People. They are the most beautiful thing in the world. They carry stories within them. The stories reflect our times. Yet, for me, the times of Indore were not a reflection of people. But the lack of them.
It was the most lonely I had ever been. An introvert till the eight standard, I never yearned for company. An extrovert thereafter, I could not live without it. Living alone in a new city, and not a fast happening city like Mumbai and Delhi, Indore felt like the Jaipur I had no clue about.
Continue reading “The Times of Indore”
A thinking man’s actress, Tabu has always been a critics’ favourite. Though she has seen a fair share of box office success, not a single film of hers has failed to get rave reviews from all quarters. While she is a proud recipient of two National Awards, a lesser known achievement that she boasts of is that she has won the highest number of Filmfare Critics’ Choice Awards, just one award ahead of her Cheeni Kum co-star Amitabh Bachchan.
As Tabu turned 45 on 4 November, we celebrate the occasion by looking back at the four nuanced portrayals that fetched her the four Filmfare Awards:
Continue reading “4 Films that Made Tabu the Critics’ Bae”
A recent article by my senior Sneha Bengani in the Hindustan Times questioned why yesteryear actresses in the Hindi film industry are mostly offered stereotypical roles of mothers and mother-in-laws. She explained why we deserve a Meryl Streep, why we deserve the female counterpart of the evergreen Amitabh Bachchan.
I put my thinking cap on and recalled the number of times these actresses have been roped in to do something conventionally reserved for young actresses – ‘item numbers’. While there has always existed another stereotypical breed of ‘item girls’ like Jacqueline Fernandez, Sunny Leone, Nargis Fakhiri and Malaika Arora Khan, why were these yesteryear actresses chosen to shed off their rust and induce the men to lust after them:
Continue reading “6 Times Yesteryear Actresses Turned ‘Item Girls’”
One thing that Scooby Doo and the Mystery Inc. taught us was that monsters are not real… unless they are on Zombie Island. In Scooby Doo and the Zombie Island, Velma tried pulling off the mask of a zombie to solve the mystery, but to no avail. The mask would just not come off, indicating that monsters are for real.
A few Hindi films have also tried this trick. The narrative builds up the film as a slice of life or a piece of realism, only to shake the audience out of their wits eventually. While some films are clearly slot into the fantasy genre, these five films give the audience the impression that the film is as real as it could be… until a twist which proves otherwise.
Continue reading “Five Hindi Films That Give You A Reality Check Until…”
“Have we found it yet?”
Uncle Sam asked the soldiers as they scooped out heaps of mud. It was another one of those excavations, of archaeological proportions, which could change the course of history.
This was what the “Little Boy” standing right next to him, was given to understand. He did not, however, know what they were looking for. But the thought of going too far to accomplish their “Civilization Mission” irked him.
“If they kept digging, they will just look like the people we have been hired to civilize,” said the “Little Boy”.
“It is a White Man’s Burden to keep digging till we turn black,” said Uncle Sam pointing at the Little Boy, as rubbles of guns, missiles and bombs kept piling up.
“But why are we civilizing the men who destroyed those two beauties fifteen years ago?”
Continue reading “Call 9-1-1”
“Khoon mein tere mitti, mitti mein tera khoon.”
The title character of the Salman Khan film Sultan draws a parallel between a mud wrestler and a farmer on the grounds that both are deep rooted in the soil of their motherland. While one tills the earth, the other toils away in it. The film depicts the trajectory of a wrestler, or for the sake of generalisation, the typical graph of human journey and triumph, through the metaphor of mitti (soil) or earth:
Continue reading “Sultan: Through the Sands of Time”
Hordes of visitors thronged the garish stalls with all kinds of colours done up in artificial dyes. However, few notice the natural dye palette that adorns a modest corner of Lavanya, a garment exhibition held at Hotel Sayaji.
`Roliana’ is an organisation unique to India since it owns the Geographical Indication (GI) of `Banarasi Saris’. The intricate details on the saris and shawls prove that all the garments are made using handloom silk and natural dyes.
The owner, Vikas Mehra, is the adviser to the Ministry of Textile but he is saddened by the lackadaisical support offered by the Central Government. “Though Varanasi is the prime ministerial constituency and Banarasi silk products are a part of the Indian heritage, the assistance from the government remains insufficient,” he says.
Continue reading “A Sanguine Plea of the Holy Waters”