Wednesday, January 26, 2011

Is Tricolor about only 3 colors

Today, on the eve of Republic day, our office had special lunch arranged to celebrate this occasion.
We had some extra food added to the menu along with a tri-color ice cream.
While I was eating my piece of melting Ice-cream, a thought came across. Are we limiting ourselves to celebrate our national days with just mere colors or it is more than that?
When I asked few of our colleagues, why are we getting ice-cream in three colors? They shook their head and told that because it's Republic day Lunch and we have a holiday (No work) tomorrow (26th January).
I was very surprised to accept that simply converting an ice cream into a tri color will never show our patriotism. We should be aware of what color represents and why?

Indian National Congress during the independence movement always wanted a national flag to gain prominence from British dominions. Everyone including Tilak and Bankim Chandra had some or other images for the National Flag. Not a single flag design showed the real India and its diversity. Either they were Hindu -Centric or a copy of Union Jack.
Mohandas Karamchand Gandhi advocated about the need for an Indian flag, proposing a flag with the charkha or spinning wheel at the center.The idea was to design a flag with the spinning wheel on a red and green color signifying Hindus and the Muslims respectively. Due to the presence of other religions in India, Gandhi was forced to elaborate the White color as the other remaining religions. This also didn't go well with the religious sentiments. This move was criticized heavily as the Sikhs wanted to include the black color. Finally, owing to the religious-political sensibilities, in 1929, Gandhi decided a more secular approach of the use of colors. He interpreted that red will stand for the sacrifices of the people, white for purity, and green for hope.
Later Nehru along with Patel, improvised the Gandhi's Spinning wheel flag into the 'Swaraj' Flag and the Red banner was replaced by Saffron and moved towards the top, while Dark Green banner was below. White was kept between with the spinning wheel.

After India's Independence, the flag committee, replaced the wheel with the chakra. this was done to bring the symmetry to the flag and explained as the representative of dharma and law.

The flag was designed by Pingali Venkayya, an agriculturist from Machilipatnam. While the color scheme, saffron, white and green were chosen for the three bands, representing courage and sacrifice, peace and truth, and faith and chivalry respectively. Later the charkha was replaced by the Ashoka Chakra representing the eternal wheel of law in blue.

Sarvepalli Radhakrishnan, who later became India's first Vice President, clarified the adopted flag and described its significance as follows:
“Bhagwa or the saffron colour denotes renunciation or disinterestedness. Our leaders must be indifferent to material gains and dedicate themselves to their work. The white in the centre is light, the path of truth to guide our conduct. The green shows our relation to (the) soil, our relation to the plant life here, on which all other life depends. The "Ashoka Chakra" in the centre of the white is the wheel of the law of dharma. Truth or satya, dharma or virtue ought to be the controlling principle of those who work under this flag. Again, the wheel denotes motion. There is death in stagnation. There is life in movement. India should no more resist change, it must move and go forward. The wheel represents the dynamism of a peaceful change."


I remembered these words and looked at my ice cream plate, smiled and ate the last remaining cold bite.

Happy Republic Day......

Still the Saffron represents Hindu and Green represents Muslim.
While the white one is Vanilla........



  

Friday, January 21, 2011

Dhobi Art - Mumbai Candids (Diaries)

A director's cut after a long time. This was due for Bollywood since a very long time. Another Shyam Benegal and Sudhir Mishra in making but in a very artistic and subtle way. Kiran Rao is definitely a well prepared director and doesn't give any actor to grow out of bounds of their character.
Not so thrilling story line but a gripping one and definitely a lot of underplay. This movie belongs to Bombay as in "Salaam Bombay" or "Dharavi". Kiran has added another dimension to this great city. The camera has moved very aesthetically around the chawls and by-lanes. The editing could have been more crisp and smooth. The movie was shown in patches and haphazard way, where the editing was needed to transit from one scene to another.

There was a gap in screenplay which was filled by director's cinematography, which will never let you down. Tushar Kanti Ray has done a remarkable job to fulfill this diary. Be it a wash-away Bombay shore or the empty ceiling where there used to be a fan or the "Jack Daniel on the rocks" mixed with Mumbai Rains. The director was well prepared with the intellect for elusive art. The indirect connect of four lives in the movie was the pulse of bustling Mumbai.

The early morning bath sitting next to a moving railway track and a profession of Rat-Killer by the dusk was something you will never dream of putting on the canvass. The excellent candid photography of Mumbai street is another delight in this movie. Jyotika Jain is excellent behind the lens, as seen in portrayal by Monica Dogra. Monica was another delight in the movie, fresh and very natural to the core of the character. Her changing expression was not matched by the editing, but she was marvelous. A new fresh raw energy. While I wish Pratiek to be more natural. This boy is good in holding expressions but he does it for too long. I don't understand why he is always duped as Smita Patil's son, however I see a shade of Raj Babbar in him. Kriti Malhotra as the shy newlywed was easy to watch. Her character left a mark becuase of a very good story and the direction. She did her part a justice.

Aamir khan is for sure not a misfit. He tried to be natural and in the skin of a introvert Painter, shedding off the star persona. A rare occasional but a treat to see. Nothing too over the top and no subtle underplay.He was stammering in English and was too intense in the smoking scenes. It was a director's baby and he delivered within his limits.


This is not a movie to depict the fast paced Mumbai, but it has its own share. With a better screenplay and editing, the art of the movie could have done wonders. I am watching you Kiran Rao.... you surprised me !!!!




  

Saturday, January 15, 2011

Turning Off at 30!

Turning 30! had a lot of speculation  because it's from Prakash Jha's stable and you have the lass from Dor and Dhoop. However the speculation and reality does not always go together. Sometimes a small script is filled with chewing gums to stretch it to make a full movie. The debutant director Alankita Srivastav , a long time assistant of Prakash Jha, was good in patches. The film was like a soap straight from the TV sitcoms. And this time the Gum was doses of endless beer and 'F' words, endless one night stand jokes,pre marital sex, smooches, sharing relationship, a quick Court win, all silly jokes about mid age-ers, gays and lesbians, lady Chetan Bhagat, wonder Bra and a Raunchy Gigolo Bar. The director used all the urban masala and lingo but forgets to mix in well with right proportions.
Somehow when I see the projects where Alankita had her works gives a disagreement that she is the same lady who worked as an assistant in movies like Dil Dosti etc, Gangajal, Khoya Khoya Chand, Apharan etc...

Gul Panag, impressive but she is better on Twitter. The actor works perfectly in patches and suits the role of women turning 35. She was subtle and in the skin of the character. She was excellent as a desperate girl who wanted her BF badly and was begging with her breath and submission, when his guy came to collect his stuff. But failed when she needed to mouth those unspeakables.
Another remarkable performance was Tillotama Shame, the girl who played the lesbian BFF. She was too natural with the emotions and the eyes. Definitely another find by Mr Jha, She is worth a watch. Rest of the characters were just doing their roles in their own limitations. Purab kohli was a waste and didn't have much to prove.
The music and background score was just Ok to be there. And so was the screenplay and a very average cinematography. There were few one-liners which can be picked up by the youth but overall a very patchy an substandard work. None of the songs were catchy or worth listening.
The end speech of the movie was well crafted and got a good effort from the protagonist. Too cliche at times, mix of 'Sex & City' and 'Bridget Jones's Diary' had nothing new to offer. Wished more Hindi in this Hinglish Chick Flick.

Tuesday, January 4, 2011

My dreamland and Brainzombies - A compilation of my subconscious dreams

Hallucinations and delusions must have disturbed everyone from their dreams. I also get them quite often. There are some dreams which are repeated like soap-operas and wake me up in the middle at very instant in the dreams.
A real deception.

1. Infinite fall.


 I am walking on a glass floor, beneath which i could see limitless limits and there is nothing you can focus on. It's like walking on the air with world beneath your feet. There were many people I met while walking and some of them made me queasy. So i walked rapidly and I realized that the glass floor is broken and (shit!) I am falling to embrace the limit.

I held of my bed and sweat beads were getting formed on my forehead and suddenly i saw the Earth. I was not ready for this collision and its getting bigger by each fall. Suddenly I woke up in my bed, Sweating. Hell, where is the earth. I fell from my bed onto my bed. Scary.









2. Immobilized Scream


I open my mouth wide and try very hard to scream and I am able to do it. But where is my voice, my ears are not closed and neither I am deaf. I could feel the surround emptiness an its distinctive pressure. The sound is like a ultrasonic waves which can be felt but not heard. I scream more, take more breath, scream some-more. I kept screaming and suddenly I woke up with a loud scream --- oooooohhhhh. It was again a dream.

3. Just Death


I feel the crumble of my skin because I am a dead person, but still awake in my dream. I could accept the fact that I died. So I fight with the unknown. Neither was I able to move nor shout, all I could do was Fight.
Some sweats, some immovable positions and then a wake up call.
Oops, I am back to life !!





  

Monday, January 3, 2011

And the Award Goes to

2010 - Bollywood


 Awards
  • Best Actor: Ronit Roy (Udaan)
  • Best Actress: Vidya Balan (Ishqiya)
  • Best Film: Ishqiya (Raman Maroo and Vishal Bharadwaj)
  • Best Director: Dibakar Banerjee (Love Sex aur Dhokha)
  • Best Debut (Male):Ranveer singh (Band Baaja Baraat)
  • Best Debut (Female): Shruti (Love Sex Aur Dhokha)
  • Best Supporting Actor (Male): Satish kaushik (Road Movie)
  • Best Supporting Actor (Female): Amrita Puri (Aisha)
  • Best Music Direction: Vishal Bhardwaj For Isqiya
  • Best Lyricist : Gulzar for Dil to Bachha hai Ji - Isqiya
  • Best Playback Singer (Male): KK for Zindagi Do Pal ki
  • Best Female Playback (Female): Sunidhi Chauhan for Udi
Critics' Awards
  • Best Actor Critics Award: Rajat Barmecha (Udaan)
  • Best Actress Critics Award: Swati Sen (Antardwand)
  • Best Film Critics Award: Antardwand (Sushil Rajpal and Dr Romen Kumar Jha) 
Technical Awards
  • Best Special Effects: Neha Hooda (Rakth Charitra)
  • Best Background Score: Dharam-Sandeep (Rakth Charitra)
  • Best Editing: Namrata Rao (Love sex aur Dhokha)
  • Best Action: Javed Aejaz (Rakth Charitra)
  • Best Art Direction: Amar Vidhate (Road Movie)
  • Best Sound Recording: Debasish Mishra and Manik Batra  (Rakth Charitra)
  • Best Screenplay: Vishal Bhardwaj, Sabrina Dhawan & Abhishek Chaubey (Ishqiya)
  • Best Cinematography: Santosh Sivan (Raavan)
  • Best Choreography: Vaibhavi Merchant (Band Baaja Baarat)
  • Best Dialogue: Vishal Bhardwaj (Ishqiya)
  • Best Story: Vikramaditya Motwane and Anurag Kashyap (Udaan)
  • Best Costume Design:Niharika Khan (Band Baaja Baarat)
  • Best Adaptation : Aparna Sen (The Japanese Wife)


**PS: All the awards are mine and will not guarantee Filmfares. Conditions Apply.