Dear Papa,
Hope this letter finds you in good health and spirit.
This is my second letter to you, I am sure you would wonder what made me write to you again after so many years. Well, I would be lying if I say I have an answer. In my last letter I asked you to be a part of my birthday, but guess God doesn’t allow too many outings. No worries, good that you listened to him, after all he is the one who takes care of you. My birthday was good by the way. I have made some good friends here. I hope the ones who surround you there love you and keep you happy.
Papa, I know God wouldn’t agree to it, but I wish you could see me once. I am a grown up girl now. I have started earning on my own, taking my decisions by myself. I have learnt a lot of things since you left. I wish you could be here once and see how I look now, how I talk, how I behave and how happy I am. I also want to buy for you the blue striped kurta that I saw in Pantaloons, from my own money. I think you know how much I wanted to buy it for you. I told you silently. I still believe that you hear me when I talk to you in silence. But nevermind, I have grown up enough to understand that everything doesn’t work the way I like.
I am not going to invite you for my next birthday. I know you will not come and I don’t want to give you the feeling of disappointing me. My birthdays go pretty well now and I miss you less. I wonder if this would make you happy or sad. But I want you to be comforted in knowing that I am doing well and making the best out of my life. And of course, I miss you, sometimes.
Please take care of you, I am not sure if I’ll write again.
Your loving daughter.
Sunday, September 25, 2011
The Letter ...
Found it on some blog through Random Browsing ... I got teary eyes reading this letter... Will also publish the 2nd part ...
Dear Papa,
Hope this letter finds you in good health and spirit.
I have been thinking of writing to you ever since you left us, but my best friend says that there is no mail service to the place you’re in. If this is the case, my letter is going to be the very first one in heaven. Exciting...isn’t it? She also says that people who go to heaven never come back, but don’t you worry, I’ve told her that you are different.
Papa, it’s been two years since I’ve been celebrating my birthday without you. I feel your presence around me when I cut the cake though, but this is not enough. This time I want you next to me in person. I want my friends to see that my papa is better looking and more caring than theirs. I know it’ll be hard to convince God. If it is much of a problem, make him talk to me, I’ll get his permission. I’ve heard he doesn’t say ‘no’ to children…just like you have never said ‘no’ to me.
One last thing, if possible bring grandma and grandpa along. We’ll send them back after the party if they want. But you are going to stay with me for all my coming birthdays. You can’t refuse me on anything…I so much know it.
I miss you papa…don’t disappoint me…please.
Waiting,
You loving daughter.
Dear Papa,
Hope this letter finds you in good health and spirit.
I have been thinking of writing to you ever since you left us, but my best friend says that there is no mail service to the place you’re in. If this is the case, my letter is going to be the very first one in heaven. Exciting...isn’t it? She also says that people who go to heaven never come back, but don’t you worry, I’ve told her that you are different.
Papa, it’s been two years since I’ve been celebrating my birthday without you. I feel your presence around me when I cut the cake though, but this is not enough. This time I want you next to me in person. I want my friends to see that my papa is better looking and more caring than theirs. I know it’ll be hard to convince God. If it is much of a problem, make him talk to me, I’ll get his permission. I’ve heard he doesn’t say ‘no’ to children…just like you have never said ‘no’ to me.
One last thing, if possible bring grandma and grandpa along. We’ll send them back after the party if they want. But you are going to stay with me for all my coming birthdays. You can’t refuse me on anything…I so much know it.
I miss you papa…don’t disappoint me…please.
Waiting,
You loving daughter.
Friday, September 23, 2011
Review of Mausam...
I’m in a kind of soup as to how should rate this movie. Should I give away my self-generated tag of being a critic and say that this is a good movie for the sake of being an ardent Pankaj Kapur fan or should I say that this a bad piece of cinema for I didn’t liked some portions. I guess I should take tha mid-way. And hence I would say that this is a moderate success for Pankaj Kapur. Well, no one would ever dare to rate Pankaj Kapur’s acting talent because actors like him are one in trillions. As a script-writer and screenplay writer, he has succeeded too but when it came to handling few vital portions of the film, he has failed miserably. Otherwise “Mausam” is a master-piece. Where he has left the work half-done, that’s the only place where it takes a dip. In this age of film-making where one fears of the length of the movie if it touches 120 minutes, Pankaj Kapur and Team has dared to make a movie of closed to three hours. It may work as the negative for this film.
The tag line of the film is ‘a love story beyond romance’. And it’s true. It’s a love story wrapped up in multiple emotions. Major one is tragedy, if it’s the term which is well-suited. Film takes on various tragedies that have taken place in our country since the last 25 years. It starts with the after-math of Operation Blue Star and creation of Ayodhya. From this we get the resultant ill-famous collapse of Babri Masjid and then serial blasts of 1993 in Bombay [now Mumbai]. Following-up is the Kargil-war of 1999. Then there is an affect of 9/11 attack in this story. Then there is this MNIK kind of interrogation of a Muslim. Finally the climax clashes with 2003 Gujarat riots. One may feel that woving a story around so many incidents is a big deal. Of course it’s a big deal. And the story is well inter-woven too. But the thing, is after a point, the intake of other tragedy gets into the skin of the audience.
Binod Pradhan must be lauded equally alongwith Pankaj Kapur for capturing the feelings of former. The feel of Mallukot [rather a village] is very much evident. I’m from Rajasthan. And believe me, there is not of a difference between a village of Rajasthan and that of Punjab. It was the best feel-good factor of the film that the soul of an Indian Village was very well captured. Shahid Kapoor gave a performance of his lifetime, probably. Sonam A Kapoor [ya! She is still under the chhatra-chhaayaa of Papa Anil !!] looked b’ful but lacked that acting skill to match-up Shahid. Shahid performed cutely when he was a village-boy, Harry. Shahid performed maturely when he became Sqn. Ldr. Harinder Singh. Shahid performed a true lover when he gave a love scene with Sonam. All in all, it’s Shahid Kapoor’s brilliant acting and Pankaj Kapur’s honest attempt to try something new is what makes Mausam stand apart from the category of Chal-Taau romantic movies.
Pankaj sir has put up lots of hard-work into this project and it is very much visible in every frame. Alongwith story, direction and screenplay, Pankaj sir has also written the dialogues of this film. And let me take this opportunity to say that he has penned down some awesome dialogues for his darling project Mausam. Also, I was really amazed by his music sense. One would find a song for each situation by listening to this album. The only thing that irks me lack of inclusion of the Track ‘Zara Si Mehandi Laga Do’ in the album. It is sung by Sonu Nigam and Shreya Ghoshal [Do google for the accuracy of female singer as I’ve some doubt]. The scenes of Pammo’s [Shahid’s sister in the film] Mehandi Rasm and when Harry [Shahid] and Aayat [Sonam] meets in Scotland having heart to heart chat are probably one of the best romantic confrontation scene in the history of Indian Cinema. I personally haven’t seen such a b’ful portrayal of love on screen before. Also, I spoke of Shahid’s acting. Let me tell you that it’s not just about facing the camera with proper expression and confidence. One more thing that goes into making of an awesome actor is getting the diction and accent of character as per the requirements. And Shahid excelled at this. Probably he might have taken lessons from his dad when it came to having proper Punjabi Boy image in the first mausam [summer] of the film. And suddenly howed maturity in the next frame of second mausam. He portrayed the reqd. attitude of an SQN. LDR. Couple of scenes may remind of his earlier cult Kaminey [2009].
The film gets going in the slow fashion from the second mausam [monsoon]. Don’t know why but every scene shot at Scotland is b’ful but still lacks that grip. But each and every angle of the story is well inter-woven. Use of Aditi Sharma for putting that ting of tri-angular love story could have been extended but seeming the already over-stretched length, the team would have dropped this idea. It’s more of every other love story blossoming during the tenure of Hindu-Muslim riot but it has got some significant treatment. The music [both songs and background score] is one of the main pillar of this movie. At one point one feels that he is watching a music-album in which a sort of story is involved to join two tracks with one another. This is, in no way, a slap on face of anyone. Rather, it’s an acknowledgement of handsome work put-up by the Music Composer Pritam. He did the same task successfully for Life...In A Metro [2007] as well. The use of ‘abhi na jao chhhod kar’ at two instances are really heart-melting. The use of ‘search’ instruments when the chasing scene appears speaks volume with regards to the music sensibilities of Pankaj ji. This shows how young he is young at heart. He made well utilisation of his wife Supriya Pathak Kapur. We all know her as Hansa of popular TV comedy show Khichdi. Here, she puts a serious act. I got to visualise Pankaj Kapur in Shahid in various scenes. Don’t know how to tag it? Whether it was a win of Shahid as actor or of Pankaj ji as director? Guess, both!
Why to watch it- Overall, it’s a colossal failure. If you’ve lots of time and you can tolerate a slow movie go for it. It has quite a good number of instances that is awesome, but weak application of major portions during the climax is what blows away the the handsome effort of scripting too. Out and out, go at your risk. Go for watching some really exotic locations.
CBFC rating- U [without any cuts]
My rating- 2.5*/5*
P.S. I’m leaving you with few of my most favourite dialogues from the movie.
1. "Is zameen aur is aasmaan se pare… jahaan na waqt, na tumhare mere siwa koi aur, bas ek jazba ho…ki tum mujhmein ho aur main tum mein.."
2. Sonam- Tumhare haath ko kya hua hai Harry? [pointing towards his paralyzed hand]
Shahid- Kuch nahin, tumhara takiya banne laayak toh ab bhi hai hi...
3. Sonam- ye kaun hain Harry? [pointing towards the rioters]
Shahid- Koi nahin, bas kuch bhayaanak saaye hain jinke na naam hain aur na hi koi chehre.
4. Mujhe zindagi ka suroor hai. Ye baahri nasha jab utarta hai toh bahut dukhta hai [was something of this sort where ‘baahri nasha’ was referred to Drugs, Alcohol and Tobacco].
5. Kisi apne ko vardi mein dekh ke himmat badh jaati hai.
Wednesday, September 21, 2011
फिल्म रिव्यू - 'बोल'
'बोल' के लिए सिर्फ इतना ही कहूँगा के बहुत कम ऐसी फिल्में होती हैं जो व्यक्ति को अन्दर तक झख्झोर के रख देती हैं. तारीफ़ करनी होगी शोएब मंसूर की जिन्होंने 'खुदा के लिए' के बाद फिर से एक बहुत ही ज़हीन फिल्म का निर्देशन किया है. शोएब मंसूर की एक खासियत यह है वे बुनियादी तौर पर चीज़ों को देखते हैं. इसकी एक साफ़ छाप 'खुदा के लिए' में भी नज़र आई थी और 'बोल' में भी नज़र आती है. वे उन प्रोग्रेसिव फिल्मकारों में से हैं जो चीज़ों को सटीक ढंग से परख कर उसपर फिल्म की कहानी गढ़ते हैं.
'बोल' की भी यही खासियत है. इसकी नक्काशे सी गढ़ी हुई कहानी. बहुत कम ऐसे लोग देखने में आते हैं जो किन्नरों जैसे विषय को छूने की हिम्मत रखते हैं. शोएब मंसूर ने अपनी दोनों ही फिल्मों में एशिया की दकियानुसियत पर एक करार व्यंग्य किया है. एक धुंधली तस्वीर दिखाई है दुनिया को. यहाँ मैं ज़िक्र करना चाहता हूँ की शोएब मूलतः पाकिस्तानी हैं और ऊपर मैंने लिखा है 'एशिया'. एशिया लिखने से मेरा मतलब था के आज भी हिंदुस्तान, नेपाल, भूटान जैसे देशों में बेटों की चाह पुर्जोरता पर है. आज भी यहाँ का एक तबका है जो सोचता है के ज्यादा बच्चे पैदा करने से भविष्य सुधरेगा. वे यह नहीं सोचते की भविष्य जब सुधरेगा तब सुधरेगा, पर वर्त्तमान में तोह उन्हें पालना पड़ेगा. ज्यादा हाथ की चाह रखने वालों को यह समझ नहीं आता के जब तक वे हाथ कमाने लायक नहीं हो जाते तब तक तोह उनके मुंह भी हैं, उसे भी भरना होगा. और किस तरह लड़कियों को आज भी 'शिक्षित' समाज होने की बावजूद एक देनदारी समझा जाता है. ये लोग यह नहीं सोचते कि सायंस ने यह साबित कर दिया है के इंसान के शुन्क्राणुओं से इस बात का ताल्लुक है के वो लड़का पैदा करेगा या लड़की और न ही ये अल्लाह या इश्वर निर्धारित करता है. यह भी बहुत ही मार्मिक ढंग से दिखाया गया है के किस तरह आज भी ओछी सोच हमारे दिल-ओ-दिमाग पर हावी है. हम कहने को तो मौल में घुमते हैं, मल्टीप्लेक्स में पिक्चरें देखते हैं...पर सोच से हम कितने गरीब हैं.
कहानी फिल्म कि बड़ी है. पर कहीं भी ऐसा लगता के फिल्म उबाऊ हो रही हो. हर दृश्य अपने आप में कहानी को बाँध कर रखता है. और शोएब मंसूर ने जितने भी कलाकार ढूंढें हैं, सभी अपना अपना काम पूरी तन्मयता से करते हैं. मुझे चंकाने वाली चीज़ लगी जब इंटरवल हुआ. मुझे लगा के फिल्म ख़त्म हो गयी है. पर स्क्रीन पर इंटरवल हुआ तो मैं चौंक पड़ा. क्यूँ कि जितनी भी फिल्म हुई थी मुझे लगा के स्टोरी में आगे डेवलप्मेंट कि शायद गुंजाइश न हो. और घडी कि तरफ मैंने देखा तो एहसास हुआ के अभी तोह सिर्फ ७५ मिनट बीते हैं. तारीफ़ करनी होगी लगभग आधी से ज्यादा फिल्म शोएब ने इंटरवल के पहले पहल ७५ मिनट में खिंच दी है जिसमें "किन्नर भाई" का किस्सा शामिल है. फिर जब इंटरवल के बाद दोबारा शुरू हुई तो बस अंत तक बाहरी दुनिया से संपर्क कटवा दिया. इतनी सादगी से इतने बोझल कर देने वाले विषय को उठाना और उसे अंत तक खींचना और साथ ही साथ यह भी ध्यान देना के फिल्म कहीं स्टीरियोटाइप्स में उलझ के ना रह जाए, अपने आप में एक जीत है निर्देशक कि. इस तरह कि फिल्मों का एक अलग ही दर्शक वर्ग होता है और मैं चाहता हूँ के वे दर्शक यह फिल्म ज़रूर देखें क्यूँ कि यह फिल्म दिल से बनायी गयी है. और इसकी कोई कहानी नहीं है, बल्कि एक सच्चाई का तमाचा है सभी के मुंह पर के इस पढ़े लिखे समाज में भी कुछ ऐसे तत्व आज भी मौजूद हैं.
फिल्म कि कहानी शुरुवात के दृश्य से ही बयान हो जाती है. लहौर कि रहने वाली एक लड़की [जुनैब] पर उसके अपने पिता को मार डालने का आरोप है. उस लड़की ने आज तक किसी भी अदालत में अपना कोई बयान नहीं दिया. अंत में उसका मामला पाकिस्तान के वजीर-ए-आज़म के पास पहुँचता है. यह समझ कर के शायद उसने आजतक कुछ नहीं कहा अपने बचाव में इसलिए वो वाकई में आरोपी है, आज़म उसके मौत के तलाफ्नामे पर दस्तखत कर देते हैं. पर उसने आखिर में एक अपील कि है के फांसी कि तख्ते पर कड़ी हो कर वो मीडिया को अपनी कहानी सुनाना चाहती है. इस पर वे अपनी रजामंदी दे देते हैं. मीडिया का जमावड़ा लहौर जेल को घेर लेता है और जेलर ४ बजे तक का समय निर्धारित करता है. उस वक़्त के अन्दर तक जुनैब को अपनी कहानी कहनी है. और यहीं से जुनैब अपनी कहानी कहना शुरू करती है. यहीं से अंकुर फूट-ते हैं 'बोल' के. इसके आगे क्या होता है यह जान-ने के लिए आपको सिनेमा हॉल तक जाने का कष्ट करना hoga !!
फिल्म कि भाषा और शैली काफी हद तक 'खुदा के लिए' से मिलती जुलती है. पर कुछ हिस्सों में फिल्म में उतना असर नहीं दीखता है जितना के 'खुदा के लिए' में था. कहानी बहुत मज़बूत है पर कहावट में कहीं कहीं और काम कि ज़रुरत थी. कुछ दृश्य ऐसे भी हैं शायद जिनकी ज़रुरत नहीं थी. पर जब आप एक फिल्म को सम्पूर्णता में देखते हैं तोह ऐसी छोटी मोटी चीज़ें दरकिनार कर दी जा सकती है. "हुमैमा मलिक", मंज़र सहबाई, अम्र कशिमिरी, इमान अली और आतिफ असलम कि तारीफ़ करनी होगी जिनके दमदार अभिनय ने इस फिल्म को नयी उंचाई दी है. आप खुद ही सोचिये कि पांच-पांच अंतर-राष्ट्रीय पुरस्कार पाने वाली फिल्म में कुछ तोह ऐसा होगा ही जो देखने वाले के माथे पर सलवट का गहना पहना दे. उसे सोचने पर मजबूर कर दे कि ज़िन्दगी कब तक एक ही ढर्रे पर ढोयेंगे. अब वक़्त बदलाव का है. समझ नहीं आता के इस तरह कि फिल्में और क्यूँ नहीं बनती. अगर आप दबंग, सिंघम, रेडी माय नामे इज खान और बॉडीगार्ड जैसी मसाला फिल्मों पर रुपये खर्च करते हैं तो कृपया ऐसी फिल्मों पर भी ध्यान दीजिये. बहुत ही सुन्दर फिल्म बनायी है शोएब मंसूर ने. अंत ज़रा सा नाटकीय लग सकता है पर फिर भी एक बार फिर तहे दिल से उनकी तारीफ़ कीजिये. आप निराश नहीं होंगे.
रेटिंग - ३*/५*
Monday, September 19, 2011
A Legend Called Kamaal Rashid Khan...
Those who are on twitter knows how much I hate KRK and how much I abuse him on a daily basis. But, last night I thought of jotting down few things for him thinking that I'm his Friend + Critic + PR manager. So here I go people. Interested ones, read on. Fucktards should leave immediately!
Kamaal R Khan is one of the most popular person on twitter. He loves to entertain his followers. To do so he hasn’t hired any PR machinery. But he solely relies on his dry humour and rustic English to invoke laughter. He comes across as a simple human being minus any starry airs. He doesn’t give a damn about what others think about him. He is politically incorrect and doesn’t mind calling a spade a spade. One such example is his famous jibes at Poonam Pandey’s figures. The much-talked and re-tweeted tweets are his good morning and good night kisses to Asin or any “Man of That Particular Day”.
The most impressive thing about him is his knowledge about the latest affairs of the country. His takes on them are hugely entertaining. For example, When the Indian Cricket Team was losing the matches against England on their home turf recently, he tweeted to suggest to inspire our team to win, maybe Katrina Kaif should declare to promise to kiss our players and that would give them much needed boost to win the remaining games. His way of thinking is totally different. Many of his followers get irritated and start abusing him because they find his tweets bordering on schizophrenia. He doesn’t care about those who oppose his way of tweeting or show the slightest disagreement with his way of thinking. Without wasting a minute he blocks such followers. After doing so he proudly declares on twitter that he “crapeblocked” so and so follower.
This is surprising given the fact that his colleagues hanker after the followers and every now and then declare proudly the latest numbers of their followers. On the other hand here’s Kamaal R Khan who declares proudly the latest numbers of followers he has “crapeblocked”. He loves to coin his own words, thus refusing to allow his limited vocabulary to come in the way of what he wants to communicate. This clearly shows he is a go-getter and doesn’t allow anything to bog him down. Sample this : he calls those who abuse him and his tweets #2RSPeople. When asked what he means by #2RSPeople, he explained in his signature style the meaning of #2RSPeople as “Do Kauri Ke Log”. This newly-minted phrase was recently used in one of Chamtakari Baba’s tweets showing even a satirist like Chamtakari Baba too is in awe of Kamaal R Khan.
He wants to create controversies. He doesn’t care whether you like him or not, whether you want to support him or not. His juggernaut continues to roll. He is someone who won’t change just because he wants people to like him. His refusal to change is what makes him a winner. Moreover, he is a lion-hearted man who doesn’t bet an eyelid before tweeting about the touchy issues like the recent Sadbhavana Mission undertaken by the Gujarat CM Mr Modi. He is not scared of getting misunderstood or getting quoted out of context. He is above all these so-called (petty) sophisticated spins. There are people who eagerly wait for his tweets because he sets the twitter timeline ablaze with laughter. He is a man who knows how to flirt with danger and play with fire. He also knows how to dodge those flames that arise once the fire is lit. Those so-called mass leaders or politically correct celebrities can take a leaf or two out of his book. But it’s ever unlikely to happen as they have a lot at stake and plenty to lose if something gets “quoted out of context” whereas Kamaal R Khan has nothing to lose as he has very little at stake.
The heart goes out to this charismatic and dashing Kamaal R Khan for proving who the real boss is when it comes to pure entertainment on twitter. He has his trademark word 'shall' and "tho" [toh]. He may block you. But if you promise to behave yourself, he may unblock you. His mercurial temper lasts for a few seconds. Once it cools down, he can be the first to kiss and make up. His most endearing human side came to fore recently when the people were cracking jokes about Azhar and his son’s death following the bike accident, he blocked them saying he didn’t appreciate those indulging in such insensitivities. No wonder the legend of Kamaal R Khan keeps growing and equally surprising is twitter’s refusal to verify his account. That’s Kamaal R Khan for you….!
Saturday, September 17, 2011
A nazm by Gulzar saahab
मैं भी उस हॉल में बैठा था
जहां परदे पर इक फ़िल्म के किरदार
ज़िंदा जावेद नज़र आते थे
उनकी हर बात बड़ी, सोच बड़ी, कर्म बड़े
उनका हर एक अमल
एक तस्लीम थी, सब देखने वालों के लिये
मैं अदाकार था उसमें
तुम अदाकारा थीं
अपने महबूब का जब हाथ पकड़ कर तुमने
ज़िंदगी एक नज़र में भर के
उसके सीने पर बस एक आंसू से लिख कर दे दी थी
कितने सच्चे थे वो किरदार
जो परदे पर थे
कितने फ़र्ज़ी थे वो दो, हॉल में बैठे साए
जहां परदे पर इक फ़िल्म के किरदार
ज़िंदा जावेद नज़र आते थे
उनकी हर बात बड़ी, सोच बड़ी, कर्म बड़े
उनका हर एक अमल
एक तस्लीम थी, सब देखने वालों के लिये
मैं अदाकार था उसमें
तुम अदाकारा थीं
अपने महबूब का जब हाथ पकड़ कर तुमने
ज़िंदगी एक नज़र में भर के
उसके सीने पर बस एक आंसू से लिख कर दे दी थी
कितने सच्चे थे वो किरदार
जो परदे पर थे
कितने फ़र्ज़ी थे वो दो, हॉल में बैठे साए
A nazm by Gulzar saahab
मैं भी उस हॉल में बैठा था
जहां परदे पर इक फ़िल्म के किरदार
ज़िंदा जावेद नज़र आते थे
उनकी हर बात बड़ी, सोच बड़ी, कर्म बड़े
उनका हर एक अमल
एक तस्लीम थी, सब देखने वालों के लिये
मैं अदाकार था उसमें
तुम अदाकारा थीं
अपने महबूब का जब हाथ पकड़ कर तुमने
ज़िंदगी एक नज़र में भर के
उसके सीने पर बस एक आंसू से लिख कर दे दी थी
कितने सच्चे थे वो किरदार
जो परदे पर थे
कितने फ़र्ज़ी थे वो दो, हॉल में बैठे साए
जहां परदे पर इक फ़िल्म के किरदार
ज़िंदा जावेद नज़र आते थे
उनकी हर बात बड़ी, सोच बड़ी, कर्म बड़े
उनका हर एक अमल
एक तस्लीम थी, सब देखने वालों के लिये
मैं अदाकार था उसमें
तुम अदाकारा थीं
अपने महबूब का जब हाथ पकड़ कर तुमने
ज़िंदगी एक नज़र में भर के
उसके सीने पर बस एक आंसू से लिख कर दे दी थी
कितने सच्चे थे वो किरदार
जो परदे पर थे
कितने फ़र्ज़ी थे वो दो, हॉल में बैठे साए
Tuesday, September 13, 2011
स्कूल चलें हम...
आज हिंदी दिवस है. समस्त भारत वासियों को हिंदी दिवस के मौके पर ढेरों बधाई. जब हम दिवाली, ईद को मनाते हैं तो हिंदी दिवस क्यूँ पीछे रहे भाई? हिंदी दिवस पर मैं चाह रहा हूँ के पोस्ट हिंदी में लिखूं, हमारी राष्ट्रभाषा को समर्पित करते हुए... कुछ "कूल डूड" और "हॉट बेब्स" जैसे लोगों को मैं जानता हूँ जो हिंदी देख कर नाक भौं सिकोड़ लेते हैं हिंदी देखते ही. ऐसे लोगों को मैं 'लिब्रलाइज़ेशन की पैदाइश' कहना ज्यादा बेहतर समझता हूँ. माफ़ कीजियेगा अगर कहीं पर मात्रा की गलती हो जाए तो. मुझे गर्व हैं भारतीय होने पर और हिंदी बोलने पर. फख्र होता है जब कोई मेरे हिंदी भाषा के ज्ञान पर जलता है !!
मैं आपके सामने एक बहुत ही सरल बात रखना चाहता हूँ. एक बक्सा है, जिसमें एक अनमोल चीज़ रखी हुई है, पर इस बक्से पर ताला लगा हुआ है. यह कोई आम बक्सा नहीं है. ये बक्सा है हमारा शरीर. इस बक्से के बाहर क्या है, मैं इसकी बात नहीं कर रहा हूँ. बल्कि मैं उसकी बात करना चाहता हूँ जो अन्दर रखी हुई है. यह बक्सा प्रकृति के नियमों में बंधा हुआ है. एक दिन यह बक्सा बना और एक दिन यह नहीं रहेगा. लेकिन जब तक यह बक्सा है, तब तक इसके अन्दर रखी हुई चीज़ भी उपलब्ध है. पर सवाल यह है की वोह चीज़ है क्या?
आज तक हम सब येही सोचते रहे है की इस बक्से के बाहर क्या है? पर किसी ने यह कोशिश नहीं की के जान सकें की इस बक्से के अन्दर क्या है? सब इसी उधेड़बुन में लगे रहते हैं की इस बक्से को कहाँ रखना चाहिए और कहाँ नहीं रखना चाहिए. के किस प्रकार इस बक्से को सजाया जाए और किस तरह इस बक्से की सुरक्षा की जाए. आज इस दुनिया में जो कुछ भी हो रहा है वोह इस बक्से के कारण हो रहा है. अगर यह बक्सा ना होता तोह बड़े बड़े कानून ना बनते और ना ही बड़े बड़े देश. अगर यह बक्सा ना होता तोह कोई अमीर ना होता कोई गरीब ना होता. पर है तोह सही एक बक्सा. और यह एक ऐसा बक्सा है जिस पर ताला लगा हुआ है. इस वजह से लोग इसके बारे में सिर्फ और सिर्फ अंदाजा लगाते हैं. वे सिर्फ और सिर्फ अपना जीवन ये सोचने में बीता देते हैं की 'इस बक्से के भीतर आखिर होगा क्या? ... पर कोई कोशिश नहीं करता इस ताले को खोलने की. कोई सोच के समुन्दर में डूबकी लगा कर यहाँ तक सोच लेता है के शायद इस बक्से के भीतर कोई हीरा जवाहरात होगा. कोई खजाना होगा. और कोई आलसी किस्म का यह सोच लेता है के इसके अन्दर 'कुछ नहीं है'.
और कुछ ऐसे भी हैं जिन्होंने असफल ही सही, पर एक कोशिश तोह की इसे खोलने की. उन लोगों ने इस बक्से के सामने हाथ जोड़े. मालाएं पहनाई इस बक्से को. प्रार्थनाएं की इस बक्से के सामने. कुछ तो ऐसे भी हैं जो चाबियों के बड़े बड़े गुच्छे लाकर बोलते हैं 'इनमें से एक ना एक चाबी तो उस ताले को खोल ही देगी'. ऐसे लोगों से मुझे कोई तकलीफ नहीं. चलो और कुछ नहीं तो एक कोशिश तोह की इन्होने. और कुछ लोग होते हैं, जिन्होंने अपने आज तक के जीवन कभी ना कभी, किसी ना किसी मोड़ पर 'शून्य' का आभास किया है. वे ऐसे लोग हैं जो चिन्तन मनन करते हैं. जिनकी सोच बहुत दूर तलक जाती है इस बक्से के सन्दर्भ में. और उन्होंने इसका सही जवाब ढूँढा है की यह ताला है 'अज्ञानता' का, ऐसा वे सोचते हैं. मैं उनकी बात से पूर्णतः सहमत हूँ.
हमारे देश में हाल ही में श्री अन्ना हजारे जी ने भ्रष्टाचार के खिलाफ एक मुहीम छेड़ रखी है. हर साल सरकार अपने बजट में प्रावधान करती है गरीबी से लड़ने के. लोगों को साफ़ सुथरी ज़िन्दगी मुहैय्या हो इसके सन्दर्भ में. देश के पिछड़े वर्ग को अच्छी नौकरी मिले इसके सन्दर्भ में. वगैरह वगैरह... पर क्या किसी ने कभी ये सोचा के इतना सब करने के बावजूद हमारा देश आज ६४ सालों बाद भी रेंगने को ही क्यूँ मजबूर है? वे गोरे क्या वाकई पहली दुनिया में रहते हैं? क्या वे हमसे ज्यादा समझदार हैं? क्या वे हमसे ज्यादा दुनिया को समझते हैं? जवाब है - नहीं. फर्क सिर्फ इतना है की वे शिक्षित हैं और हम अशिक्षित.
मेरा एक नीजी तौर पर मानना है की इस देश की सभी समस्याओं का हल पढाई में छिपा है. आप कोई भी समस्या कहें मैं उसे देश के अशिक्षित होने से जोड़ कर दिखा सकता हूँ. मेरा मानना है की इस देश में सब कुछ है. पर इसे समझने वालों की एक जमात चाहिए. अगर एक व्यक्ति शिक्षित है और चीज़ों को समझने की शक्ति है उसमें, जो की पढने से ही अर्जित की जा सकती है, तो वोह इस देश की कायापलट में एक अहम भूमिका निभा सकता है.
मिसाल के तौर पर, एक शिक्षित व्यक्ति कभी भी रिश्वत नहीं देगा. इसे हम सम्पूर्णता में देखते हैं. मान लीजिये इस देश का हर व्यक्ति शिक्षित है. फिर वोह चाहे किसान ही क्यूँ ना हो. वोह इंसान कभी भी सरकारी कार्यालय में रिश्वत नहीं देगा. आज की तारीख में सरकारी अधिकारी ये सोचता है की उसका वेतन कम है, महंगाई अपने परम चरम पर है और सरकारी पगार से उसका घर नहीं चल सकता और उसका मानना होता है की अगर किसी से १०० रुपये ले लिए तो क्या बुरा हुआ, उसका काम भी हो गया और अधिकारी को कुछ आर्थिक सहायता भी हो गयी. अब इसकी विपरीत परिस्थिति देखते हैं जहां देश का हर व्यक्ति शिक्षित है. वोह कभी भी ना तो रिश्वत देगा और ना ही लेगा. क्यूंकि वोह जानता है आज नहीं तोह कल ये पैसा देश के काल धन में शामिल हो जाए और कहीं ना कहीं जा कर इसकी चोट उसे भी लगेगी.
एक और मिसाल लेते हैं. हमारे देश में सभी जानते हैं के १२५ करोड़ की आबादी में से सिर्फ २% लोग ही कर अदा करते हैं. और ये केवल वे २% लोग हैं जो नौकरी पेशा हैं. उनके पास अब कोई चारा नहीं है इन्कम टैक्स से बचने का. बाकी बचे हमारे देश के धंधे से जुड़े लोग. उनका मानना है के जब बाकी टैक्स नहीं भरते तो वे क्यूँ भरे. और इसका दूसरा कारण टैक्स रेट का काफी बाधा हुआ होना है. इंसान सोचता है के अगर वोह टैक्स ही भर देगा तो खायेगा क्या? अब स्थिति को पलट कर देखिये. अगर हमारे देश का हर व्यक्ति इमानदारी से टैक्स भरे तो? टैक्स रेट जो फिलहाल ३०% है, वोह गिर कर २% तक आ सकती है, अगर हर व्यक्ति टैक्स भरे तोह. आज हमें लगता है ना की हम टैक्स क्यूँ भरे हमारी कमाई पर. और मेरा खुद का मानना है की कोई भी इंसान नहीं चाहेगा की उसके मुश्किलों से कमाए हुए पैसों पर कोई कर लगे. पर हमें यह भी सोचना चाहिए के हम एक देश के नागरिक हैं. ये देश ही हमारा घर है. हम सरकार को गाली देने से बाज़ नहीं आते अगर कहीं पर एक गड्ढा मिल जाए तोह. पर क्या कभी ये सोचते हैं की हम कौन सा इमानदारी बरतते हैं. अगर हम ही आनाकानी करेंगे तोह ये देश कैसे चलेगा. हम क्या अपने घरों में सिर्फ अपने अपने कमरों की ही देखभाल करते हैं? नहीं. तोह हमें भी अपनी सोच विकसित करने की ज़रूरत है.
एक और वाक्या मेरे जेहन में आ रहा है इस वक़्त. मैं जहां रहता हूँ उसके ठीक सामने जुलाई के महीने में महानगर पालिका वालों ने रोड की मरम्मत का काम किया था. और केवल इक महीने की बरसात में ही इस सड़क का ये हाल है की मानो कभी बनी ही नहीं थी. लोग आते जाते महानगर पालिका को गाली देते हैं. पर क्या कभी किसी के मन में ये ख़याल आया के वो जाकर उस अधिकारी को जवाब तलब करे जिसके निर्देशन के तहत इस सड़क का काम हुआ था? नहीं. अगर सरकार हरामखोर है, तोह कहीं ना कहीं हम भी कमीने हैं. और ये इसलिए है की हमें ये नहीं पता के हमारे अधिकार क्या है? और हमारी देश के प्रति जिम्मेदारी क्या है? अब कौन इस चिलचिलाती धुप में पालिका के चक्कर काटे भैय्या! यहाँ ज़रुरत आती है शिक्षा की. ज़रुरत है शिक्षित होने की, समाझ को शिक्षित करने की, और बदलाव लाने की. और ये तभी हो सकता है जब पढ़े लिखे लोग कुछ कोशिश करें. आप और मैं कुछ कोशिश करें.
आओ प्रात्मिक शिक्षा को सबका हक बनाएं हम. पढ़ा लिखा होना और शिक्षित होने में ज़मीन आसमान का फर्क है. हमें ज़रूरत है शिक्षित समाज की ना की पढ़े लिखे समाज की. हम पढ़ लिख कर दर्द को भांप तो सकते हैं. पर अगर श्क्षित नहीं हुए तो उसे बांट नहीं सकते.
चलिए वैसे भी कोई मेरे पोस्ट पढता तो है नहीं, और जो एक आध पढ़ते हैं वो अब मुझे गाली देंगे की इतना लम्बा चौड़ा लिखा दिया. आशा करता हूँ की जो मैं कहना चाहता था वोह मैं कह गया. शायद अब पढने वालों को यह समझ गया होगा की मैं ऊपर 'बक्से' पर इतनी बकचोदी क्यूँ कर रहा था !! सभी को बहुत सारा प्यार.
मैं आपके सामने एक बहुत ही सरल बात रखना चाहता हूँ. एक बक्सा है, जिसमें एक अनमोल चीज़ रखी हुई है, पर इस बक्से पर ताला लगा हुआ है. यह कोई आम बक्सा नहीं है. ये बक्सा है हमारा शरीर. इस बक्से के बाहर क्या है, मैं इसकी बात नहीं कर रहा हूँ. बल्कि मैं उसकी बात करना चाहता हूँ जो अन्दर रखी हुई है. यह बक्सा प्रकृति के नियमों में बंधा हुआ है. एक दिन यह बक्सा बना और एक दिन यह नहीं रहेगा. लेकिन जब तक यह बक्सा है, तब तक इसके अन्दर रखी हुई चीज़ भी उपलब्ध है. पर सवाल यह है की वोह चीज़ है क्या?
आज तक हम सब येही सोचते रहे है की इस बक्से के बाहर क्या है? पर किसी ने यह कोशिश नहीं की के जान सकें की इस बक्से के अन्दर क्या है? सब इसी उधेड़बुन में लगे रहते हैं की इस बक्से को कहाँ रखना चाहिए और कहाँ नहीं रखना चाहिए. के किस प्रकार इस बक्से को सजाया जाए और किस तरह इस बक्से की सुरक्षा की जाए. आज इस दुनिया में जो कुछ भी हो रहा है वोह इस बक्से के कारण हो रहा है. अगर यह बक्सा ना होता तोह बड़े बड़े कानून ना बनते और ना ही बड़े बड़े देश. अगर यह बक्सा ना होता तोह कोई अमीर ना होता कोई गरीब ना होता. पर है तोह सही एक बक्सा. और यह एक ऐसा बक्सा है जिस पर ताला लगा हुआ है. इस वजह से लोग इसके बारे में सिर्फ और सिर्फ अंदाजा लगाते हैं. वे सिर्फ और सिर्फ अपना जीवन ये सोचने में बीता देते हैं की 'इस बक्से के भीतर आखिर होगा क्या? ... पर कोई कोशिश नहीं करता इस ताले को खोलने की. कोई सोच के समुन्दर में डूबकी लगा कर यहाँ तक सोच लेता है के शायद इस बक्से के भीतर कोई हीरा जवाहरात होगा. कोई खजाना होगा. और कोई आलसी किस्म का यह सोच लेता है के इसके अन्दर 'कुछ नहीं है'.
और कुछ ऐसे भी हैं जिन्होंने असफल ही सही, पर एक कोशिश तोह की इसे खोलने की. उन लोगों ने इस बक्से के सामने हाथ जोड़े. मालाएं पहनाई इस बक्से को. प्रार्थनाएं की इस बक्से के सामने. कुछ तो ऐसे भी हैं जो चाबियों के बड़े बड़े गुच्छे लाकर बोलते हैं 'इनमें से एक ना एक चाबी तो उस ताले को खोल ही देगी'. ऐसे लोगों से मुझे कोई तकलीफ नहीं. चलो और कुछ नहीं तो एक कोशिश तोह की इन्होने. और कुछ लोग होते हैं, जिन्होंने अपने आज तक के जीवन कभी ना कभी, किसी ना किसी मोड़ पर 'शून्य' का आभास किया है. वे ऐसे लोग हैं जो चिन्तन मनन करते हैं. जिनकी सोच बहुत दूर तलक जाती है इस बक्से के सन्दर्भ में. और उन्होंने इसका सही जवाब ढूँढा है की यह ताला है 'अज्ञानता' का, ऐसा वे सोचते हैं. मैं उनकी बात से पूर्णतः सहमत हूँ.
हमारे देश में हाल ही में श्री अन्ना हजारे जी ने भ्रष्टाचार के खिलाफ एक मुहीम छेड़ रखी है. हर साल सरकार अपने बजट में प्रावधान करती है गरीबी से लड़ने के. लोगों को साफ़ सुथरी ज़िन्दगी मुहैय्या हो इसके सन्दर्भ में. देश के पिछड़े वर्ग को अच्छी नौकरी मिले इसके सन्दर्भ में. वगैरह वगैरह... पर क्या किसी ने कभी ये सोचा के इतना सब करने के बावजूद हमारा देश आज ६४ सालों बाद भी रेंगने को ही क्यूँ मजबूर है? वे गोरे क्या वाकई पहली दुनिया में रहते हैं? क्या वे हमसे ज्यादा समझदार हैं? क्या वे हमसे ज्यादा दुनिया को समझते हैं? जवाब है - नहीं. फर्क सिर्फ इतना है की वे शिक्षित हैं और हम अशिक्षित.
मेरा एक नीजी तौर पर मानना है की इस देश की सभी समस्याओं का हल पढाई में छिपा है. आप कोई भी समस्या कहें मैं उसे देश के अशिक्षित होने से जोड़ कर दिखा सकता हूँ. मेरा मानना है की इस देश में सब कुछ है. पर इसे समझने वालों की एक जमात चाहिए. अगर एक व्यक्ति शिक्षित है और चीज़ों को समझने की शक्ति है उसमें, जो की पढने से ही अर्जित की जा सकती है, तो वोह इस देश की कायापलट में एक अहम भूमिका निभा सकता है.
मिसाल के तौर पर, एक शिक्षित व्यक्ति कभी भी रिश्वत नहीं देगा. इसे हम सम्पूर्णता में देखते हैं. मान लीजिये इस देश का हर व्यक्ति शिक्षित है. फिर वोह चाहे किसान ही क्यूँ ना हो. वोह इंसान कभी भी सरकारी कार्यालय में रिश्वत नहीं देगा. आज की तारीख में सरकारी अधिकारी ये सोचता है की उसका वेतन कम है, महंगाई अपने परम चरम पर है और सरकारी पगार से उसका घर नहीं चल सकता और उसका मानना होता है की अगर किसी से १०० रुपये ले लिए तो क्या बुरा हुआ, उसका काम भी हो गया और अधिकारी को कुछ आर्थिक सहायता भी हो गयी. अब इसकी विपरीत परिस्थिति देखते हैं जहां देश का हर व्यक्ति शिक्षित है. वोह कभी भी ना तो रिश्वत देगा और ना ही लेगा. क्यूंकि वोह जानता है आज नहीं तोह कल ये पैसा देश के काल धन में शामिल हो जाए और कहीं ना कहीं जा कर इसकी चोट उसे भी लगेगी.
एक और मिसाल लेते हैं. हमारे देश में सभी जानते हैं के १२५ करोड़ की आबादी में से सिर्फ २% लोग ही कर अदा करते हैं. और ये केवल वे २% लोग हैं जो नौकरी पेशा हैं. उनके पास अब कोई चारा नहीं है इन्कम टैक्स से बचने का. बाकी बचे हमारे देश के धंधे से जुड़े लोग. उनका मानना है के जब बाकी टैक्स नहीं भरते तो वे क्यूँ भरे. और इसका दूसरा कारण टैक्स रेट का काफी बाधा हुआ होना है. इंसान सोचता है के अगर वोह टैक्स ही भर देगा तो खायेगा क्या? अब स्थिति को पलट कर देखिये. अगर हमारे देश का हर व्यक्ति इमानदारी से टैक्स भरे तो? टैक्स रेट जो फिलहाल ३०% है, वोह गिर कर २% तक आ सकती है, अगर हर व्यक्ति टैक्स भरे तोह. आज हमें लगता है ना की हम टैक्स क्यूँ भरे हमारी कमाई पर. और मेरा खुद का मानना है की कोई भी इंसान नहीं चाहेगा की उसके मुश्किलों से कमाए हुए पैसों पर कोई कर लगे. पर हमें यह भी सोचना चाहिए के हम एक देश के नागरिक हैं. ये देश ही हमारा घर है. हम सरकार को गाली देने से बाज़ नहीं आते अगर कहीं पर एक गड्ढा मिल जाए तोह. पर क्या कभी ये सोचते हैं की हम कौन सा इमानदारी बरतते हैं. अगर हम ही आनाकानी करेंगे तोह ये देश कैसे चलेगा. हम क्या अपने घरों में सिर्फ अपने अपने कमरों की ही देखभाल करते हैं? नहीं. तोह हमें भी अपनी सोच विकसित करने की ज़रूरत है.
एक और वाक्या मेरे जेहन में आ रहा है इस वक़्त. मैं जहां रहता हूँ उसके ठीक सामने जुलाई के महीने में महानगर पालिका वालों ने रोड की मरम्मत का काम किया था. और केवल इक महीने की बरसात में ही इस सड़क का ये हाल है की मानो कभी बनी ही नहीं थी. लोग आते जाते महानगर पालिका को गाली देते हैं. पर क्या कभी किसी के मन में ये ख़याल आया के वो जाकर उस अधिकारी को जवाब तलब करे जिसके निर्देशन के तहत इस सड़क का काम हुआ था? नहीं. अगर सरकार हरामखोर है, तोह कहीं ना कहीं हम भी कमीने हैं. और ये इसलिए है की हमें ये नहीं पता के हमारे अधिकार क्या है? और हमारी देश के प्रति जिम्मेदारी क्या है? अब कौन इस चिलचिलाती धुप में पालिका के चक्कर काटे भैय्या! यहाँ ज़रुरत आती है शिक्षा की. ज़रुरत है शिक्षित होने की, समाझ को शिक्षित करने की, और बदलाव लाने की. और ये तभी हो सकता है जब पढ़े लिखे लोग कुछ कोशिश करें. आप और मैं कुछ कोशिश करें.
आओ प्रात्मिक शिक्षा को सबका हक बनाएं हम. पढ़ा लिखा होना और शिक्षित होने में ज़मीन आसमान का फर्क है. हमें ज़रूरत है शिक्षित समाज की ना की पढ़े लिखे समाज की. हम पढ़ लिख कर दर्द को भांप तो सकते हैं. पर अगर श्क्षित नहीं हुए तो उसे बांट नहीं सकते.
चलिए वैसे भी कोई मेरे पोस्ट पढता तो है नहीं, और जो एक आध पढ़ते हैं वो अब मुझे गाली देंगे की इतना लम्बा चौड़ा लिखा दिया. आशा करता हूँ की जो मैं कहना चाहता था वोह मैं कह गया. शायद अब पढने वालों को यह समझ गया होगा की मैं ऊपर 'बक्से' पर इतनी बकचोदी क्यूँ कर रहा था !! सभी को बहुत सारा प्यार.
Saturday, September 10, 2011
Abraham Lincoln’s letter to his son’s Head Master
Respected Teacher,
My son will have to learn I know that all men are not just, all men are not true. But teach him also that for ever scoundrel there is a hero; that for every selfish politician, there is a dedicated leader. Teach him that for every enemy there is a friend.
It will take time, I know; but teach him, if you can, that a dollar earned is far more valuable than five found.
Teach him to learn to lose and also to enjoy winning.
Steer him away from envy, if you can.
Teach him the secret of quite laughter. Let him learn early that the bullies are the easiest to tick.
Teach him, if you can, the wonder of books.. but also give him quiet time to ponder over the eternal mystery of birds in the sky, bees in the sun, and flowers on a green hill –side.
In school teach him it is far more honourable to fail than to cheat.
Teach him to have faith in his own ideas, even if every one tells him they are wrong.
Teach him to be gentle with gentle people and tough with the tough.
Try to give my son the strength not to follow the crowd when every one is getting on the bandwagon.
Teach him to listen to all men but teach him also to filter all he hears on a screen of truth and take only the good that comes through.
Teach him, if you can, how to laugh when he is sad. Teach him there is no shame in tears. Teach him to scoff at cynics and to beware of too much sweetness.
Teach him to sell his brawn and brain to the highest bidders; but never to put a price tag on his heart and soul.
Teach him to close his ears to a howling mob… and to stand and fight if he thinks he’s right.
Treat him gently; but do not cuddle him because only the test of fire makes fine steel.
Let him have the courage to be impatient, let him have the patience to be brave. Teach him always to have sublime faith in himself because then he will always have sublime faith in mankind.
This is a big order; but see what you can do. He is such a fine little fellow, my son.
Abraham Lincoln.
My son will have to learn I know that all men are not just, all men are not true. But teach him also that for ever scoundrel there is a hero; that for every selfish politician, there is a dedicated leader. Teach him that for every enemy there is a friend.
It will take time, I know; but teach him, if you can, that a dollar earned is far more valuable than five found.
Teach him to learn to lose and also to enjoy winning.
Steer him away from envy, if you can.
Teach him the secret of quite laughter. Let him learn early that the bullies are the easiest to tick.
Teach him, if you can, the wonder of books.. but also give him quiet time to ponder over the eternal mystery of birds in the sky, bees in the sun, and flowers on a green hill –side.
In school teach him it is far more honourable to fail than to cheat.
Teach him to have faith in his own ideas, even if every one tells him they are wrong.
Teach him to be gentle with gentle people and tough with the tough.
Try to give my son the strength not to follow the crowd when every one is getting on the bandwagon.
Teach him to listen to all men but teach him also to filter all he hears on a screen of truth and take only the good that comes through.
Teach him, if you can, how to laugh when he is sad. Teach him there is no shame in tears. Teach him to scoff at cynics and to beware of too much sweetness.
Teach him to sell his brawn and brain to the highest bidders; but never to put a price tag on his heart and soul.
Teach him to close his ears to a howling mob… and to stand and fight if he thinks he’s right.
Treat him gently; but do not cuddle him because only the test of fire makes fine steel.
Let him have the courage to be impatient, let him have the patience to be brave. Teach him always to have sublime faith in himself because then he will always have sublime faith in mankind.
This is a big order; but see what you can do. He is such a fine little fellow, my son.
Abraham Lincoln.
Tuesday, September 6, 2011
Review of Bodyguard
Before starting my review of Bodyguard, let me be very true to myself. I happened to watch this movie 'chalte-chalte'. I'm not et al a fan of Salman Khan. Rather I believe that 'stars' like Salman, Emran, Imran, etc. can never be an actor even if they bake their bread in B Town for 100 coming years. But growing up watching Salman for over a decade, I believe Bodyguard is his best performance after Mr. aur Ms. Khanna. Don't know why, but I found Salman very cute in his portrayal of 'ehsaanon ke bojh taley dabaa insaan' aka Bodyguard Lovely Singh.
The story of the movie is a smoothie till the last 20 minutes. Don't know why did the writer-director Siddique twisted it in the end. And for the actions stunts, S. Vijayan has choreographed the action of this film too. Relation of Salman and Vijayan dates back to the days of Wanted and Dabangg. But in this serve, the scenes looked laboured. There is this fresh joke in the market which says that, 'Salman is Rajinikanth of North!'. And to be very true, he is. He defies all the logics just like what Rajini does. In a flash of second he can do anything. And the entry action stunts of Salman are purely Computer Generated. One can easily sense that they've used the modern-day techniques. Even the background of same appears to be wonder of post-production. This is something which is becoming the current rage in B Town. Personally speaking, I'm against the use of such tactics as it takes away the beauty of the frame and everything seems to be so dull.
In fact, the film’s action choreographer even borrows from Dabangg’s climax in which the wind ripped the shirt off the tall, strapping villain (Sonu Sood) and then tore the shirt off Chulbul Pandey (Salman) to drive home the point that the comparatively gigantic bad guy was no match for our heroic little package of dynamite. Witness the final fight in Bodyguard with a similar sequence of events but half the impact. What Salman needs are more ingenious fight directors and writers who could give him more Salman-esque lines such as Wanted’s “Ek baar jo maine commitment ki, toh main khud ki bhi nahin sunta”. In Dabangg he said, "arey ... Ji...se yaad aaya". And now in Bodyguard he says, 'Mujhpe ek ehsaan karna ke mujhpe koi ehsaan mat karna'. Without any of these ingredients, Bodyguard ends up as a sort-of-entertaining film with an enjoyable-even-if-mindless first half, good-looking lead players and several clichés; a film that appears to take committed fans terribly for granted
Kareena looked pretty. Hazel Keech seems to be the latest muse of Salman. And talking about Rajat Rawail [Tsunami], I can't understand why the hell fatsos are shown as a piece of laughter. I'm myself obese. Even mostly all the top corporate honchos are obese but they never in such a non-sensical way. Does the “masala” tag give writers and directors the right to be irresponsible and insensitive? So okay, some jokes about disabilities (however offensive) have to be accepted in the interests of realism, because they reflect the street language of our country. But while the world debates the correctness and acceptability of terms such as midget / dwarf / vertically challenged person / person of slight stature / little people, here in India, in a scene in Bodyguard Lovely Singh blithely refers to Divya’s small-sized classmate as a “handbag” to be contrasted with a “suitcase”! Oh wait, I’m not allowed to have such objections to a “masala” film, right Bollywood?!
Unlike the heroines of many of Salman’s recent films, in Bodyguard Kareena is not treated merely as a glamorous appendage to the hero’s antics. She has a substantial part to play in the film. But neither Salman’s charisma, nor Kareena’s acting and eye-catching kurtas can compensate for Bodyguard’s overall dullness. The music is not particularly memorable, despite the sweet-but-that’s-about-it title track composed by Himesh Reshammiya and Pritam’s I love you which is well sung and melodic though generic. The most melodious and well picturised track is Teri Meri. But mostly all the tracks are unwanted. In the language of a critic, they are included to provide you a loo break! Katrina Kaif’s minuscule appearance in one number doesn’t serve any purpose. And I think Salman must come out of camp things. I'm personally fed up of watching Mahesh Manjrekar in mostly all his films. Mahesh, you are wasting your talent, if I'm allowed to say this.
CBFC Rating- U/A
Run Time- 130 minutes [if I exactly remember]
My Rating- 1.5*/5* [would have been 2* but for that needlessly twisted climax]
P.S. My favourite moment in Bodyguard is when Tsunami reads “private number” as “Parvati Nambiar”. Now why couldn’t we have had more of that in the film? :P
The story of the movie is a smoothie till the last 20 minutes. Don't know why did the writer-director Siddique twisted it in the end. And for the actions stunts, S. Vijayan has choreographed the action of this film too. Relation of Salman and Vijayan dates back to the days of Wanted and Dabangg. But in this serve, the scenes looked laboured. There is this fresh joke in the market which says that, 'Salman is Rajinikanth of North!'. And to be very true, he is. He defies all the logics just like what Rajini does. In a flash of second he can do anything. And the entry action stunts of Salman are purely Computer Generated. One can easily sense that they've used the modern-day techniques. Even the background of same appears to be wonder of post-production. This is something which is becoming the current rage in B Town. Personally speaking, I'm against the use of such tactics as it takes away the beauty of the frame and everything seems to be so dull.
In fact, the film’s action choreographer even borrows from Dabangg’s climax in which the wind ripped the shirt off the tall, strapping villain (Sonu Sood) and then tore the shirt off Chulbul Pandey (Salman) to drive home the point that the comparatively gigantic bad guy was no match for our heroic little package of dynamite. Witness the final fight in Bodyguard with a similar sequence of events but half the impact. What Salman needs are more ingenious fight directors and writers who could give him more Salman-esque lines such as Wanted’s “Ek baar jo maine commitment ki, toh main khud ki bhi nahin sunta”. In Dabangg he said, "arey ... Ji...se yaad aaya". And now in Bodyguard he says, 'Mujhpe ek ehsaan karna ke mujhpe koi ehsaan mat karna'. Without any of these ingredients, Bodyguard ends up as a sort-of-entertaining film with an enjoyable-even-if-mindless first half, good-looking lead players and several clichés; a film that appears to take committed fans terribly for granted
Kareena looked pretty. Hazel Keech seems to be the latest muse of Salman. And talking about Rajat Rawail [Tsunami], I can't understand why the hell fatsos are shown as a piece of laughter. I'm myself obese. Even mostly all the top corporate honchos are obese but they never in such a non-sensical way. Does the “masala” tag give writers and directors the right to be irresponsible and insensitive? So okay, some jokes about disabilities (however offensive) have to be accepted in the interests of realism, because they reflect the street language of our country. But while the world debates the correctness and acceptability of terms such as midget / dwarf / vertically challenged person / person of slight stature / little people, here in India, in a scene in Bodyguard Lovely Singh blithely refers to Divya’s small-sized classmate as a “handbag” to be contrasted with a “suitcase”! Oh wait, I’m not allowed to have such objections to a “masala” film, right Bollywood?!
Unlike the heroines of many of Salman’s recent films, in Bodyguard Kareena is not treated merely as a glamorous appendage to the hero’s antics. She has a substantial part to play in the film. But neither Salman’s charisma, nor Kareena’s acting and eye-catching kurtas can compensate for Bodyguard’s overall dullness. The music is not particularly memorable, despite the sweet-but-that’s-about-it title track composed by Himesh Reshammiya and Pritam’s I love you which is well sung and melodic though generic. The most melodious and well picturised track is Teri Meri. But mostly all the tracks are unwanted. In the language of a critic, they are included to provide you a loo break! Katrina Kaif’s minuscule appearance in one number doesn’t serve any purpose. And I think Salman must come out of camp things. I'm personally fed up of watching Mahesh Manjrekar in mostly all his films. Mahesh, you are wasting your talent, if I'm allowed to say this.
CBFC Rating- U/A
Run Time- 130 minutes [if I exactly remember]
My Rating- 1.5*/5* [would have been 2* but for that needlessly twisted climax]
P.S. My favourite moment in Bodyguard is when Tsunami reads “private number” as “Parvati Nambiar”. Now why couldn’t we have had more of that in the film? :P
Sunday, September 4, 2011
Review of That Girl In Yellow Boots [TGIYB]
After NALS, TGIYB is once again a kind of movie which will leave you awe-struck at the end. TGIYB is a kind of movie in which actors don't chase camera, rather camera chases actors. Personally speaking, till date I've not seen such a shocking story. It's very gutsy film with it's very nature. Lots of film-makers promote their movies saying it's something 'hattke' but when you watch it, you come out with the feeling of being cheated. But with TGIYB, it's not the case for sure. It takes a lot to make this genre of cinema with minimal of budget.
For Anurag Kashyap, I'm sure, it would have been very difficult to picturise his very own wife giving handjobs to other men. I remember when Ajay Devgn directed U, Me aur Hum, he was very insecure when the script demanded him to be shown having physical relationship with Kajol. In this light, Anurag Kashyap has shown lots of guts to break all the barriers of orthodox cinema making and has shown his wife in few of the steamy scenes. And let me be very frank here, the sex-scenes in TGIYB are not typical Emraan Hashmi kind of scenes which are otherwise full of lust and greed, but are very well emotion driven. While watching TGIYB and Kalki Koechlin's performance in it, one readily accepts that working in spa as a masseur can well be one's profession. But at the very same time, Anurag succeeded in pouring up the emotions into it. The very fact is that giving handjobs to men is not what any dignified girl would ever dream in her wildest fantasy. But, as I said earlier, TGIYB breaks all the orthodox thinking of contemporary film-making. One can feel the pain Ruth might me going through while doing all these shit thing.
As far as the story of TGIYB is concerned, it is very shallow. In the sense that, we are shown that there is this British girl called Ruth who is on a visit to India for a mission. And the mission is to find her Half Brit Half Indian father. But every frame of the movie is so engaging that you tend to sideline the story. You just want the movie to continue the way it is going. The main character in this film is only Kalki Koechlin. But the inclusion of actors like Piyush Mishra, Mushtaq Khan, Naseeruddin Shah, Ronit Roy, Rajat Kapoor and Makrand Deshpandey makes you feel that 'now something extra-ordinary will happen' but sadly it doesn't. The actual and only twist of the movie come only in the end and it makes you go mad. You'll feel like "how can one guy be so pathetic". That, how can the definition of 'love' for someone be so dark.
I've travelled through lots of streets and lanes of Mumbai personally. But I never paid attention to what might be the 'secret' of those road/lane. Anurag seems to have well 'explored' this city! This is where Anurag excels at i.e. he pays damn attention to the fine detailing in every part of his film. For e.g. portraying the character of that Spa receptionist who talks over the phone in the entire movie to her FB friend.
This is not a Mumbai of glamour and glitz, nor is it about slime, grime, the basest elements in the underworld or extreme poverty. This is Semi-Middle Mumbai, where the builder who wants a “handshake” from Ruth is embarrassed at the demands he’s making, where Ruth likes to keep her floor spotlessly clean but can do nothing about those filthy walls. With the help of Rajeev Ravi’s atmospheric cinematography and Wasiq Khan’s production design, director Anurag Kashyap brings to us this disturbing Mumbai and his hemmed-in characters in a way only he can, with his distinctive sense of humour, in a style that’s as real and natural as it gets. Ruth is a particularly interesting creature – despite the abuse she is subjected to, she still manages to retain a certain feisty sense of independence that is almost inspiring. I particularly enjoyed hearing her dip into her constantly expanding Hindi vocabulary to tell a cheating autorickshaw driver: main firangan hoon isliye mujhe ch****a banane ki koshish mat karna.
Anurag has his very own kind of cinema to serve. He is somebody who always has one or the other character playing Drug Abused in his every film. This may be because he himself was a Drug Abused at one point of time. In Shaitain he portrayed what can be the Shaitaniyat one experiences being a drug addict and in TGIYB, I guess, he has shown his personal experiences [I'm pointing towards the scene in which Prashant locks himself up to get rid of drugs]. And talking about Gulshan Deviah, man! what a class actor we've been presented with by Anurag. He is such a darling when he portrays Chitti-Appa !! He brings out a classic cynical type of humour. The 'remote' scene and the scene where Chitti-Appa becomes CHUTIYAPPA are one of the main highlights of this movie! All in all, it's typical Anurag Kashyap-ish type of cinema which will leave you speech-less and shocked in the end. The music of the movie is also something that stands out with just one song which plays in the BG. The use of Bagpiper and Iktara provided lots of subtlety to the backdrop of the film. It's a cult film. You won't find such a film coming out of Hindi Film Industry for the years to come. I was personally very happy to see NFDC producing such a daring film. I guess NFDC stopped working in the 90s and 00s.
Three of the best scenes of TGIYB would be-
1st- The confrontation scene between Ruth and Prashant.
2nd- The emotional outburst of Ruth when she comes to know about who her father is.
3rd- The end scene between Ruth and her father.
CBFC Rating- A [don't know why they rated it Adults, may be coz of those handjob scenes, otherwise it's very emotional film]
Rating- 5*/5* [coz I don't find a single problem with this milestone piece of cinema].
P.S. Beware! It won't go down well with every other cinema goer. It's a request to all those brainy people, please watch it for Anurag. !00rs. toh bante hain boss Anurag ke naam pe !!
For Anurag Kashyap, I'm sure, it would have been very difficult to picturise his very own wife giving handjobs to other men. I remember when Ajay Devgn directed U, Me aur Hum, he was very insecure when the script demanded him to be shown having physical relationship with Kajol. In this light, Anurag Kashyap has shown lots of guts to break all the barriers of orthodox cinema making and has shown his wife in few of the steamy scenes. And let me be very frank here, the sex-scenes in TGIYB are not typical Emraan Hashmi kind of scenes which are otherwise full of lust and greed, but are very well emotion driven. While watching TGIYB and Kalki Koechlin's performance in it, one readily accepts that working in spa as a masseur can well be one's profession. But at the very same time, Anurag succeeded in pouring up the emotions into it. The very fact is that giving handjobs to men is not what any dignified girl would ever dream in her wildest fantasy. But, as I said earlier, TGIYB breaks all the orthodox thinking of contemporary film-making. One can feel the pain Ruth might me going through while doing all these shit thing.
As far as the story of TGIYB is concerned, it is very shallow. In the sense that, we are shown that there is this British girl called Ruth who is on a visit to India for a mission. And the mission is to find her Half Brit Half Indian father. But every frame of the movie is so engaging that you tend to sideline the story. You just want the movie to continue the way it is going. The main character in this film is only Kalki Koechlin. But the inclusion of actors like Piyush Mishra, Mushtaq Khan, Naseeruddin Shah, Ronit Roy, Rajat Kapoor and Makrand Deshpandey makes you feel that 'now something extra-ordinary will happen' but sadly it doesn't. The actual and only twist of the movie come only in the end and it makes you go mad. You'll feel like "how can one guy be so pathetic". That, how can the definition of 'love' for someone be so dark.
I've travelled through lots of streets and lanes of Mumbai personally. But I never paid attention to what might be the 'secret' of those road/lane. Anurag seems to have well 'explored' this city! This is where Anurag excels at i.e. he pays damn attention to the fine detailing in every part of his film. For e.g. portraying the character of that Spa receptionist who talks over the phone in the entire movie to her FB friend.
This is not a Mumbai of glamour and glitz, nor is it about slime, grime, the basest elements in the underworld or extreme poverty. This is Semi-Middle Mumbai, where the builder who wants a “handshake” from Ruth is embarrassed at the demands he’s making, where Ruth likes to keep her floor spotlessly clean but can do nothing about those filthy walls. With the help of Rajeev Ravi’s atmospheric cinematography and Wasiq Khan’s production design, director Anurag Kashyap brings to us this disturbing Mumbai and his hemmed-in characters in a way only he can, with his distinctive sense of humour, in a style that’s as real and natural as it gets. Ruth is a particularly interesting creature – despite the abuse she is subjected to, she still manages to retain a certain feisty sense of independence that is almost inspiring. I particularly enjoyed hearing her dip into her constantly expanding Hindi vocabulary to tell a cheating autorickshaw driver: main firangan hoon isliye mujhe ch****a banane ki koshish mat karna.
Anurag has his very own kind of cinema to serve. He is somebody who always has one or the other character playing Drug Abused in his every film. This may be because he himself was a Drug Abused at one point of time. In Shaitain he portrayed what can be the Shaitaniyat one experiences being a drug addict and in TGIYB, I guess, he has shown his personal experiences [I'm pointing towards the scene in which Prashant locks himself up to get rid of drugs]. And talking about Gulshan Deviah, man! what a class actor we've been presented with by Anurag. He is such a darling when he portrays Chitti-Appa !! He brings out a classic cynical type of humour. The 'remote' scene and the scene where Chitti-Appa becomes CHUTIYAPPA are one of the main highlights of this movie! All in all, it's typical Anurag Kashyap-ish type of cinema which will leave you speech-less and shocked in the end. The music of the movie is also something that stands out with just one song which plays in the BG. The use of Bagpiper and Iktara provided lots of subtlety to the backdrop of the film. It's a cult film. You won't find such a film coming out of Hindi Film Industry for the years to come. I was personally very happy to see NFDC producing such a daring film. I guess NFDC stopped working in the 90s and 00s.
Three of the best scenes of TGIYB would be-
1st- The confrontation scene between Ruth and Prashant.
2nd- The emotional outburst of Ruth when she comes to know about who her father is.
3rd- The end scene between Ruth and her father.
CBFC Rating- A [don't know why they rated it Adults, may be coz of those handjob scenes, otherwise it's very emotional film]
Rating- 5*/5* [coz I don't find a single problem with this milestone piece of cinema].
P.S. Beware! It won't go down well with every other cinema goer. It's a request to all those brainy people, please watch it for Anurag. !00rs. toh bante hain boss Anurag ke naam pe !!
Thursday, September 1, 2011
The making of an Epic 90s' movie
Scene 1:
The great bollywoodian college, the Royal hatchery of all romantic adventures, drama embedded with sad Kumar shanu songs, skirmishes with a dash of karate and hockey sticks, dollops of deceit or "dhokhaa" courtesy "The Sadashiv amrapurkar-Tinu anand" school of thought and a 24x7 Canteen with brittle tables and chairs, this is what sums up a kick ass early nineties' movie.
So here's the star cast template (note the alternatives as well)
The college dude, Our hero, Vijay...( Ajay devgan/ Govinda)
The nakhre waali ladki, Tina ( Raveena tandon / Aayesha julka / Karishma kapoor)
The spoilt brat, wears tight leaher pants and owns a jeep, Vicky (Mohneesh behl / Aaditya pancholi) note: At least 10 colg girls have fallen prey to his 'zism ki bhookh'.
Bad boy's papa, with more political "links" than a wikipedia page, MLA Jorawar singh (Sadashiv Amrapurkar)
The shrewd Business man, the crafty hotelier and the jigree dost of Jorawar singh, Singhania- which is apparently his first name- ( Tinu Anand)
The man who never smiles, the tense Papaji of the heroine, and also Signahinya's employee, JeewanLaal (Kulbhushan Kharbanda). Honest to the bone.
Hero's khuddar papa, feel sorry for him he's crippled and unemployed, boohoo - Baa(b)uji (Suresh Oberai)
And lot of other quintessential actors like, Mcmahon, Atul agnihotri, shakti kapoor, jagdeep, tiku talsania, Tom alter , Brownie etc.
The first frame of the movie is an aerial shot of the deemed college located somewhere in aamchi Mumbai. Vijay (ajay devgan) is one not so bright student of the colg. His mark sheet resembles a sanitary napkin, (yep red) and answer sheets your blog's comments page, but then geeks never have scored anything with the pretty girls of the college, so there. The film-history is replete with accounts of geeky nerds, who have been completing colg damsel's notes for ages to no avail. They get nothing but for a cheeky "Thanks Ramesh! main tumhara ehsaan nahin bhula sakti " and then she rushes to the garden Coohie-cooing with the college hunk.
The eligibility criteria for a desi college hero of the 90s':-
1) He should have at least 2 kg of hair mass over his head.
2) He should have at least 2 pairs of air tight jeans and "Action ke sports shoes".
3) He should be deep in debt to the college canteen.
4) He should have a "Dukhiyaaree maa" and an "unwed behen"(sister) (who will be raped/killed/maligned at a later time by the anti-hero elements)
In addition to these he rears a battery of sidekicks consisting of failed actors, TV stars, and erstwhile child artists. These personnel give him company in the canteen, encourage him to woo the heroine, assemble at the back of the hero and synchronize their dancing steps whenever a tune is played in the background. These guys come in all kinds of shapes and sizes and infest on the canteen balance of Vijay.
Now one fine day as these guys were idling around in the college corridor brooding over kimi kaatkar's sex appeal, Johny(a random sidekick) exclaimed "Kasam paida karne waale ki kyaa item hai, abey yaaro wo dekho, hoor ki paree aa rahee hai….aaye haaye kyaa latke jhatke hain..*sighhh*" // note the cornyness of the dialogue
Eye balls of the group, virtually pop out. The bespectacled fatso's thick lenses get frosted. There she is, at the far end of the corridor briskly cat walking, our girl of the movie, the desi damsel 'causing' distress. The camera is fixed at her posterior as she walks in slow motion. The students lining the corridor are gasping. She is wearing a black shimmering outfit, Needle sharp high heels and black translucent stockings. The amount of lipstick on her lips is sufficient to manufacture a pack of candles and the ear rings are as large as handcuffs. Even the professors are readjusting their glasses to have a good look.
As she nears the esteemed pack, vijay rolls up his sleeve, hand combs his hair, makes a shashi kapoor face and stares at her. The sidekicks are holding their breath. The moment has come.She arrives and throws a glance at vijay. "Huhhh!!" she curses loaded with a ton of snobbery. Meet Tina ( Raveena tandon). A typical "maghroor" ladki as Vijay proclaims. There are limited words in her dictionary for boys - "You isshhtupid chhodo mera haath!!", "You bloody idiaattt", "Shut up Youuu". Ahh the perverts love that.
"Iss ladki kaa guroor todnaa padega!!" vows Vijay.
The seed is planted. :)
To be continued…..
The great bollywoodian college, the Royal hatchery of all romantic adventures, drama embedded with sad Kumar shanu songs, skirmishes with a dash of karate and hockey sticks, dollops of deceit or "dhokhaa" courtesy "The Sadashiv amrapurkar-Tinu anand" school of thought and a 24x7 Canteen with brittle tables and chairs, this is what sums up a kick ass early nineties' movie.
So here's the star cast template (note the alternatives as well)
The college dude, Our hero, Vijay...( Ajay devgan/ Govinda)
The nakhre waali ladki, Tina ( Raveena tandon / Aayesha julka / Karishma kapoor)
The spoilt brat, wears tight leaher pants and owns a jeep, Vicky (Mohneesh behl / Aaditya pancholi) note: At least 10 colg girls have fallen prey to his 'zism ki bhookh'.
Bad boy's papa, with more political "links" than a wikipedia page, MLA Jorawar singh (Sadashiv Amrapurkar)
The shrewd Business man, the crafty hotelier and the jigree dost of Jorawar singh, Singhania- which is apparently his first name- ( Tinu Anand)
The man who never smiles, the tense Papaji of the heroine, and also Signahinya's employee, JeewanLaal (Kulbhushan Kharbanda). Honest to the bone.
Hero's khuddar papa, feel sorry for him he's crippled and unemployed, boohoo - Baa(b)uji (Suresh Oberai)
And lot of other quintessential actors like, Mcmahon, Atul agnihotri, shakti kapoor, jagdeep, tiku talsania, Tom alter , Brownie etc.
The first frame of the movie is an aerial shot of the deemed college located somewhere in aamchi Mumbai. Vijay (ajay devgan) is one not so bright student of the colg. His mark sheet resembles a sanitary napkin, (yep red) and answer sheets your blog's comments page, but then geeks never have scored anything with the pretty girls of the college, so there. The film-history is replete with accounts of geeky nerds, who have been completing colg damsel's notes for ages to no avail. They get nothing but for a cheeky "Thanks Ramesh! main tumhara ehsaan nahin bhula sakti " and then she rushes to the garden Coohie-cooing with the college hunk.
The eligibility criteria for a desi college hero of the 90s':-
1) He should have at least 2 kg of hair mass over his head.
2) He should have at least 2 pairs of air tight jeans and "Action ke sports shoes".
3) He should be deep in debt to the college canteen.
4) He should have a "Dukhiyaaree maa" and an "unwed behen"(sister) (who will be raped/killed/maligned at a later time by the anti-hero elements)
In addition to these he rears a battery of sidekicks consisting of failed actors, TV stars, and erstwhile child artists. These personnel give him company in the canteen, encourage him to woo the heroine, assemble at the back of the hero and synchronize their dancing steps whenever a tune is played in the background. These guys come in all kinds of shapes and sizes and infest on the canteen balance of Vijay.
Now one fine day as these guys were idling around in the college corridor brooding over kimi kaatkar's sex appeal, Johny(a random sidekick) exclaimed "Kasam paida karne waale ki kyaa item hai, abey yaaro wo dekho, hoor ki paree aa rahee hai….aaye haaye kyaa latke jhatke hain..*sighhh*" // note the cornyness of the dialogue
Eye balls of the group, virtually pop out. The bespectacled fatso's thick lenses get frosted. There she is, at the far end of the corridor briskly cat walking, our girl of the movie, the desi damsel 'causing' distress. The camera is fixed at her posterior as she walks in slow motion. The students lining the corridor are gasping. She is wearing a black shimmering outfit, Needle sharp high heels and black translucent stockings. The amount of lipstick on her lips is sufficient to manufacture a pack of candles and the ear rings are as large as handcuffs. Even the professors are readjusting their glasses to have a good look.
As she nears the esteemed pack, vijay rolls up his sleeve, hand combs his hair, makes a shashi kapoor face and stares at her. The sidekicks are holding their breath. The moment has come.She arrives and throws a glance at vijay. "Huhhh!!" she curses loaded with a ton of snobbery. Meet Tina ( Raveena tandon). A typical "maghroor" ladki as Vijay proclaims. There are limited words in her dictionary for boys - "You isshhtupid chhodo mera haath!!", "You bloody idiaattt", "Shut up Youuu". Ahh the perverts love that.
"Iss ladki kaa guroor todnaa padega!!" vows Vijay.
The seed is planted. :)
To be continued…..
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