantly surprised to see a ring of spontaneous clapping when Krrish takes on a posse of villains in the climax.
Rakesh Roshan’s direction is able. He keeps a strong control on the proceedings, and the narrative pace is pretty even.
Hrithik’s performance is superb – in all his various avatars – though at times his constant ‘flying’ and ‘movement’ gets irritating. For example, in the song ‘Koi Tumsa Nahin’ (incidentally, that was the film’s working title) one just wishes that he would stand still instead of yet again dancing. Priyanka plays a typical heroine and does well for herself, though she needs to do something about her dress-designer! Rekha and Naseeruddin Shah are seasoned performers, they are great.
Rajesh Roshan’s music lacks verve. Salim Sulaiman’s background score is good. Cinematography is awesome – especially the luxuriant and verdant mountain landscape has been captured in fine detail. As Priya says in the film – so soothing, so serene! Dialogues are ok. Editing is slick. Barring ‘Dil na diya’ I found the choreography jarring!
In all, Krrish is a good entertaining film and introduces a new genre to Hindi cinema.
Overall – Time Pass, Watch It!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
At last the clouds have gathered and rains are imminent. The last one week has been particularly bad. Power situation dipped to an all time low, pills
and all we heard through the black outs were news of one or the other power-station tripping and packing up.Â
I have become a certified couch potato; or rather a ‘bed’ potato since my television is in the bedroom. After missing of television for more than a year, I took to watching it with a vengeance. But most viewing is restricted to movies and songs channels, with an occasional foray into news ones. To my horror I discovered that all the money spent on collecting DVD’s last year was sheer wastage since those movies keep repeating themselves ad nauseum. For example, I can puke now if someone so much as mentions the thought of watching No Entry – a movie that I thoroughly enjoyed earlier. Other than Sahara telecasting it alternatively on its both channels (Filmy and Sahara One) every other week, my cable-wallah has also gone overboard there. In fact, my cable-guy has a strange habit of showing those very same films a couple of days earlier that would in any case be shown on Max or Filmy the same week!Â
I have an aversion towards all currently running serials. Nay, I absolutely abhor the entire Zee-Sony-Star Plus nexus, with the hatred targeted more towards the last one, whom I hold responsible for starting the trend of those horrifying saas-bahu serials. I can’t stand any program on Star Plus – every one of them, even that supposedly ‘different’ game show Jodi Kamaal Ki, seems to have similar look with bright gaudy colors and heavily dressed up ladies ready to burst into copious tears at any given instant. Even though I am not a football freak, but honestly I can kick anyone from Star’s programming department with a force that can get me a place in the next World Cup!Â
The only good thing that ever came out from the Star-stable was The Great Indian Laughter Challenge Contest.. I had missed the first season, but was able to watch a large bulk of the second one. Opinions may differ on whether Rauf Lala deserved the crown or not, but I personally feel that the entire toppers lot including Khayali, Rajeev, Pratap Faujdar, the Pakistani jodi and, my personal favorite, Dr Tushhar were mindblowingly excellent! Together, they made Friday evenings funny and entertaining.Â
After lambasting serials, I have to sheepishly confess that I started watching one with great interest. But then, Akela doesn’t seem to be your usual fare. There is heavy inspiration from M Night Shayamalan’s The Sixth Sense where the basic premise is concerned, but otherwise it seems to be on a different track.  The biggest relief? Any chances to slip into the saas-bahu syndrome were nipped in the bud with the mothers of both the hero and heroine dead in the first episode itself. Phew! I am keeping my fingers crossed that their ghosts will not start wearing outlandish bindis and scheming against each other to the tune of electronically generated swoosh-and-boom background score. Plus, the serial – like good ol’ days – will be aired once a week; that way, it’s easier to follow, and of course, it avoids overkill.Â
Sudhanshu (Band of Boys, Yakeen) Panday plays the protagonist. He may not be the greatest actor around, but his personality and physique suit the role. Plus, I have seen Yakeen and bits of Pehchaan: The Face of Truth, and I feel there is a raw honesty in his performances reminiscent of Jackie Shroff in his younger days.Â
Speaking of Jackie Shroff, what has he done to himself? Unlike his colleague Anil Kapoor, Jackie never exhibited the Machiavellian go-getter capacity. But at least he can take good care of his looks and locks! Since he never had the qualms to graduate to father roles, I am sure things wouldn’t be so hard up for him that he is forced to act in inane Z-grade flicks like Bhoot Unkle!Â
Well, the clouds have darkened further, and any moment the welcome pitter-patter of rains will be heard. My player has also propititiously moved to ‘Yeh mausam bheega bheega hai, hawa bhi kuchh zyada zyada hai’ from Dharti. And before we have another power cut, let me publish this.
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
At last the clouds have gathered and rains are imminent. The last one week has been particularly bad. Power situation dipped to an all time low, pills
and all we heard through the black outs were news of one or the other power-station tripping and packing up.Â
I have become a certified couch potato; or rather a ‘bed’ potato since my television is in the bedroom. After missing of television for more than a year, I took to watching it with a vengeance. But most viewing is restricted to movies and songs channels, with an occasional foray into news ones. To my horror I discovered that all the money spent on collecting DVD’s last year was sheer wastage since those movies keep repeating themselves ad nauseum. For example, I can puke now if someone so much as mentions the thought of watching No Entry – a movie that I thoroughly enjoyed earlier. Other than Sahara telecasting it alternatively on its both channels (Filmy and Sahara One) every other week, my cable-wallah has also gone overboard there. In fact, my cable-guy has a strange habit of showing those very same films a couple of days earlier that would in any case be shown on Max or Filmy the same week!Â
I have an aversion towards all currently running serials. Nay, I absolutely abhor the entire Zee-Sony-Star Plus nexus, with the hatred targeted more towards the last one, whom I hold responsible for starting the trend of those horrifying saas-bahu serials. I can’t stand any program on Star Plus – every one of them, even that supposedly ‘different’ game show Jodi Kamaal Ki, seems to have similar look with bright gaudy colors and heavily dressed up ladies ready to burst into copious tears at any given instant. Even though I am not a football freak, but honestly I can kick anyone from Star’s programming department with a force that can get me a place in the next World Cup!Â
The only good thing that ever came out from the Star-stable was The Great Indian Laughter Challenge Contest.. I had missed the first season, but was able to watch a large bulk of the second one. Opinions may differ on whether Rauf Lala deserved the crown or not, but I personally feel that the entire toppers lot including Khayali, Rajeev, Pratap Faujdar, the Pakistani jodi and, my personal favorite, Dr Tushhar were mindblowingly excellent! Together, they made Friday evenings funny and entertaining.Â
After lambasting serials, I have to sheepishly confess that I started watching one with great interest. But then, Akela doesn’t seem to be your usual fare. There is heavy inspiration from M Night Shayamalan’s The Sixth Sense where the basic premise is concerned, but otherwise it seems to be on a different track.  The biggest relief? Any chances to slip into the saas-bahu syndrome were nipped in the bud with the mothers of both the hero and heroine dead in the first episode itself. Phew! I am keeping my fingers crossed that their ghosts will not start wearing outlandish bindis and scheming against each other to the tune of electronically generated swoosh-and-boom background score. Plus, the serial – like good ol’ days – will be aired once a week; that way, it’s easier to follow, and of course, it avoids overkill.Â
Sudhanshu (Band of Boys, Yakeen) Panday plays the protagonist. He may not be the greatest actor around, but his personality and physique suit the role. Plus, I have seen Yakeen and bits of Pehchaan: The Face of Truth, and I feel there is a raw honesty in his performances reminiscent of Jackie Shroff in his younger days.Â
Speaking of Jackie Shroff, what has he done to himself? Unlike his colleague Anil Kapoor, Jackie never exhibited the Machiavellian go-getter capacity. But at least he can take good care of his looks and locks! Since he never had the qualms to graduate to father roles, I am sure things wouldn’t be so hard up for him that he is forced to act in inane Z-grade flicks like Bhoot Unkle!Â
Well, the clouds have darkened further, and any moment the welcome pitter-patter of rains will be heard. My player has also propititiously moved to ‘Yeh mausam bheega bheega hai, hawa bhi kuchh zyada zyada hai’ from Dharti. And before we have another power cut, let me publish this.
Aajao ke sab milke rab se dua maange
Jeevan mein sukoon chaahen
Chaahat mein wafaa maangein
Haalaat badalne mein ab der na ho maalik
Jo dekh chuke phir andher na ho maalik
Ek tu hi bharosa
Ek tu hi sahaara
Is tere jahaan mein
Nahi koi hamaara
Hey Ishwar Ya Allah yeh pukaar sunle
Hey Ishwar Ya Allah hey daata
Humse na dekha jaaye
Barbaadiyon ka sama
Ujadi hui basti mein
Yeh tadap rahe insaan
Nanhe jismon ke tukde
Liye khadi ek maa
Baarood ke dhuen mein
Tu hi bol jaayen kahan
Ek tu hi bharosa
Ek tu hi sahaaraa…
Naadan hain hum to maalik
Kyun di humein yeh sazaa
Yahaan hai sabhi ke dil mein
Nafrat ka zahar bhara
Inhe phir se yaad dilade
Sabak wohi pyaar ke
Ban jaaye gulshan phir se
Kaanton bhari yeh duniya
Ek tu hi bharosa
Ek tu hi sahaaraa…
– Lyric: Majrooh Sultanpuri
– Singer: Lata Mangeshkar
My prayers and wishes with all Mumbaikars in their tough times.
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Two days something or the other has gone wrong with this page – hope today is fine. Day before yesterday I was at my sister’s place. From there I wrote a lengthy post. However some software installed in  my brother in law’s laptop clashed with wordpress and the post didn’t get published. I tried recreating the post in the night, viagra dosage but somehow the flow and narrative was just not happening, angina so I abandoned it.
Yesterday, I wrote a small piece. It got published. But I noticed a grammatical error and entered the site admin to correct it. In my hurry, and goodness knows what state of my mind, instead of pressing ‘save’ I clicked ‘delete’. That was the end of that post, which I think a few readers like Mehak did read.
And now I write this one. I am saving it, and will be back with some more chit chat very soon. So don’t go away from here.
The thought, clinic of sitting comfortably on a thick cushion blowing on an ornate hookah and sipping wine served in thick silver glasses while a lady in a bright zardozi-laced dress, ornamental jewelery and aalta-smeared feet dances to the melodious strains of sitar–ghoongroo– sarangi-and-tabla, is quite an interesting and nawabi one. Dont get me wrong. I have never visited a ‘kotha‘ ever, its just a sort of fantasy which stems out from seeing the myriad mujra songs in films. Bollywood films can go awfully wrong in depicting many things, and often stick rigidly to conventional stereotypes, so I could be incorrect in my vision – any reader who has visited one can inform the same, either on the site or a personal mail (secrecy guaranteed) 😛
Anyways, jokes apart, the mujra songs have their own life. They come in all sizes and shapes : from the classy Chalte chalte yunhi koi mil gaya tha (Pakeezah) to the crassy Kaahe saiyan teri meri baat bane naahi (Dayawan); from the lyrically charged Dil cheez kya hai (Umrao Jaan) to the lyrically debauched Mujrewali hoon mujra karti hoon (Awaargi); from a dulcet Lata’s Pyar kiya to darna kya (MeA) to a screechy Alka’s Tawaif kahan kisi se mohabbat karti hai (Amiri Garibi) – you will find a variety of them in films pre-current-millenium. Whatever the song be, the fallen woman was always elevated by strong musical muscles. Now, the place of a mujra has been taken by item numbers.
Broadly the mujras can be divided into two categories – one, where the heroine is a tawaif, or becomes one – here, Â expect some highly philosophical songs on love and life; two, where the tawaif is a mere side-prop to tittilate the villain (or a wronged hero) , most such songs will be more noise than substance – of course the two categories overlap, and exceptions exist in both.
So, here I list a few mujra numbers sung by Lata Mangeshkar – let’s see how many of them match with your own. In the list I have taken some songs that might not be exactly a hard-core mujra but has been picturised on a ‘kotha‘, hence here. In most, Lata’s pristine voice helped a great deal in establishing the purity and freshness of the lady-in-wrong-trade!
Salaam-e-ishq meri jaan zaraa kabool kar lo – Muqaddar Ka Sikandar – the mother of all mujras in terms of popularity and reach. Rekha and Amitabh scorches on-screen while Lata and Kishore ignite with their sparkling vocals. As I said, Lata’s voice gave a gilt-edged glitter to Rekha’s, giving life to her love and passion which transcended the dirty limits of her profession.Â
Chalte chalte yunhi koi mil gaya tha / Thaare rahiyo o baanke yaar / Inhi logon ne – Paakeezah – outstanding music in all, lovely songs, and the best movie on the life of a nautch girl. And thank God for ‘thaare rahiyo’ without which antakshri gets impossibly stuck if you get the letter ‘tha‘. The beats in ‘Chalte chalte’ are mesmerising while Lata’s voice is impeccably thoughtful and seductive at the same time, as required by the song’s mood!Â
Mujhe rab jo kahe tujhe chhod doon – Ustaad - One of the good old Anu Mallik numbers in which he accompanies the diva with his raspy voice. Picturised on Jaya Prada and Vinod Khanna. Very good interludes, an easy tune and fine singing make the song a winner.Â
Unko yeh shikaayat hai – Adalat – Madan Mohan and Lata Mangeshkar combine for this collossal score. Not exactly in the true mujra format. Nevertheless, a great song.Â
Kya kahen aaj kya ho gaya – Teri Paayal Mere Geet -Â A later stage Naushad-Lata combination in a flop Govinda-Meenakshi starrer. The film was boring, the songs werent. This, and ‘Mohabbat ka ek devtaa mila’ were excellent numbers.Â
Jab pyaar kiya toh darna kya – Mughal E Azam – A song that needs no introduction or description – its an all time any time hit!Â
Thoda resham lagta hai thoda sheesha lagta hai – Jyoti – The song that triggered the remix malaise in the country was a forgotten number till it appeared in some english rap song, and from thereon to Harry Anand’s remix factory. As ever, I prefer the original. Good music, nice tabla and Lata’s awesome voice! Â
Mujre ki hai yeh raat aakhri – Yudh – The sole Lata and old fashioned number in an otherwise techno-induced heave ho typical eighties score. Though Kalyanji Anandji were officially credited as music directors, I suspect Viju Shah’s handiwork in the score. However, this Lata mujra picturised on the ever-ethereal Hema Malini retained a old-worldly charm and was listenable.Â
Jind le gaya woh dil ka jaani – Aap Ke Saath – Again, not a typical mujra, but was picturised on the kotha itself with Smita Patil lamenting the loss of her love. Strangely, most T-series cassettes carry the Anuradha Paudwal scratch version. It is with great difficulty that I found the proper Lata Mangeshkar one.Â
Lo saahib mai bhool gayi yaad mujhe kuchh aaya tha – Maati Maange Khoon – a newly aquired number in my collection, it’s a superb number with the sound of ghungroos reverbarating menacingly within the sorrowful premise. RD Burman provides thumping music; the varying rhythm and beats add to the listening thrill !Â
Kab talak shama jali yaad nahi, shaam e gham kaise dhali yaad nahi – Painter Babu – Uttam-Jagdish’s debut film had this top song. The rest were pretty chaaloo kinds. A detailed note on the song is available on my older site. Read here.
Sanam tu bewafaa ke naam se mashhoor ho jaaye – Khilona – quite a typical L-P song from seventies, like it only for Lata Mangeshkar’s voice. Two more similar numbers follow the list immd. this one. Â
Humhin karen koi soorat unhe bulaane ki, suna hai unnko toh aadat hai bhool jaane ki - Ek Nazar –  another song which is similar in flavor as the above one. Same musical team of L-P-Lata. The film had one more mujra, Pahle sau baar idhar aur udhar dekha hai.Â
Sharaafat chhod di maine – Sharafat – A third similar number from L-P stable , once again with Lata’s lovely voice at the helm.Â
Atharah baras ki tu hone ko aayi /  Imtehaan hai aaj tera imtehaan hai – Of the two Suhaag numbers, I love the latter one. It gives a good lesson on non-drinking. Plus, as a kid I used to often hum the opening lines on any exam day 😛 so the number is intertwined with vivid childhood memories. And Rekha’s has perfected her courtesan act. (Aishwarya Rai will find it impossible to match it with her limited acting skills in the new version of Umrao Jaan).Â
Toone har raat mohabbat ki kasam khaai hai – Ganga Ki Saugandh – A double edged sword of a number that has sweetness on one edge and vitriolic filled sharpness on the other. Awesomely sung, as ever, by Lata Mangeshkar. (The theme song of this film, also by Lataji, Â was quite a big hit).Â
Kuhu kuhu bole koyaliya – Unreleased Devdas – I reckon the song would have been picturised on Chandramukhi, though i m not sure. A very nice song overall. Quintessential Gulzar lyric with Pancham’s melodious music.Â
Jise tu qabool karle woh sadaa kahan se laaoon – Devdas (old) – Obviously the song would be on Chandramukhi. The lyrics are so very apparant. But was this picturised as a mujra or just a love song? SD Burman’s music in this one.
Raat bhi hai kuchh bheegi bheegi – Mujhe Jeene Do – A very romantic number with just that right tinge of suggestive element beyond the innocence. Lata’s chham chham in the mukhda is more melodious than the sound of ghoongroos even. As I wrote once, I love Lata’s singing in a semi-ghabrahat, semi-hopeful way, and of course, her ‘haaye’ can never leave me unstirred.Â
Tadap yeh din raat ki kasak yeh bin baat ki – Amrapali - this love-deprived courtesan’s quivering call for romance is unarguably a sensuous and scintillatiing number – Lata’s voice is a mix between purity, pain and playfulness as she sighs ‘sajan ab to bata de, bata de’… Shankar Jaikishan whip up an emotional storm with their choral sitars.Â
Kaun anjaame ulfat nahi jaanta – Hera Pheri (old) – is this a mujra or not? Not sure now, but i enjoy the song.Â
Mai har raat jaagi … tumhari qasam tum bahut yaad aaye – Gaban – I could be way off the mark with this one – so members please help. Somehow the sitar-and-tabla based music makes it sound like a mujra, though I cant be sure. As a song it’s a topper! Music is by Shankar Jaikishan, and I marvel at the way repetition of lines in the antaras are built by them!
Chham chham chham badra barse, rut barse jiyara tarse – Barkha Bahaar – a still podgy and dusky Rekha dances to Lata’s mellifluous voice in this flop Navin Nischol starrer.Â
Mai tawaif hoon   /     Mere naina saawan bhaadon – Mehbooba – The latter song is part haunting, part mujra… part classical, part populist… this monumental RDB number was a chartbuster at that time. Personally, from this film, my evergreen fav is the love duet ‘Parbat ke peechhe chambe da gaaon’. There was a more on the face number ‘mai tawaif hoon mujra karoongi’ as well. The movie, on reincarnation, was far inferior to the same lead pair’s other classic on the same theme (Kudrat).
Ek dukhiyaari kahe baat yeh rote rote – Ram Teri Ganga Maili – the visual in the prelude, where champagne flows lustily into the pure Ganga, is a very cutting critique on post-modernist moral paucity – that was a superb directorial touch from master storyteller Raj Kapoor. The song itself is wrought with intricate images – the diamond soul wrapped in the soiled skin or the similarity betn a woman and the river … its a great theme song with an admirable picturisation.Â
These are the ones that I could recall when I first wrote the post for some other group. There were more additions done later on , eg Raina beeti jaaye from Amar Prem (not a mujra,per se but still picturised on a kotha, hence can be added here), Rahte the kabhi jinke dil mein ( Mamta ) and  O Aaanewaale ruk ja (Devdas).
Sister Asha Bhonsle also has many memorable mujras – from Umrao Jaan, Tawaif, to name a few hit films- but I am not too keen to go into those details. However, still I  will end this post with one unknown gem from her ouvre.
Kaise mukhde se nazrein uthaaye ke tujh mein hi rab dikhta – English Babu Desi Mem – It’s a bit hard to swallow that this shimmering number is created by Nikhil-Vinay. But as they are officially credited, I will go by it. The song has a faint qawaali tinge to it and the lyrics are nice. To top it all, there is an ethereal looking Sonali Bendre dancing to the beats in a flaming red dress – the overall effect is fantastic!
Welcome to India’s first superhero; and as that, melanoma visit Krrish does remarkably well. Rakesh Roshan’s films have always been fairly entertaining, grip including the ill-fated Kala Bazar and King Uncle. And now, he has improved vastly on the technical side which makes viewing more pleasurable.
Unless you are a hermit living in a cave, you would know that Krrish is a sequel to Roshan’s previous bumper hit Koi Mil Gaya – where in Rohit and Nisha’s son Krishna is born with all the powers that Jadoo, the extra terrestrial, had imparted Rohit with. Fearing that Krishna might fall into the same deadly fate’s trap as his father, Krishna’s grandmother Shalini Mehra (a suitably aged and wobbly Rekha) keeps her away from the world’s gaze. Krishna grows up in sylvan mountain surroundings, a sort of desi-Tarzan, only he has been given education. It’s a visit from Priya (Priyanka Chopra) from Singapore that begins the journey of the simpleton Krishna to the masked man Krrish. And there, he will also face the wily Dr. Arya (Naseerudin Shah).
The script is taut except for a slight sagging in the first half –which if reduced, could have kept the overall running time also less and more enjoyable. But once Krishna reaches Singapore, it goes into full ballistic. The script adequately peppers Rohit and Nisha’s reason-for-death at suitable places. And yes – an interesting point, which I enjoyed – the past about Rohit and what happens to him after KMG ends, has a very crucial role to play in this film; this is something that has not been talked about in promotions at all, but I feel this itself lends the film a solid weight. What is that? Well, I suggest you go and watch it and enjoy it unfold.
Of course, keeping in mind Indian sensibilities, the superhero is kept rooted in enough song-and-dance-and-emotion. Sensible? For this one, sort of – though I wish there was more of the ‘superhero’ than the normal ‘hero’. Here, the superhero has only a personal agenda. Perhaps if another sequel is made, they could take Krrish’s character further to ‘save the planet’.
The film’s stunts and special effects are extraordinary, especially in Hindi films context. For those who have grown up on Superman/Batman/ Spiderman/Matrix might find it simply ordinary. I had imagined that in sophisticated multiplex-era, the days of clapping at hero’s stunts would be over – but was pleasantly surprised to see a ring of spontaneous clapping when Krrish takes on a posse of villains in the climax.
Rakesh Roshan’s direction is able. He keeps a strong control on the proceedings, and the narrative pace is pretty even.
Hrithik’s performance is superb – in all his various avatars – though at times his constant ‘flying’ and ‘movement’ gets irritating. For example, in the song ‘Koi Tumsa Nahin’ (incidentally, that was the film’s working title) one just wishes that he would stand still instead of yet again dancing. Priyanka plays a typical heroine and does well for herself, though she needs to do something about her dress-designer! Rekha and Naseeruddin Shah are seasoned performers, they are great.
Rajesh Roshan’s music lacks verve. Salim Sulaiman’s background score is good. Cinematography is awesome – especially the luxuriant and verdant mountain landscape has been captured in fine detail. As Priya says in the film – so soothing, so serene! Dialogues are ok. Editing is slick. Barring ‘Dil na diya’ I found the choreography jarring!
In all, Krrish is a good entertaining film and introduces a new genre to Hindi cinema.
Overall – Time Pass, Watch It!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
At last the clouds have gathered and rains are imminent. The last one week has been particularly bad. Power situation dipped to an all time low, pills
and all we heard through the black outs were news of one or the other power-station tripping and packing up.Â
I have become a certified couch potato; or rather a ‘bed’ potato since my television is in the bedroom. After missing of television for more than a year, I took to watching it with a vengeance. But most viewing is restricted to movies and songs channels, with an occasional foray into news ones. To my horror I discovered that all the money spent on collecting DVD’s last year was sheer wastage since those movies keep repeating themselves ad nauseum. For example, I can puke now if someone so much as mentions the thought of watching No Entry – a movie that I thoroughly enjoyed earlier. Other than Sahara telecasting it alternatively on its both channels (Filmy and Sahara One) every other week, my cable-wallah has also gone overboard there. In fact, my cable-guy has a strange habit of showing those very same films a couple of days earlier that would in any case be shown on Max or Filmy the same week!Â
I have an aversion towards all currently running serials. Nay, I absolutely abhor the entire Zee-Sony-Star Plus nexus, with the hatred targeted more towards the last one, whom I hold responsible for starting the trend of those horrifying saas-bahu serials. I can’t stand any program on Star Plus – every one of them, even that supposedly ‘different’ game show Jodi Kamaal Ki, seems to have similar look with bright gaudy colors and heavily dressed up ladies ready to burst into copious tears at any given instant. Even though I am not a football freak, but honestly I can kick anyone from Star’s programming department with a force that can get me a place in the next World Cup!Â
The only good thing that ever came out from the Star-stable was The Great Indian Laughter Challenge Contest.. I had missed the first season, but was able to watch a large bulk of the second one. Opinions may differ on whether Rauf Lala deserved the crown or not, but I personally feel that the entire toppers lot including Khayali, Rajeev, Pratap Faujdar, the Pakistani jodi and, my personal favorite, Dr Tushhar were mindblowingly excellent! Together, they made Friday evenings funny and entertaining.Â
After lambasting serials, I have to sheepishly confess that I started watching one with great interest. But then, Akela doesn’t seem to be your usual fare. There is heavy inspiration from M Night Shayamalan’s The Sixth Sense where the basic premise is concerned, but otherwise it seems to be on a different track.  The biggest relief? Any chances to slip into the saas-bahu syndrome were nipped in the bud with the mothers of both the hero and heroine dead in the first episode itself. Phew! I am keeping my fingers crossed that their ghosts will not start wearing outlandish bindis and scheming against each other to the tune of electronically generated swoosh-and-boom background score. Plus, the serial – like good ol’ days – will be aired once a week; that way, it’s easier to follow, and of course, it avoids overkill.Â
Sudhanshu (Band of Boys, Yakeen) Panday plays the protagonist. He may not be the greatest actor around, but his personality and physique suit the role. Plus, I have seen Yakeen and bits of Pehchaan: The Face of Truth, and I feel there is a raw honesty in his performances reminiscent of Jackie Shroff in his younger days.Â
Speaking of Jackie Shroff, what has he done to himself? Unlike his colleague Anil Kapoor, Jackie never exhibited the Machiavellian go-getter capacity. But at least he can take good care of his looks and locks! Since he never had the qualms to graduate to father roles, I am sure things wouldn’t be so hard up for him that he is forced to act in inane Z-grade flicks like Bhoot Unkle!Â
Well, the clouds have darkened further, and any moment the welcome pitter-patter of rains will be heard. My player has also propititiously moved to ‘Yeh mausam bheega bheega hai, hawa bhi kuchh zyada zyada hai’ from Dharti. And before we have another power cut, let me publish this.
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
At last the clouds have gathered and rains are imminent. The last one week has been particularly bad. Power situation dipped to an all time low, pills
and all we heard through the black outs were news of one or the other power-station tripping and packing up.Â
I have become a certified couch potato; or rather a ‘bed’ potato since my television is in the bedroom. After missing of television for more than a year, I took to watching it with a vengeance. But most viewing is restricted to movies and songs channels, with an occasional foray into news ones. To my horror I discovered that all the money spent on collecting DVD’s last year was sheer wastage since those movies keep repeating themselves ad nauseum. For example, I can puke now if someone so much as mentions the thought of watching No Entry – a movie that I thoroughly enjoyed earlier. Other than Sahara telecasting it alternatively on its both channels (Filmy and Sahara One) every other week, my cable-wallah has also gone overboard there. In fact, my cable-guy has a strange habit of showing those very same films a couple of days earlier that would in any case be shown on Max or Filmy the same week!Â
I have an aversion towards all currently running serials. Nay, I absolutely abhor the entire Zee-Sony-Star Plus nexus, with the hatred targeted more towards the last one, whom I hold responsible for starting the trend of those horrifying saas-bahu serials. I can’t stand any program on Star Plus – every one of them, even that supposedly ‘different’ game show Jodi Kamaal Ki, seems to have similar look with bright gaudy colors and heavily dressed up ladies ready to burst into copious tears at any given instant. Even though I am not a football freak, but honestly I can kick anyone from Star’s programming department with a force that can get me a place in the next World Cup!Â
The only good thing that ever came out from the Star-stable was The Great Indian Laughter Challenge Contest.. I had missed the first season, but was able to watch a large bulk of the second one. Opinions may differ on whether Rauf Lala deserved the crown or not, but I personally feel that the entire toppers lot including Khayali, Rajeev, Pratap Faujdar, the Pakistani jodi and, my personal favorite, Dr Tushhar were mindblowingly excellent! Together, they made Friday evenings funny and entertaining.Â
After lambasting serials, I have to sheepishly confess that I started watching one with great interest. But then, Akela doesn’t seem to be your usual fare. There is heavy inspiration from M Night Shayamalan’s The Sixth Sense where the basic premise is concerned, but otherwise it seems to be on a different track.  The biggest relief? Any chances to slip into the saas-bahu syndrome were nipped in the bud with the mothers of both the hero and heroine dead in the first episode itself. Phew! I am keeping my fingers crossed that their ghosts will not start wearing outlandish bindis and scheming against each other to the tune of electronically generated swoosh-and-boom background score. Plus, the serial – like good ol’ days – will be aired once a week; that way, it’s easier to follow, and of course, it avoids overkill.Â
Sudhanshu (Band of Boys, Yakeen) Panday plays the protagonist. He may not be the greatest actor around, but his personality and physique suit the role. Plus, I have seen Yakeen and bits of Pehchaan: The Face of Truth, and I feel there is a raw honesty in his performances reminiscent of Jackie Shroff in his younger days.Â
Speaking of Jackie Shroff, what has he done to himself? Unlike his colleague Anil Kapoor, Jackie never exhibited the Machiavellian go-getter capacity. But at least he can take good care of his looks and locks! Since he never had the qualms to graduate to father roles, I am sure things wouldn’t be so hard up for him that he is forced to act in inane Z-grade flicks like Bhoot Unkle!Â
Well, the clouds have darkened further, and any moment the welcome pitter-patter of rains will be heard. My player has also propititiously moved to ‘Yeh mausam bheega bheega hai, hawa bhi kuchh zyada zyada hai’ from Dharti. And before we have another power cut, let me publish this.
Aajao ke sab milke rab se dua maange
Jeevan mein sukoon chaahen
Chaahat mein wafaa maangein
Haalaat badalne mein ab der na ho maalik
Jo dekh chuke phir andher na ho maalik
Ek tu hi bharosa
Ek tu hi sahaara
Is tere jahaan mein
Nahi koi hamaara
Hey Ishwar Ya Allah yeh pukaar sunle
Hey Ishwar Ya Allah hey daata
Humse na dekha jaaye
Barbaadiyon ka sama
Ujadi hui basti mein
Yeh tadap rahe insaan
Nanhe jismon ke tukde
Liye khadi ek maa
Baarood ke dhuen mein
Tu hi bol jaayen kahan
Ek tu hi bharosa
Ek tu hi sahaaraa…
Naadan hain hum to maalik
Kyun di humein yeh sazaa
Yahaan hai sabhi ke dil mein
Nafrat ka zahar bhara
Inhe phir se yaad dilade
Sabak wohi pyaar ke
Ban jaaye gulshan phir se
Kaanton bhari yeh duniya
Ek tu hi bharosa
Ek tu hi sahaaraa…
– Lyric: Majrooh Sultanpuri
– Singer: Lata Mangeshkar
My prayers and wishes with all Mumbaikars in their tough times.
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Two days something or the other has gone wrong with this page – hope today is fine. Day before yesterday I was at my sister’s place. From there I wrote a lengthy post. However some software installed in  my brother in law’s laptop clashed with wordpress and the post didn’t get published. I tried recreating the post in the night, viagra dosage but somehow the flow and narrative was just not happening, angina so I abandoned it.
Yesterday, I wrote a small piece. It got published. But I noticed a grammatical error and entered the site admin to correct it. In my hurry, and goodness knows what state of my mind, instead of pressing ‘save’ I clicked ‘delete’. That was the end of that post, which I think a few readers like Mehak did read.
And now I write this one. I am saving it, and will be back with some more chit chat very soon. So don’t go away from here.
The thought, clinic of sitting comfortably on a thick cushion blowing on an ornate hookah and sipping wine served in thick silver glasses while a lady in a bright zardozi-laced dress, ornamental jewelery and aalta-smeared feet dances to the melodious strains of sitar–ghoongroo– sarangi-and-tabla, is quite an interesting and nawabi one. Dont get me wrong. I have never visited a ‘kotha‘ ever, its just a sort of fantasy which stems out from seeing the myriad mujra songs in films. Bollywood films can go awfully wrong in depicting many things, and often stick rigidly to conventional stereotypes, so I could be incorrect in my vision – any reader who has visited one can inform the same, either on the site or a personal mail (secrecy guaranteed) 😛
Anyways, jokes apart, the mujra songs have their own life. They come in all sizes and shapes : from the classy Chalte chalte yunhi koi mil gaya tha (Pakeezah) to the crassy Kaahe saiyan teri meri baat bane naahi (Dayawan); from the lyrically charged Dil cheez kya hai (Umrao Jaan) to the lyrically debauched Mujrewali hoon mujra karti hoon (Awaargi); from a dulcet Lata’s Pyar kiya to darna kya (MeA) to a screechy Alka’s Tawaif kahan kisi se mohabbat karti hai (Amiri Garibi) – you will find a variety of them in films pre-current-millenium. Whatever the song be, the fallen woman was always elevated by strong musical muscles. Now, the place of a mujra has been taken by item numbers.
Broadly the mujras can be divided into two categories – one, where the heroine is a tawaif, or becomes one – here, Â expect some highly philosophical songs on love and life; two, where the tawaif is a mere side-prop to tittilate the villain (or a wronged hero) , most such songs will be more noise than substance – of course the two categories overlap, and exceptions exist in both.
So, here I list a few mujra numbers sung by Lata Mangeshkar – let’s see how many of them match with your own. In the list I have taken some songs that might not be exactly a hard-core mujra but has been picturised on a ‘kotha‘, hence here. In most, Lata’s pristine voice helped a great deal in establishing the purity and freshness of the lady-in-wrong-trade!
Salaam-e-ishq meri jaan zaraa kabool kar lo – Muqaddar Ka Sikandar – the mother of all mujras in terms of popularity and reach. Rekha and Amitabh scorches on-screen while Lata and Kishore ignite with their sparkling vocals. As I said, Lata’s voice gave a gilt-edged glitter to Rekha’s, giving life to her love and passion which transcended the dirty limits of her profession.Â
Chalte chalte yunhi koi mil gaya tha / Thaare rahiyo o baanke yaar / Inhi logon ne – Paakeezah – outstanding music in all, lovely songs, and the best movie on the life of a nautch girl. And thank God for ‘thaare rahiyo’ without which antakshri gets impossibly stuck if you get the letter ‘tha‘. The beats in ‘Chalte chalte’ are mesmerising while Lata’s voice is impeccably thoughtful and seductive at the same time, as required by the song’s mood!Â
Mujhe rab jo kahe tujhe chhod doon – Ustaad - One of the good old Anu Mallik numbers in which he accompanies the diva with his raspy voice. Picturised on Jaya Prada and Vinod Khanna. Very good interludes, an easy tune and fine singing make the song a winner.Â
Unko yeh shikaayat hai – Adalat – Madan Mohan and Lata Mangeshkar combine for this collossal score. Not exactly in the true mujra format. Nevertheless, a great song.Â
Kya kahen aaj kya ho gaya – Teri Paayal Mere Geet -Â A later stage Naushad-Lata combination in a flop Govinda-Meenakshi starrer. The film was boring, the songs werent. This, and ‘Mohabbat ka ek devtaa mila’ were excellent numbers.Â
Jab pyaar kiya toh darna kya – Mughal E Azam – A song that needs no introduction or description – its an all time any time hit!Â
Thoda resham lagta hai thoda sheesha lagta hai – Jyoti – The song that triggered the remix malaise in the country was a forgotten number till it appeared in some english rap song, and from thereon to Harry Anand’s remix factory. As ever, I prefer the original. Good music, nice tabla and Lata’s awesome voice! Â
Mujre ki hai yeh raat aakhri – Yudh – The sole Lata and old fashioned number in an otherwise techno-induced heave ho typical eighties score. Though Kalyanji Anandji were officially credited as music directors, I suspect Viju Shah’s handiwork in the score. However, this Lata mujra picturised on the ever-ethereal Hema Malini retained a old-worldly charm and was listenable.Â
Jind le gaya woh dil ka jaani – Aap Ke Saath – Again, not a typical mujra, but was picturised on the kotha itself with Smita Patil lamenting the loss of her love. Strangely, most T-series cassettes carry the Anuradha Paudwal scratch version. It is with great difficulty that I found the proper Lata Mangeshkar one.Â
Lo saahib mai bhool gayi yaad mujhe kuchh aaya tha – Maati Maange Khoon – a newly aquired number in my collection, it’s a superb number with the sound of ghungroos reverbarating menacingly within the sorrowful premise. RD Burman provides thumping music; the varying rhythm and beats add to the listening thrill !Â
Kab talak shama jali yaad nahi, shaam e gham kaise dhali yaad nahi – Painter Babu – Uttam-Jagdish’s debut film had this top song. The rest were pretty chaaloo kinds. A detailed note on the song is available on my older site. Read here.
Sanam tu bewafaa ke naam se mashhoor ho jaaye – Khilona – quite a typical L-P song from seventies, like it only for Lata Mangeshkar’s voice. Two more similar numbers follow the list immd. this one. Â
Humhin karen koi soorat unhe bulaane ki, suna hai unnko toh aadat hai bhool jaane ki - Ek Nazar –  another song which is similar in flavor as the above one. Same musical team of L-P-Lata. The film had one more mujra, Pahle sau baar idhar aur udhar dekha hai.Â
Sharaafat chhod di maine – Sharafat – A third similar number from L-P stable , once again with Lata’s lovely voice at the helm.Â
Atharah baras ki tu hone ko aayi /  Imtehaan hai aaj tera imtehaan hai – Of the two Suhaag numbers, I love the latter one. It gives a good lesson on non-drinking. Plus, as a kid I used to often hum the opening lines on any exam day 😛 so the number is intertwined with vivid childhood memories. And Rekha’s has perfected her courtesan act. (Aishwarya Rai will find it impossible to match it with her limited acting skills in the new version of Umrao Jaan).Â
Toone har raat mohabbat ki kasam khaai hai – Ganga Ki Saugandh – A double edged sword of a number that has sweetness on one edge and vitriolic filled sharpness on the other. Awesomely sung, as ever, by Lata Mangeshkar. (The theme song of this film, also by Lataji, Â was quite a big hit).Â
Kuhu kuhu bole koyaliya – Unreleased Devdas – I reckon the song would have been picturised on Chandramukhi, though i m not sure. A very nice song overall. Quintessential Gulzar lyric with Pancham’s melodious music.Â
Jise tu qabool karle woh sadaa kahan se laaoon – Devdas (old) – Obviously the song would be on Chandramukhi. The lyrics are so very apparant. But was this picturised as a mujra or just a love song? SD Burman’s music in this one.
Raat bhi hai kuchh bheegi bheegi – Mujhe Jeene Do – A very romantic number with just that right tinge of suggestive element beyond the innocence. Lata’s chham chham in the mukhda is more melodious than the sound of ghoongroos even. As I wrote once, I love Lata’s singing in a semi-ghabrahat, semi-hopeful way, and of course, her ‘haaye’ can never leave me unstirred.Â
Tadap yeh din raat ki kasak yeh bin baat ki – Amrapali - this love-deprived courtesan’s quivering call for romance is unarguably a sensuous and scintillatiing number – Lata’s voice is a mix between purity, pain and playfulness as she sighs ‘sajan ab to bata de, bata de’… Shankar Jaikishan whip up an emotional storm with their choral sitars.Â
Kaun anjaame ulfat nahi jaanta – Hera Pheri (old) – is this a mujra or not? Not sure now, but i enjoy the song.Â
Mai har raat jaagi … tumhari qasam tum bahut yaad aaye – Gaban – I could be way off the mark with this one – so members please help. Somehow the sitar-and-tabla based music makes it sound like a mujra, though I cant be sure. As a song it’s a topper! Music is by Shankar Jaikishan, and I marvel at the way repetition of lines in the antaras are built by them!
Chham chham chham badra barse, rut barse jiyara tarse – Barkha Bahaar – a still podgy and dusky Rekha dances to Lata’s mellifluous voice in this flop Navin Nischol starrer.Â
Mai tawaif hoon   /     Mere naina saawan bhaadon – Mehbooba – The latter song is part haunting, part mujra… part classical, part populist… this monumental RDB number was a chartbuster at that time. Personally, from this film, my evergreen fav is the love duet ‘Parbat ke peechhe chambe da gaaon’. There was a more on the face number ‘mai tawaif hoon mujra karoongi’ as well. The movie, on reincarnation, was far inferior to the same lead pair’s other classic on the same theme (Kudrat).
Ek dukhiyaari kahe baat yeh rote rote – Ram Teri Ganga Maili – the visual in the prelude, where champagne flows lustily into the pure Ganga, is a very cutting critique on post-modernist moral paucity – that was a superb directorial touch from master storyteller Raj Kapoor. The song itself is wrought with intricate images – the diamond soul wrapped in the soiled skin or the similarity betn a woman and the river … its a great theme song with an admirable picturisation.Â
These are the ones that I could recall when I first wrote the post for some other group. There were more additions done later on , eg Raina beeti jaaye from Amar Prem (not a mujra,per se but still picturised on a kotha, hence can be added here), Rahte the kabhi jinke dil mein ( Mamta ) and  O Aaanewaale ruk ja (Devdas).
Sister Asha Bhonsle also has many memorable mujras – from Umrao Jaan, Tawaif, to name a few hit films- but I am not too keen to go into those details. However, still I  will end this post with one unknown gem from her ouvre.
Kaise mukhde se nazrein uthaaye ke tujh mein hi rab dikhta – English Babu Desi Mem – It’s a bit hard to swallow that this shimmering number is created by Nikhil-Vinay. But as they are officially credited, I will go by it. The song has a faint qawaali tinge to it and the lyrics are nice. To top it all, there is an ethereal looking Sonali Bendre dancing to the beats in a flaming red dress – the overall effect is fantastic!
It is S.D.Burman’s birth centenary this year. And www.sdburman.net compiled an awesome evening today, gastritis here in Delhi at Sri Sathya Sai Auditorium, Lodhi Road.
Personally, I have attended very few musical shows, primarily because the music that I like is seldom a crowd-puller, and hence commercial organizations avoid it. However, this was a treat compiled by a select group of connoisseurs, and all of it – as Ritu Chandra, one of the co-hosts and co-owner of the site mentioned – voluntary and for immense love for Burmanda’s music. Due to this I was eagerly awaiting the show. And I wasnt disappointed. A labor of love has a fragrance that is as natural and pure as a rose in the garden – with thorns, et al; something that is not found in the ornate bouquets wrapped in plastic films in decorative shops. So was the show fragrant, byouant and vibrant, despite a few hiccups and snags. It was all for the love of music, by lovers of music, for the lovers of music.
On my part I am not a Burmanda fanatic, but I like many of his songs and and can quietly place myself in the ranks of those who respect him a lot.  Some of them, especially ones sung by Lataji, are extraordinary. Â
The chief guest for the evening was famous poet Padmashri Gopal Das Neeraj. Apart from his poems, Neerajji is a reknowned lyricists with hits like ‘Likhe jo khat tujhe’ (Kanyadan/SJ), ‘ Caravan guzar gaya‘ (Nayi Umar Ki Nayi Fasal / Roshan)and ‘Ae bhai zaraa dekh ke chalo’ (Mera Naam Joker/ SJ).  With Burmanda, his association is particularly productive and right up there in lyricist-music director associations.
The second guest of honor was Meena Kapur, wife of legendary composer Anil Biswas; but also a singer in her own right. From her ouvre, I am particularly fond of ‘Meri atariya pe kaaga bole‘ from the oldest Aankhen (Madan Mohan’s debut film). Other luminaries included Mrs Basanti Dutta (grand-niece of Burmanda) and Mr. KC Khurana (an elderly emcee who has done several shows with legends like Manna De, etc).
As Sajid, the emcee for the evening, began his narration (using a mix of shudhh Hindi and chaste Urdu) with a famous quote ‘Nashili ki raat hai, saare chiraag gul kardo, khushi ki raat mein kya kaam hai jalnewalon ka’ (incidentally, immortalised as the prelude in Shankar Jaikishan’s breathtaking number ‘Lo aai milan ki raat’ from Aashiq),   I settled cozily into my seat to enjoy the evening.
After the lamp-lighting ceremony by Neerajji and an audio-visual documentary on the life of Burmanda, Indraneel Mukherjee’s musical troupe took over the proceedings and unleashed a spew of immortal Burmanda hits. As if to invite the soul of Burmanda, Indraneel began with ‘O Jaane waale ho sake toh laut ke aana’ (Bandini). Indraneel’s voice had a strong Hemant Kumar tinge, and after listening to the number one could imagine how it would have sounded if the said number was sung by him rather than Mukesh, the original singer.
Some songs in this section included: the swaying ‘Yeh raat yeh chandni phir kahan’, the mesmerizing ‘Ab toh hai tumse har khushi apni’, the mischevious ‘Ab ke sajan saawan mein aag lagegi badan mein‘, the romantic ‘Tere mere sapne ab ek rang hai’, the deeply resonating ‘Jalte hai jiske liye teri aankhon ke diye’ and the coy ‘Jaane kya toone kahi’.
[Due to the time constraints, the troupe mix-and-matched full songs and mukhda-one-antara combination]
The evening’s theme was to capture the ‘Navrasas’ in Burmanda’s music. The second section focused on that and began with ‘Shaantras’. Songs in these had the breezy ‘Thandi hawaayen lahrake aayen’ (one of the most copied songs in Bollywood) and my ultimate favorite, Latadi’s ‘Phaili hui hai sapnon ki raahein’.
For ‘Vatsalyaras’ a talented young girl Arundhati Prasad (all of 10 years) danced merrily to Asha Bhonsle’s ‘Chanda mama mere dwaar aana re’.
‘Vibhatsaras’ and ‘Raudraras’ were combined in two back-to-back rousing Sahir numbers from Pyasa – ‘Jinhe naaz hai Hind par woh kahan hai’ and ‘Yeh mehlon yeh taajon yeh takhton ki duniya’.
All this while Sajid interspersed his commentary with anecdotes from Burmanda’s life, either himself or through audio clips of various artistes like Lataji, Ashaji and Hrishida(Mukherjee). For example, Sajid told us how Sahirsaab had written this motivational ghazal full of ‘Veerras’…and what did Burmanda do? He gave it to a club-dancer situation, and the bumper hit innovative number ‘Tadbeer se bigdi hui taqdeer bana le‘ was born.
‘Karunaras’ is a major force in Bollywood cinema. Hence some time was spent on it. Songs included ‘Hum bekhudi mein tujhko pukare chale gaye’ (which was rendered by a 16-year old youngster), one Bengali song and that tearful Ashaji’s minimal-orchestrated number from Bandini – ‘Ab ke baras bhej bhaiya ko babul’
I am sure it will not be very difficult to guess the song that would be an obvious choice for ‘Haasyaras’. But it was singer Sonu’s rendition of ‘Paanch rupayya baarah aana’ which brought in the maximum applause. His yodelling and vocal twists matched Kishore Kumar’s impossibly difficult one. It wasn’t a surprise that the audience greedily demanded for an encore, which the singer obliged by doing another perfect rendition of ‘Haal kaisa hai janaab ka’. This ‘ras’ was rounded off with ‘Achhaji main haari ab maan jaao na’
Since Neerajji was not feeling too bright, his felicitation was pre-poned. This section had four of my most favorite songs – Rangeela re , Phoolon ke rang se , Shokhiyon mein ghola jaaye and Jaise Radha ne maala japi shaam ki … for the last, the audience was so much involved that they requested for the full song to be sung.
Neerajji came to stage amidst thundering claps. He spoke eloquently and said that ‘sam-gat ka matlab sangeet hai‘ – and gave examples of how everything is in harmony in nature itself. He averred ‘Geet hi aadi, geet hi ant, bin geet jeevan marghat samaan’. He also narrated his poem written on the importance of music and song. He also released a commemorative compilation that has articles, filmography and biography of Burmanda.
After the fecilitations, there was a small break for tea (during which Neerajji left) followed by another round of music from Indraneel’s troupe. Some Meena Kapur numbers were the highlight of this section – and these were ones unknown to me as well. A point to note – Meenaji got her break with SD Burman.
More SDB songs followed – the heart-wrenching ‘Waqt ne kiya kya haseen sitam’, the chirrupy ‘Ae maine kasam lee’ and the soaring ‘Kaali ghata chhaye’. Chaitali Haldar came on stage to dance on Lataji’s classic ‘Piya tose naina laage re’ (original soundtrack played, and my heart swelled with joy). The dance was good, and the song captures ‘Shringarras’ effectively. Another audio-visual on some famous songs and films of SDB followed next.
The grand finale was of course reserved for that song on which the show was named – Lataji’s ‘Aaj phir jeene ki tamanna hai’ – an ultimate song that manifests feelings of freedom, joy and breaking of shackles!  The music of Guide is a remarkable feat, emblazoned boldly in glittering gold in the film music annals – no wonder three songs from this film featured in the show! Â
During the evening I got acquainted to some numbers I hadnt heard of – Kisi se meri preet lagiyo (Aath Din), Pyara pyara hai sama my dear come to me (Kamal) [both Meena Kapoor numbers], Ae kaash chalte milke (Manzil), Apni toh har aah ek toofan hai (Kala Bazar) and  Prem ke pujari hum ke ras ke bhikhari hum (Prem Pujari) – not tough to decipher why I dont know them – none are Latadi numbers!
The auditorium was not large, and hence gave the effect of a quaint sangeet-mehfil. Thankfully, the audience was very receptive and even clapped along in few songs – though, as expected, there were a few rotten apples. For example, the three heavily decked up ladies in the row before me were more interested in waving at one of the singers, who was ostensibly their friend, than in really listening to the music. Their non-stop chatter was off-putting.
This was offset by some such deeply loving fans who had come all the way from Mysore and Bombay to attend the show. I was impressed by Mr Srinivas from Mysore, who was sitting next to me. His knowledge was immense, and he carried a neatly packaged scrap-book on SDB’s life (articles, photos etc). Music is a great unifier indeed…and what better example, than this that the site’s co-owners are gentlemen from Bangladesh and Pakistan!
Alongwith the audience, the troupe was enjoying every minute of the program. And it was clearly visible.  The rapport amongst them was great, and Rupendra Shridhar – on keyboard and the conductor as well – could be seen beaming, or playfully reprimanding if something went wrong (e.g. in the number ‘Ab ke sajan saawan mein’ just before the antaras begin, there is a sharp flourish of violins, which the synthesizer player forgot to simulate in time). His entire body-language, as he timed the various artistes/singers, was one who is completely soaked into the proceedings. And the drummer gave some stirring crescendos to a few songs.
There were a few negatives – it started very late, the number of felicitations, bouquet-distribution in the second half were too elongated which unnecessary lengthened the duration, the lady doing Lataji’s song was shrill,  a few technical snags in the audio-visual sections, a power cut in between and worse, wrong credits in the audio visual (how could they list ‘Jogi jab se tu aaya mere dwaare’ as Asha’s song!!!!). Also, I wish they had some more real instruments esp. flute (since it was an integral part of Burmanda’s music). As of now, there were three synthesizers, two guitars, saxophone, drums and dholak alongwith a few other percussions.
But then, this was not a professionally organized show. For an amateur and voluntary project, the entire package was slick, sleek and superb!
In all, an evening well spent – and a standing ovation to the organizers. Whereever SDB is today, he would be exceedingly proud to see such fans who compiled and conducted this sort of a magnificent programme, without any greed or ulterior motive…just for the love of his music. That spirit and intent in itself is laudable, and I salute it with my full heart and soul! A tip of the hat to them!
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Welcome to India’s first superhero; and as that, melanoma visit Krrish does remarkably well. Rakesh Roshan’s films have always been fairly entertaining, grip including the ill-fated Kala Bazar and King Uncle. And now, he has improved vastly on the technical side which makes viewing more pleasurable.
Unless you are a hermit living in a cave, you would know that Krrish is a sequel to Roshan’s previous bumper hit Koi Mil Gaya – where in Rohit and Nisha’s son Krishna is born with all the powers that Jadoo, the extra terrestrial, had imparted Rohit with. Fearing that Krishna might fall into the same deadly fate’s trap as his father, Krishna’s grandmother Shalini Mehra (a suitably aged and wobbly Rekha) keeps her away from the world’s gaze. Krishna grows up in sylvan mountain surroundings, a sort of desi-Tarzan, only he has been given education. It’s a visit from Priya (Priyanka Chopra) from Singapore that begins the journey of the simpleton Krishna to the masked man Krrish. And there, he will also face the wily Dr. Arya (Naseerudin Shah).
The script is taut except for a slight sagging in the first half –which if reduced, could have kept the overall running time also less and more enjoyable. But once Krishna reaches Singapore, it goes into full ballistic. The script adequately peppers Rohit and Nisha’s reason-for-death at suitable places. And yes – an interesting point, which I enjoyed – the past about Rohit and what happens to him after KMG ends, has a very crucial role to play in this film; this is something that has not been talked about in promotions at all, but I feel this itself lends the film a solid weight. What is that? Well, I suggest you go and watch it and enjoy it unfold.
Of course, keeping in mind Indian sensibilities, the superhero is kept rooted in enough song-and-dance-and-emotion. Sensible? For this one, sort of – though I wish there was more of the ‘superhero’ than the normal ‘hero’. Here, the superhero has only a personal agenda. Perhaps if another sequel is made, they could take Krrish’s character further to ‘save the planet’.
The film’s stunts and special effects are extraordinary, especially in Hindi films context. For those who have grown up on Superman/Batman/ Spiderman/Matrix might find it simply ordinary. I had imagined that in sophisticated multiplex-era, the days of clapping at hero’s stunts would be over – but was pleasantly surprised to see a ring of spontaneous clapping when Krrish takes on a posse of villains in the climax.
Rakesh Roshan’s direction is able. He keeps a strong control on the proceedings, and the narrative pace is pretty even.
Hrithik’s performance is superb – in all his various avatars – though at times his constant ‘flying’ and ‘movement’ gets irritating. For example, in the song ‘Koi Tumsa Nahin’ (incidentally, that was the film’s working title) one just wishes that he would stand still instead of yet again dancing. Priyanka plays a typical heroine and does well for herself, though she needs to do something about her dress-designer! Rekha and Naseeruddin Shah are seasoned performers, they are great.
Rajesh Roshan’s music lacks verve. Salim Sulaiman’s background score is good. Cinematography is awesome – especially the luxuriant and verdant mountain landscape has been captured in fine detail. As Priya says in the film – so soothing, so serene! Dialogues are ok. Editing is slick. Barring ‘Dil na diya’ I found the choreography jarring!
In all, Krrish is a good entertaining film and introduces a new genre to Hindi cinema.
Overall – Time Pass, Watch It!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
At last the clouds have gathered and rains are imminent. The last one week has been particularly bad. Power situation dipped to an all time low, pills
and all we heard through the black outs were news of one or the other power-station tripping and packing up.Â
I have become a certified couch potato; or rather a ‘bed’ potato since my television is in the bedroom. After missing of television for more than a year, I took to watching it with a vengeance. But most viewing is restricted to movies and songs channels, with an occasional foray into news ones. To my horror I discovered that all the money spent on collecting DVD’s last year was sheer wastage since those movies keep repeating themselves ad nauseum. For example, I can puke now if someone so much as mentions the thought of watching No Entry – a movie that I thoroughly enjoyed earlier. Other than Sahara telecasting it alternatively on its both channels (Filmy and Sahara One) every other week, my cable-wallah has also gone overboard there. In fact, my cable-guy has a strange habit of showing those very same films a couple of days earlier that would in any case be shown on Max or Filmy the same week!Â
I have an aversion towards all currently running serials. Nay, I absolutely abhor the entire Zee-Sony-Star Plus nexus, with the hatred targeted more towards the last one, whom I hold responsible for starting the trend of those horrifying saas-bahu serials. I can’t stand any program on Star Plus – every one of them, even that supposedly ‘different’ game show Jodi Kamaal Ki, seems to have similar look with bright gaudy colors and heavily dressed up ladies ready to burst into copious tears at any given instant. Even though I am not a football freak, but honestly I can kick anyone from Star’s programming department with a force that can get me a place in the next World Cup!Â
The only good thing that ever came out from the Star-stable was The Great Indian Laughter Challenge Contest.. I had missed the first season, but was able to watch a large bulk of the second one. Opinions may differ on whether Rauf Lala deserved the crown or not, but I personally feel that the entire toppers lot including Khayali, Rajeev, Pratap Faujdar, the Pakistani jodi and, my personal favorite, Dr Tushhar were mindblowingly excellent! Together, they made Friday evenings funny and entertaining.Â
After lambasting serials, I have to sheepishly confess that I started watching one with great interest. But then, Akela doesn’t seem to be your usual fare. There is heavy inspiration from M Night Shayamalan’s The Sixth Sense where the basic premise is concerned, but otherwise it seems to be on a different track.  The biggest relief? Any chances to slip into the saas-bahu syndrome were nipped in the bud with the mothers of both the hero and heroine dead in the first episode itself. Phew! I am keeping my fingers crossed that their ghosts will not start wearing outlandish bindis and scheming against each other to the tune of electronically generated swoosh-and-boom background score. Plus, the serial – like good ol’ days – will be aired once a week; that way, it’s easier to follow, and of course, it avoids overkill.Â
Sudhanshu (Band of Boys, Yakeen) Panday plays the protagonist. He may not be the greatest actor around, but his personality and physique suit the role. Plus, I have seen Yakeen and bits of Pehchaan: The Face of Truth, and I feel there is a raw honesty in his performances reminiscent of Jackie Shroff in his younger days.Â
Speaking of Jackie Shroff, what has he done to himself? Unlike his colleague Anil Kapoor, Jackie never exhibited the Machiavellian go-getter capacity. But at least he can take good care of his looks and locks! Since he never had the qualms to graduate to father roles, I am sure things wouldn’t be so hard up for him that he is forced to act in inane Z-grade flicks like Bhoot Unkle!Â
Well, the clouds have darkened further, and any moment the welcome pitter-patter of rains will be heard. My player has also propititiously moved to ‘Yeh mausam bheega bheega hai, hawa bhi kuchh zyada zyada hai’ from Dharti. And before we have another power cut, let me publish this.
I had written the following post two years back (published on my older blog). The second paragraph is uncannily true again. The weathermen went beating their drums heralding monsoon arrival on 29th June. I guess all that noise scared the clouds away. The past two days have been unnervingly enervating and boiling hot. To add to woes the humidity is high which saps out any remaining energy. If that wasn’t enough, ambulance the news is full of excessive Mumbai rains – adding salt to burning wounds!
Anyways, mind you all enjoy this re-heated post:
Curling up on a comfortable chair, with a warm cup of tea, hot sumptuous pakoras with teekha chutney, watching the rains pitter-patter on the balcony, smelling the aroma of the fresh wet earth, feeling the cool light breeze tickle the skin, sensing the joyous dance of the stark dark greenery…monsoons bid me!Â
Alas, the monsoons are again late in Delhi; it has become an irritating trend with the Rain Gods to bypass Delhi every two years. I yearn for the therapeutic showers to cleanse away the curse of the summers; and when one hears of their delightful foray in other parts of the country, the heart yearns more.Â
No other season (apart from spring) has motivated authors, poets, lyricists and artists more. There is an irrepressible charm in the black clouds that envelope the sullen skies with their soft, moist embrace. Rains can depict sadness and joy; love and hate; consummation and separation; tranquility and anger, with an equal finesse.Â
Here I pick up a few of my favorite stuff from the rains:Â
Book: A Passage to India, by EM Forester. In this pre-independence India novel, the three main seasons of India are used to the most effective tool. The trauma and trouble of the lead characters are linked to the changing weather conditions. On a hot, innervating summer day Adela Quested makes a foul charge of being molested by Aziz. Trouble begins. The same gets sorted out, and smoothened, only when the skies open and give their blessings through the invigorating showers. The Janmashtmi festival is also beautifully woven in; it’s the time of the birth of the Lord, the washing away of sins, the cleansing of past wrong-doings; the rejuvenation of the earth, and the mind of Adela. It is indeed a beautiful allegory; a must read.Â
Films: So many films have used rains to heighten passion and anger. If I start to list out the scenes where the thunder is blasting away in the background, while the hero/heroine raves and rants, the list would be endless. One film, which I recall, that had the rains playing a mind-blowing role in the set up is Aitbaar. This Dimple-Raj Babbar murder mystery, plagiarized from Hitchcock’s Dial M for Murder, uses the rains as a compelling device to heighten the suspense, ambience and feel.Â
Songs: Again, a list that can go on and on. However, here are my top 5 five favorite numbers: Rimjhim gire saawan (Manzil), Megha chhaye aadhi raat (Sharmilee), Jhooti mooti mitwa (Rudaali), Rim jhim rim jhim (1942-A Love Story) and Koi ladki hai jab wo hansti hai (Dil to Paagal Hai).Â
The funniest ‘rain’ song ever heard: Barsaat mein jab aayega saawan ka mahina (Maa)- can anyone make head or tail of this?Â
The sleaziest ‘rain’ song ever heard: Bheegi hun main barsaat mein (Karz Chukana Hai). It had lines that went itne chikne chikne ang yeh sunehre, paani ki boond padhe paani nahi thehre…quite slippery, indeed!
At last the clouds have gathered and rains are imminent. The last one week has been particularly bad. Power situation dipped to an all time low, pills
and all we heard through the black outs were news of one or the other power-station tripping and packing up.Â
I have become a certified couch potato; or rather a ‘bed’ potato since my television is in the bedroom. After missing of television for more than a year, I took to watching it with a vengeance. But most viewing is restricted to movies and songs channels, with an occasional foray into news ones. To my horror I discovered that all the money spent on collecting DVD’s last year was sheer wastage since those movies keep repeating themselves ad nauseum. For example, I can puke now if someone so much as mentions the thought of watching No Entry – a movie that I thoroughly enjoyed earlier. Other than Sahara telecasting it alternatively on its both channels (Filmy and Sahara One) every other week, my cable-wallah has also gone overboard there. In fact, my cable-guy has a strange habit of showing those very same films a couple of days earlier that would in any case be shown on Max or Filmy the same week!Â
I have an aversion towards all currently running serials. Nay, I absolutely abhor the entire Zee-Sony-Star Plus nexus, with the hatred targeted more towards the last one, whom I hold responsible for starting the trend of those horrifying saas-bahu serials. I can’t stand any program on Star Plus – every one of them, even that supposedly ‘different’ game show Jodi Kamaal Ki, seems to have similar look with bright gaudy colors and heavily dressed up ladies ready to burst into copious tears at any given instant. Even though I am not a football freak, but honestly I can kick anyone from Star’s programming department with a force that can get me a place in the next World Cup!Â
The only good thing that ever came out from the Star-stable was The Great Indian Laughter Challenge Contest.. I had missed the first season, but was able to watch a large bulk of the second one. Opinions may differ on whether Rauf Lala deserved the crown or not, but I personally feel that the entire toppers lot including Khayali, Rajeev, Pratap Faujdar, the Pakistani jodi and, my personal favorite, Dr Tushhar were mindblowingly excellent! Together, they made Friday evenings funny and entertaining.Â
After lambasting serials, I have to sheepishly confess that I started watching one with great interest. But then, Akela doesn’t seem to be your usual fare. There is heavy inspiration from M Night Shayamalan’s The Sixth Sense where the basic premise is concerned, but otherwise it seems to be on a different track.  The biggest relief? Any chances to slip into the saas-bahu syndrome were nipped in the bud with the mothers of both the hero and heroine dead in the first episode itself. Phew! I am keeping my fingers crossed that their ghosts will not start wearing outlandish bindis and scheming against each other to the tune of electronically generated swoosh-and-boom background score. Plus, the serial – like good ol’ days – will be aired once a week; that way, it’s easier to follow, and of course, it avoids overkill.Â
Sudhanshu (Band of Boys, Yakeen) Panday plays the protagonist. He may not be the greatest actor around, but his personality and physique suit the role. Plus, I have seen Yakeen and bits of Pehchaan: The Face of Truth, and I feel there is a raw honesty in his performances reminiscent of Jackie Shroff in his younger days.Â
Speaking of Jackie Shroff, what has he done to himself? Unlike his colleague Anil Kapoor, Jackie never exhibited the Machiavellian go-getter capacity. But at least he can take good care of his looks and locks! Since he never had the qualms to graduate to father roles, I am sure things wouldn’t be so hard up for him that he is forced to act in inane Z-grade flicks like Bhoot Unkle!Â
Well, the clouds have darkened further, and any moment the welcome pitter-patter of rains will be heard. My player has also propititiously moved to ‘Yeh mausam bheega bheega hai, hawa bhi kuchh zyada zyada hai’ from Dharti. And before we have another power cut, let me publish this.
Aajao ke sab milke rab se dua maange
Jeevan mein sukoon chaahen
Chaahat mein wafaa maangein
Haalaat badalne mein ab der na ho maalik
Jo dekh chuke phir andher na ho maalik
Ek tu hi bharosa
Ek tu hi sahaara
Is tere jahaan mein
Nahi koi hamaara
Hey Ishwar Ya Allah yeh pukaar sunle
Hey Ishwar Ya Allah hey daata
Humse na dekha jaaye
Barbaadiyon ka sama
Ujadi hui basti mein
Yeh tadap rahe insaan
Nanhe jismon ke tukde
Liye khadi ek maa
Baarood ke dhuen mein
Tu hi bol jaayen kahan
Ek tu hi bharosa
Ek tu hi sahaaraa…
Naadan hain hum to maalik
Kyun di humein yeh sazaa
Yahaan hai sabhi ke dil mein
Nafrat ka zahar bhara
Inhe phir se yaad dilade
Sabak wohi pyaar ke
Ban jaaye gulshan phir se
Kaanton bhari yeh duniya
Ek tu hi bharosa
Ek tu hi sahaaraa…
– Lyric: Majrooh Sultanpuri
– Singer: Lata Mangeshkar
My prayers and wishes with all Mumbaikars in their tough times.
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Two days something or the other has gone wrong with this page – hope today is fine. Day before yesterday I was at my sister’s place. From there I wrote a lengthy post. However some software installed in  my brother in law’s laptop clashed with wordpress and the post didn’t get published. I tried recreating the post in the night, viagra dosage but somehow the flow and narrative was just not happening, angina so I abandoned it.
Yesterday, I wrote a small piece. It got published. But I noticed a grammatical error and entered the site admin to correct it. In my hurry, and goodness knows what state of my mind, instead of pressing ‘save’ I clicked ‘delete’. That was the end of that post, which I think a few readers like Mehak did read.
And now I write this one. I am saving it, and will be back with some more chit chat very soon. So don’t go away from here.
The thought, clinic of sitting comfortably on a thick cushion blowing on an ornate hookah and sipping wine served in thick silver glasses while a lady in a bright zardozi-laced dress, ornamental jewelery and aalta-smeared feet dances to the melodious strains of sitar–ghoongroo– sarangi-and-tabla, is quite an interesting and nawabi one. Dont get me wrong. I have never visited a ‘kotha‘ ever, its just a sort of fantasy which stems out from seeing the myriad mujra songs in films. Bollywood films can go awfully wrong in depicting many things, and often stick rigidly to conventional stereotypes, so I could be incorrect in my vision – any reader who has visited one can inform the same, either on the site or a personal mail (secrecy guaranteed) 😛
Anyways, jokes apart, the mujra songs have their own life. They come in all sizes and shapes : from the classy Chalte chalte yunhi koi mil gaya tha (Pakeezah) to the crassy Kaahe saiyan teri meri baat bane naahi (Dayawan); from the lyrically charged Dil cheez kya hai (Umrao Jaan) to the lyrically debauched Mujrewali hoon mujra karti hoon (Awaargi); from a dulcet Lata’s Pyar kiya to darna kya (MeA) to a screechy Alka’s Tawaif kahan kisi se mohabbat karti hai (Amiri Garibi) – you will find a variety of them in films pre-current-millenium. Whatever the song be, the fallen woman was always elevated by strong musical muscles. Now, the place of a mujra has been taken by item numbers.
Broadly the mujras can be divided into two categories – one, where the heroine is a tawaif, or becomes one – here, Â expect some highly philosophical songs on love and life; two, where the tawaif is a mere side-prop to tittilate the villain (or a wronged hero) , most such songs will be more noise than substance – of course the two categories overlap, and exceptions exist in both.
So, here I list a few mujra numbers sung by Lata Mangeshkar – let’s see how many of them match with your own. In the list I have taken some songs that might not be exactly a hard-core mujra but has been picturised on a ‘kotha‘, hence here. In most, Lata’s pristine voice helped a great deal in establishing the purity and freshness of the lady-in-wrong-trade!
Salaam-e-ishq meri jaan zaraa kabool kar lo – Muqaddar Ka Sikandar – the mother of all mujras in terms of popularity and reach. Rekha and Amitabh scorches on-screen while Lata and Kishore ignite with their sparkling vocals. As I said, Lata’s voice gave a gilt-edged glitter to Rekha’s, giving life to her love and passion which transcended the dirty limits of her profession.Â
Chalte chalte yunhi koi mil gaya tha / Thaare rahiyo o baanke yaar / Inhi logon ne – Paakeezah – outstanding music in all, lovely songs, and the best movie on the life of a nautch girl. And thank God for ‘thaare rahiyo’ without which antakshri gets impossibly stuck if you get the letter ‘tha‘. The beats in ‘Chalte chalte’ are mesmerising while Lata’s voice is impeccably thoughtful and seductive at the same time, as required by the song’s mood!Â
Mujhe rab jo kahe tujhe chhod doon – Ustaad - One of the good old Anu Mallik numbers in which he accompanies the diva with his raspy voice. Picturised on Jaya Prada and Vinod Khanna. Very good interludes, an easy tune and fine singing make the song a winner.Â
Unko yeh shikaayat hai – Adalat – Madan Mohan and Lata Mangeshkar combine for this collossal score. Not exactly in the true mujra format. Nevertheless, a great song.Â
Kya kahen aaj kya ho gaya – Teri Paayal Mere Geet -Â A later stage Naushad-Lata combination in a flop Govinda-Meenakshi starrer. The film was boring, the songs werent. This, and ‘Mohabbat ka ek devtaa mila’ were excellent numbers.Â
Jab pyaar kiya toh darna kya – Mughal E Azam – A song that needs no introduction or description – its an all time any time hit!Â
Thoda resham lagta hai thoda sheesha lagta hai – Jyoti – The song that triggered the remix malaise in the country was a forgotten number till it appeared in some english rap song, and from thereon to Harry Anand’s remix factory. As ever, I prefer the original. Good music, nice tabla and Lata’s awesome voice! Â
Mujre ki hai yeh raat aakhri – Yudh – The sole Lata and old fashioned number in an otherwise techno-induced heave ho typical eighties score. Though Kalyanji Anandji were officially credited as music directors, I suspect Viju Shah’s handiwork in the score. However, this Lata mujra picturised on the ever-ethereal Hema Malini retained a old-worldly charm and was listenable.Â
Jind le gaya woh dil ka jaani – Aap Ke Saath – Again, not a typical mujra, but was picturised on the kotha itself with Smita Patil lamenting the loss of her love. Strangely, most T-series cassettes carry the Anuradha Paudwal scratch version. It is with great difficulty that I found the proper Lata Mangeshkar one.Â
Lo saahib mai bhool gayi yaad mujhe kuchh aaya tha – Maati Maange Khoon – a newly aquired number in my collection, it’s a superb number with the sound of ghungroos reverbarating menacingly within the sorrowful premise. RD Burman provides thumping music; the varying rhythm and beats add to the listening thrill !Â
Kab talak shama jali yaad nahi, shaam e gham kaise dhali yaad nahi – Painter Babu – Uttam-Jagdish’s debut film had this top song. The rest were pretty chaaloo kinds. A detailed note on the song is available on my older site. Read here.
Sanam tu bewafaa ke naam se mashhoor ho jaaye – Khilona – quite a typical L-P song from seventies, like it only for Lata Mangeshkar’s voice. Two more similar numbers follow the list immd. this one. Â
Humhin karen koi soorat unhe bulaane ki, suna hai unnko toh aadat hai bhool jaane ki - Ek Nazar –  another song which is similar in flavor as the above one. Same musical team of L-P-Lata. The film had one more mujra, Pahle sau baar idhar aur udhar dekha hai.Â
Sharaafat chhod di maine – Sharafat – A third similar number from L-P stable , once again with Lata’s lovely voice at the helm.Â
Atharah baras ki tu hone ko aayi /  Imtehaan hai aaj tera imtehaan hai – Of the two Suhaag numbers, I love the latter one. It gives a good lesson on non-drinking. Plus, as a kid I used to often hum the opening lines on any exam day 😛 so the number is intertwined with vivid childhood memories. And Rekha’s has perfected her courtesan act. (Aishwarya Rai will find it impossible to match it with her limited acting skills in the new version of Umrao Jaan).Â
Toone har raat mohabbat ki kasam khaai hai – Ganga Ki Saugandh – A double edged sword of a number that has sweetness on one edge and vitriolic filled sharpness on the other. Awesomely sung, as ever, by Lata Mangeshkar. (The theme song of this film, also by Lataji, Â was quite a big hit).Â
Kuhu kuhu bole koyaliya – Unreleased Devdas – I reckon the song would have been picturised on Chandramukhi, though i m not sure. A very nice song overall. Quintessential Gulzar lyric with Pancham’s melodious music.Â
Jise tu qabool karle woh sadaa kahan se laaoon – Devdas (old) – Obviously the song would be on Chandramukhi. The lyrics are so very apparant. But was this picturised as a mujra or just a love song? SD Burman’s music in this one.
Raat bhi hai kuchh bheegi bheegi – Mujhe Jeene Do – A very romantic number with just that right tinge of suggestive element beyond the innocence. Lata’s chham chham in the mukhda is more melodious than the sound of ghoongroos even. As I wrote once, I love Lata’s singing in a semi-ghabrahat, semi-hopeful way, and of course, her ‘haaye’ can never leave me unstirred.Â
Tadap yeh din raat ki kasak yeh bin baat ki – Amrapali - this love-deprived courtesan’s quivering call for romance is unarguably a sensuous and scintillatiing number – Lata’s voice is a mix between purity, pain and playfulness as she sighs ‘sajan ab to bata de, bata de’… Shankar Jaikishan whip up an emotional storm with their choral sitars.Â
Kaun anjaame ulfat nahi jaanta – Hera Pheri (old) – is this a mujra or not? Not sure now, but i enjoy the song.Â
Mai har raat jaagi … tumhari qasam tum bahut yaad aaye – Gaban – I could be way off the mark with this one – so members please help. Somehow the sitar-and-tabla based music makes it sound like a mujra, though I cant be sure. As a song it’s a topper! Music is by Shankar Jaikishan, and I marvel at the way repetition of lines in the antaras are built by them!
Chham chham chham badra barse, rut barse jiyara tarse – Barkha Bahaar – a still podgy and dusky Rekha dances to Lata’s mellifluous voice in this flop Navin Nischol starrer.Â
Mai tawaif hoon   /     Mere naina saawan bhaadon – Mehbooba – The latter song is part haunting, part mujra… part classical, part populist… this monumental RDB number was a chartbuster at that time. Personally, from this film, my evergreen fav is the love duet ‘Parbat ke peechhe chambe da gaaon’. There was a more on the face number ‘mai tawaif hoon mujra karoongi’ as well. The movie, on reincarnation, was far inferior to the same lead pair’s other classic on the same theme (Kudrat).
Ek dukhiyaari kahe baat yeh rote rote – Ram Teri Ganga Maili – the visual in the prelude, where champagne flows lustily into the pure Ganga, is a very cutting critique on post-modernist moral paucity – that was a superb directorial touch from master storyteller Raj Kapoor. The song itself is wrought with intricate images – the diamond soul wrapped in the soiled skin or the similarity betn a woman and the river … its a great theme song with an admirable picturisation.Â
These are the ones that I could recall when I first wrote the post for some other group. There were more additions done later on , eg Raina beeti jaaye from Amar Prem (not a mujra,per se but still picturised on a kotha, hence can be added here), Rahte the kabhi jinke dil mein ( Mamta ) and  O Aaanewaale ruk ja (Devdas).
Sister Asha Bhonsle also has many memorable mujras – from Umrao Jaan, Tawaif, to name a few hit films- but I am not too keen to go into those details. However, still I  will end this post with one unknown gem from her ouvre.
Kaise mukhde se nazrein uthaaye ke tujh mein hi rab dikhta – English Babu Desi Mem – It’s a bit hard to swallow that this shimmering number is created by Nikhil-Vinay. But as they are officially credited, I will go by it. The song has a faint qawaali tinge to it and the lyrics are nice. To top it all, there is an ethereal looking Sonali Bendre dancing to the beats in a flaming red dress – the overall effect is fantastic!
It is S.D.Burman’s birth centenary this year. And www.sdburman.net compiled an awesome evening today, gastritis here in Delhi at Sri Sathya Sai Auditorium, Lodhi Road.
Personally, I have attended very few musical shows, primarily because the music that I like is seldom a crowd-puller, and hence commercial organizations avoid it. However, this was a treat compiled by a select group of connoisseurs, and all of it – as Ritu Chandra, one of the co-hosts and co-owner of the site mentioned – voluntary and for immense love for Burmanda’s music. Due to this I was eagerly awaiting the show. And I wasnt disappointed. A labor of love has a fragrance that is as natural and pure as a rose in the garden – with thorns, et al; something that is not found in the ornate bouquets wrapped in plastic films in decorative shops. So was the show fragrant, byouant and vibrant, despite a few hiccups and snags. It was all for the love of music, by lovers of music, for the lovers of music.
On my part I am not a Burmanda fanatic, but I like many of his songs and and can quietly place myself in the ranks of those who respect him a lot.  Some of them, especially ones sung by Lataji, are extraordinary. Â
The chief guest for the evening was famous poet Padmashri Gopal Das Neeraj. Apart from his poems, Neerajji is a reknowned lyricists with hits like ‘Likhe jo khat tujhe’ (Kanyadan/SJ), ‘ Caravan guzar gaya‘ (Nayi Umar Ki Nayi Fasal / Roshan)and ‘Ae bhai zaraa dekh ke chalo’ (Mera Naam Joker/ SJ).  With Burmanda, his association is particularly productive and right up there in lyricist-music director associations.
The second guest of honor was Meena Kapur, wife of legendary composer Anil Biswas; but also a singer in her own right. From her ouvre, I am particularly fond of ‘Meri atariya pe kaaga bole‘ from the oldest Aankhen (Madan Mohan’s debut film). Other luminaries included Mrs Basanti Dutta (grand-niece of Burmanda) and Mr. KC Khurana (an elderly emcee who has done several shows with legends like Manna De, etc).
As Sajid, the emcee for the evening, began his narration (using a mix of shudhh Hindi and chaste Urdu) with a famous quote ‘Nashili ki raat hai, saare chiraag gul kardo, khushi ki raat mein kya kaam hai jalnewalon ka’ (incidentally, immortalised as the prelude in Shankar Jaikishan’s breathtaking number ‘Lo aai milan ki raat’ from Aashiq),   I settled cozily into my seat to enjoy the evening.
After the lamp-lighting ceremony by Neerajji and an audio-visual documentary on the life of Burmanda, Indraneel Mukherjee’s musical troupe took over the proceedings and unleashed a spew of immortal Burmanda hits. As if to invite the soul of Burmanda, Indraneel began with ‘O Jaane waale ho sake toh laut ke aana’ (Bandini). Indraneel’s voice had a strong Hemant Kumar tinge, and after listening to the number one could imagine how it would have sounded if the said number was sung by him rather than Mukesh, the original singer.
Some songs in this section included: the swaying ‘Yeh raat yeh chandni phir kahan’, the mesmerizing ‘Ab toh hai tumse har khushi apni’, the mischevious ‘Ab ke sajan saawan mein aag lagegi badan mein‘, the romantic ‘Tere mere sapne ab ek rang hai’, the deeply resonating ‘Jalte hai jiske liye teri aankhon ke diye’ and the coy ‘Jaane kya toone kahi’.
[Due to the time constraints, the troupe mix-and-matched full songs and mukhda-one-antara combination]
The evening’s theme was to capture the ‘Navrasas’ in Burmanda’s music. The second section focused on that and began with ‘Shaantras’. Songs in these had the breezy ‘Thandi hawaayen lahrake aayen’ (one of the most copied songs in Bollywood) and my ultimate favorite, Latadi’s ‘Phaili hui hai sapnon ki raahein’.
For ‘Vatsalyaras’ a talented young girl Arundhati Prasad (all of 10 years) danced merrily to Asha Bhonsle’s ‘Chanda mama mere dwaar aana re’.
‘Vibhatsaras’ and ‘Raudraras’ were combined in two back-to-back rousing Sahir numbers from Pyasa – ‘Jinhe naaz hai Hind par woh kahan hai’ and ‘Yeh mehlon yeh taajon yeh takhton ki duniya’.
All this while Sajid interspersed his commentary with anecdotes from Burmanda’s life, either himself or through audio clips of various artistes like Lataji, Ashaji and Hrishida(Mukherjee). For example, Sajid told us how Sahirsaab had written this motivational ghazal full of ‘Veerras’…and what did Burmanda do? He gave it to a club-dancer situation, and the bumper hit innovative number ‘Tadbeer se bigdi hui taqdeer bana le‘ was born.
‘Karunaras’ is a major force in Bollywood cinema. Hence some time was spent on it. Songs included ‘Hum bekhudi mein tujhko pukare chale gaye’ (which was rendered by a 16-year old youngster), one Bengali song and that tearful Ashaji’s minimal-orchestrated number from Bandini – ‘Ab ke baras bhej bhaiya ko babul’
I am sure it will not be very difficult to guess the song that would be an obvious choice for ‘Haasyaras’. But it was singer Sonu’s rendition of ‘Paanch rupayya baarah aana’ which brought in the maximum applause. His yodelling and vocal twists matched Kishore Kumar’s impossibly difficult one. It wasn’t a surprise that the audience greedily demanded for an encore, which the singer obliged by doing another perfect rendition of ‘Haal kaisa hai janaab ka’. This ‘ras’ was rounded off with ‘Achhaji main haari ab maan jaao na’
Since Neerajji was not feeling too bright, his felicitation was pre-poned. This section had four of my most favorite songs – Rangeela re , Phoolon ke rang se , Shokhiyon mein ghola jaaye and Jaise Radha ne maala japi shaam ki … for the last, the audience was so much involved that they requested for the full song to be sung.
Neerajji came to stage amidst thundering claps. He spoke eloquently and said that ‘sam-gat ka matlab sangeet hai‘ – and gave examples of how everything is in harmony in nature itself. He averred ‘Geet hi aadi, geet hi ant, bin geet jeevan marghat samaan’. He also narrated his poem written on the importance of music and song. He also released a commemorative compilation that has articles, filmography and biography of Burmanda.
After the fecilitations, there was a small break for tea (during which Neerajji left) followed by another round of music from Indraneel’s troupe. Some Meena Kapur numbers were the highlight of this section – and these were ones unknown to me as well. A point to note – Meenaji got her break with SD Burman.
More SDB songs followed – the heart-wrenching ‘Waqt ne kiya kya haseen sitam’, the chirrupy ‘Ae maine kasam lee’ and the soaring ‘Kaali ghata chhaye’. Chaitali Haldar came on stage to dance on Lataji’s classic ‘Piya tose naina laage re’ (original soundtrack played, and my heart swelled with joy). The dance was good, and the song captures ‘Shringarras’ effectively. Another audio-visual on some famous songs and films of SDB followed next.
The grand finale was of course reserved for that song on which the show was named – Lataji’s ‘Aaj phir jeene ki tamanna hai’ – an ultimate song that manifests feelings of freedom, joy and breaking of shackles!  The music of Guide is a remarkable feat, emblazoned boldly in glittering gold in the film music annals – no wonder three songs from this film featured in the show! Â
During the evening I got acquainted to some numbers I hadnt heard of – Kisi se meri preet lagiyo (Aath Din), Pyara pyara hai sama my dear come to me (Kamal) [both Meena Kapoor numbers], Ae kaash chalte milke (Manzil), Apni toh har aah ek toofan hai (Kala Bazar) and  Prem ke pujari hum ke ras ke bhikhari hum (Prem Pujari) – not tough to decipher why I dont know them – none are Latadi numbers!
The auditorium was not large, and hence gave the effect of a quaint sangeet-mehfil. Thankfully, the audience was very receptive and even clapped along in few songs – though, as expected, there were a few rotten apples. For example, the three heavily decked up ladies in the row before me were more interested in waving at one of the singers, who was ostensibly their friend, than in really listening to the music. Their non-stop chatter was off-putting.
This was offset by some such deeply loving fans who had come all the way from Mysore and Bombay to attend the show. I was impressed by Mr Srinivas from Mysore, who was sitting next to me. His knowledge was immense, and he carried a neatly packaged scrap-book on SDB’s life (articles, photos etc). Music is a great unifier indeed…and what better example, than this that the site’s co-owners are gentlemen from Bangladesh and Pakistan!
Alongwith the audience, the troupe was enjoying every minute of the program. And it was clearly visible.  The rapport amongst them was great, and Rupendra Shridhar – on keyboard and the conductor as well – could be seen beaming, or playfully reprimanding if something went wrong (e.g. in the number ‘Ab ke sajan saawan mein’ just before the antaras begin, there is a sharp flourish of violins, which the synthesizer player forgot to simulate in time). His entire body-language, as he timed the various artistes/singers, was one who is completely soaked into the proceedings. And the drummer gave some stirring crescendos to a few songs.
There were a few negatives – it started very late, the number of felicitations, bouquet-distribution in the second half were too elongated which unnecessary lengthened the duration, the lady doing Lataji’s song was shrill,  a few technical snags in the audio-visual sections, a power cut in between and worse, wrong credits in the audio visual (how could they list ‘Jogi jab se tu aaya mere dwaare’ as Asha’s song!!!!). Also, I wish they had some more real instruments esp. flute (since it was an integral part of Burmanda’s music). As of now, there were three synthesizers, two guitars, saxophone, drums and dholak alongwith a few other percussions.
But then, this was not a professionally organized show. For an amateur and voluntary project, the entire package was slick, sleek and superb!
In all, an evening well spent – and a standing ovation to the organizers. Whereever SDB is today, he would be exceedingly proud to see such fans who compiled and conducted this sort of a magnificent programme, without any greed or ulterior motive…just for the love of his music. That spirit and intent in itself is laudable, and I salute it with my full heart and soul! A tip of the hat to them!
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Trust the administration to do some good act in totally half-baked pathetic manner. Recently, cure at Janpath, Delhi Police has started issuing warnings over a loud speaker – they include, amongst others: not to touch unclaimed objects, not to speak to strangers or accept gifts/foodstuff from them, not to hire domestic/shop helps without proper verification etc. All fine. All sane stuff. But, they repeat it ad naseum… in Hindi! Now, anyone knows that Janpath is forever infested with foreigners from all across the globe; the least they could do is to repeat the same in English! Plus, I fail to understand why they have chosen only Janpath – which is just a sliver of Connaught Place (the central Delhi swanky market cum office place)? Or, have I missed listening to it on the other blocks? It wasnt there at Palika Bazar today for sure!
Frankly, it must be pretty irritating for those who work there. To hear the same thing over and over again can be highly grating on the nerves. Plus, those ‘bhonpu‘ shaped speakers aren’t exactly Bose in their sound output – so the screechy voice followed by a shrill chime is as musical as a cat clawing over a blackboard! I stood there having my lunch for approx. ten minutes, and couldn’t take it any further.
Noise pollution continued to hound me today.
I don’t think it was very far in the past when we all survived without mobile phones. So the overdependence on this device pretty much leaves me stone-faced. Agreed it has an absolutely wonderful usage during emergencies. But seriously, to giggle into the mobile phone in the temple is stretching the definition of ’emergencies’ a bit too far! Every Tuesday, at our neighborhood temple, without fail I witness several pretty young things (yeah, it’s the girls more always!) dodging into a corner, with their hands cupped and faces buried away into sleek handsets. The worst sight could be to see someone chatting on the phone while pouring ‘jal‘ over Shivling!
Actually, I wouldn’t really mind that. Since they do not per se disturb others – that is, if they keep their voice volumes low! It’s the ring tones that I have major problem with. The concept of ring tones and hello tones is awful… esp the latter. I mean, what fun do people get in inflicting torture on the poor hapless soul who has called them by showering an utterly raucous voice called Shamur – cant decide whether this thing is male or female- rasping away inane lyrics like ‘Mera Ranjha Badi Der’ (that’s all that I could comprehend in this hideous song)?
Anyways, that is when you call someone.
But what to say of a situation when you are sitting to read your Shiv Chalisa in the temple…and out wails Himesh Reshamiiya from a friendly neighborhood mobile phone?
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several pretty young things….!! DJ kya budhe ho gaye ho!!!
Mobile talking in the temple!! Ha ha ha. They just can’t do without it!!!
you recite your shiv chalisa loud enough to drown out that himesh reshammiya noise! 🙂
Mobile ring tones-the bane of all existence! Ban them forever I say! Get the shiv sainiks in! Let them do some useful damage for once! esp those with polyphonic ring tones that they insist on playing loud and long enough before answering the darn phone lying right in front of their faces! AGH!
horrible horrible horrible.. jus the thought of it makes me shudder.. cat clawing the blackboard.. brrrr!!! they do it hear sometimes as well, n it gives me the creeps! :S
Jay – He he he , ab umar toh badh hi rahi hai 😉
Manish – 😀
Anks – Ha ha … (Waise, on serious note, I hate people who chant/pray loudly in the temple, spoiling concentration for others. Why dont they realise that neither is God deaf nor will he answers prayer earlier if they shout at Him)
Princess – Hey welcome here 🙂 Great to see you around. Back to civilization?
Reema – 🙂
tell me who is this shamur person!!!!
SSS – If only I knew!