Sunday, July 29, 2012
Friday, February 02, 2007
Animal Harm
Rule 7 of the the Performing Animals (Registration) Rules, 2001 issued by Ministry of Social Justice and Empowerment says that:
Prior information for use of performing animals in films : -
(1) Every owner desirous of hiring out or lending a performing animal in the making of a film shall give prior information in the format as specified by the prescribed authority for this purpose to specifying the kind of animal, age of animal, physical health of the animal, the nature of performance to be done by the animal, the duration for which the animal shall be used for such performance, the duration and method of training of the animal for such performance and justification for the use of such animals in the film and such other information as may be required by that authority.
As a The Hindu-reading responsible blogger, I decided to verify the facts before making a post. I filed a RTI application with the AWBI and was glad that the movie had indeed obtained prior permission from AWBI.
The copy of the application seeking permission, which was given to me in response to my RTI, is reproduced below.
Kind of Animal – Sloth Bear (Melursus ursinus)
Age of Animal – 18 Till I Die
Physical health of the animal – Fight, Flight and Dance Worthy
Nature of performance to be done by the animal – Acting, Story, Screenplay, Dialogues, Direction, Music, Lyrics, Editing, Audiography, Art Direction and Cinematography (when he is not acting)
Duration for which the animal shall be used for such performance – Till the camera runs out of raw stock
Duration and method of training of the animal for such performance – NIL . It is a born genius
Justification for the use of such animal in the film – Self-employment
Sunday, December 24, 2006
Jockey - Idhi Chaala Pedha Rod Guru
Jayakrishna, fondly called as Jockey, has a fetish for undergarments and is a strong votary for their public display. He is pained by the society which reprimands skimpily clad women, especially those flaunting their undergarments from their no waist, I mean, low waist jeans. He is supported by one sister and two girl friends, one in-house (Maradalu) and one next house. The former is fair and fat (Charmee) and the later is fair and flat (Ileana). Towards the end, fat makes way for the flat. A metaphoric depiction of upholding the socialist principle of haves making way for the have-nots.
The films is extravagant from the word go. More characters than that can fit on a 35 mm film. More dialogues than you can possibly hear. More songs than you can remember. In short, the first half of the movie is a walk in the clouds. Aimless, directionless and meaningless. It has everything other than a story. If you find that the interval is no where in sight then it is not your fault. You need to beg, bribe and finally bash up the operator in the projector room before you get that much needed relief. But before that, the doting sister of Jockey dies of a fire accident caused due to her sari catching fire in the kitchen. He solemnly vows that he would not rest till he liberates all the Indian girls from the clutches of traditional dress and attains them the freedom to bare themselves in bikinis. With that, the director leaves you to take a break and get ready for a second dose of gang bang. Let me again remind you that the theaters are sealed and you cant run away.
In the second half, Jockey takes inspiration from the Swadeshi movement and decides to burn all cloths except undergarments. Such is his obsession that he doesn’t care even if the cloths are on someone’s back. It is here where Krishna Vamsi slightly, very slightly, loses the grip over the script. The director seems to have got confused between serial killing and mating of lions. (When mating, the lions copulate every 20 to 30 minutes for 4-5 days) Nevertheless, the manner in which Jockey seamlessly travels across the breadth of
Since, Jockey is a guy for the women, by the women and of the women, the police department gets a hysterical women police officer, Suhasini. She often shrieks in such high pitch that the theaters had to install temporary noise reduction devices to prevent damage to the speakers. You should keep in mind that this sound is a supplement to Jockey’s angry verbal spews. You now know whom Spielberg hired for giving voice to Tyrannosaurus Rex in
Finally, mercy dawns on Jockey and he decides to surrender. In the court, he asks the judge for two minutes before the judge pronounces his verdict. When you eagerly start your stopwatch, you realize that he meant two minutes on Pluto (whose 1 year equals to 248 earth years). By the time he completes his harangue on the socio-cultural, economic, political, psychological and historical importance of undergarments, any amateur can easily complete all the 18 holes on a golf course.
The climax, like the rest of the movie, is equally powerful. Prakash Raj, the judge in charge of delivering verdict, is blown off by Jockey’s commitment to the cause and immediately resigns and disrobes himself, endorsing Jockey’s cause. He further takes a solemn oath that he wouldn’t cloth himself till the highest court of the land acquits Jockey. Thankfully, we are not exposed to the execution of the oath.
The film closes with Jockey telling a huge crowd of women how the most powerful men, He-Man, Superman and Batman, always proudly displayed their underwears. Thus the corollary, greater you show, the more powerful you grow. He emotionally appeals that we should live in such a free society where there would be no necessity for another Jockey. For once, everyone watching also agree with him.
Every department of film-making has scaled new heights in this movie. The music stands apart and even tears you apart. During the crucial scenes, Narayana Murthy (of Dandorra and Erra Sainyan fame) renders an inspiring hip-hop number in the background. To prevent piracy and reuse, all songs have been remixed with suitable phrases like “Come on Baby”, “Yes you can”, etc. The result - A nostalgic remembrance of Mayadari Maisamma at the engineering college festivals.
Krishna Vamsi, not just emulates but outbeats Shankar is all areas. In logic, he outbeats even Stephen Hawking. The clinical precision with which he burns scores of people without even a speck of soot on him is something that would keep physicists thinking for another two decades. The vividness of colors used by him in the sets of songs is forcing Bill Gates to contemplate on a 512-bit true color version for windows desktop. The graphics used to picturize burning sequences has put to shame the animators at TNT Cartoon Network.
If such is the technical strength, then can acting be behind? NTR Jr’s expression of shock and anger is something which you might have never come across - that of a eunuch deciding between which restroom to use. Illeana, in an extremely sensitive portrayal, sobs more than the guys’ drool during the songs. Charmee, with her obstinate obsession for perfection, has chosen to dub herself. The consequence is a perfect telugu in a neutral accent. Never mind her village background and never mind that the words come out at the rate of one word every 30 seconds.
Friday, November 24, 2006
Hazaron Khwahishen Aisi.....
Me: hi
Me: saw the movie?
Banu: yeah man
Me: kaisa tha?
Banu: Nice .. hard hitting in the sense of what happens so fast to Vikram Malhotra
Me: doesn’t the song now seem more beautiful?
Banu: yeah. its good
Me: he is truly a baawra
Banu: exactly..
Me: the way he rests his head on her shoulders in the end........and still persists with his love … baawra bawre se iss jahan mein bawara ek saath ho, iss sayani bheed mein bas haathon mein tera haath ho… He has actually left the sayani bheed of
Banu: haha... he still persists with his love...
Banu: she knows he loves him from the first moment but she never accepts his love
Me: hmm
Banu: and even in the end, she doesn't love him but cares for him
Banu: and dammm people help each other in such conditions of distress
Banu: I liked that
Me: hmm
Me: but Sid was the sickest of the lot....
Me: the way he ditched Vikram
Banu: yeah.. he tried to do something but always looking confused
Banu: I don’t think he ditched Vikram...
Me: the way he looked to his dad when he was checkmated
Me: he was the weakest of the lot
Banu: yeah.. that was very bad.. and also the way he flew off to
Me: As some one correctly remarked somewhere........... he talked the talk, but could not walk the walk
Banu: She came to
Me: Gita and Vikram messed their lives just because of him
Banu: and he leaves
Banu: exactly
Banu: both of them got messed up
Me: When you look back, they were much better. They are very clear in their thought.......anything for their love/friend
Me: and though they do not commit, they always went out of their way
Banu: haha.. they always stood up to their love/friend..
Me: exactly raa..........i loved that
Me: ultimately what did sid contribute?
Me: It is very clear that his contribution to society would have been done by someone if not by him
Me: but Gita’s and Vikram's contribution for their friends was irreplaceable
Banu: he actually destroyed some students life
Banu: yeah...
Banu: and Sid calls Vikram ‘asshole’,‘comic’, ‘foolish’
Me: and it is the other way around
Me: though silent.......dumb-looking......and selfish........Vikram is more selfless and more courageous.
Banu: not to say selfless..
Banu: more courageous? yes
Banu: helping a friend out of the way... is it selfless?... a general question
Me: He might have had an ulterior motive in saving Gita....... but why should he save Sid?..... He knows what Sid did was self-inflicted
Banu: why did he go to help him..? big question
Me: Did u notice something in the movie? The relation between Sid and Vikram is mostly through Gita. Personally, he doesn't seem to have any big equation with Sid.
Me: So I wonder if they were really friends in the true sense.
Me: They actually just seem to be acquaintances.
Banu: Yeah. I notice now.
Banu: dammm
Banu: now this is selfless
Banu: dammm
Me: He is truly sweet.
Banu: Yeah, he looks like a crook to all but he is sweet
Me: And look at Sid........
Me: for sex, he spoils Gita's marriage by meeting her slyly
Me: when in trouble, he disturbs his ailing old father
Banu: yeah
Me: then leaves Vikram, when he knows that the police can do anything. Remember how they beat up villagers accusing them of killing a cop, when all along the cop was drunk and went missing.
Banu: I think he was brought up with riches and hence was confused.
Me: Even after seeing what has happened to Vikram, he goes to
Banu: coward and etc..
Me: It seems that he doesn’t really care for the society. Just his ideals, with stress on the word "his" and not on "ideals"
Me: To fulfill his ideological ego, he used society. Just as he used Gita to satiate his sexual ego.
Banu: He should not have done what he did to Gita. I feel bad about it
Me: Oh Man, Chitrangada is really really beautiful.
Banu: Yeah man. Totally awesome. And she looks sooo telugu (or south indian)
Me: yeah
Banu: how can she be a Singh in the first place
Me: You can see her feminity when she surrenders to sid, at the same time, u can see the maleness, when she fights for him and with him.......even when that feminine coward leaves and runs away.
Banu: yeah
Me: A right mix of Yin and Yang.
Related Links: Ghalib's Hazaron Khwahishen Aisi, Baanwra Man by Swanand Kirkire
Thursday, June 08, 2006
Godavari - Celluloid Sweetness
A movie that deserves more than one post. I hope to make atleast one detailed post in the near future. Actors, photography, music, lyrics and background score - all merge as harmoniously as the waters of
eDama chaetanu Sivuni villunu...ettina aa raamuDe
ettagalaDa seeta jaDanu taaLi kaTTe vaeLalO
That Rama who could lift Siva’s bow with his left hand
Can He lift Sita’s plait when he ties the Thaali?
Thanks Shekar Kammula & the team for not letting me down.
For a more beautiful description (not review), check these Ramblings on Godavari
Monday, March 13, 2006
From Scars to Stigmata.....A journey in solitude

He can identify with that particular frame when Anand sees Roopa for the first time at her marriage. The smile on his face says it all. Yes, one does find a gleam of attraction for her in his eyes. But before he can fully let the joy of beauty seep into him, he remembers that it is her marriage and that lovingly reassuring smile lets us know how happy he is for her. May be those 15 seconds is the best visual essay on His experience. If someone wanted Him to share his experience with her, then the most succinct, yet the most realistic, description would be those 15 seconds. He met her, got attracted, went ahead, but then suddenly realised that she was not his and now, he is just smiling and truly blessing that she should find happiness in whomever she chooses.
He now feels that he should watch Anand again and again. It helps him to come out from the miasma of hatred in which he is putrefying. The simplicity of Anand teaches him to look for beauty in small things in life – splash of rain, early morning winter sun, chatter of kids, company of friends, joy of music etc. But above all, Anand showcases that immense beauty of life limping back to normalcy from a disaster. Or may be that is what is appealing the most to him in the movie. He now understands. That day, he saw the movie from the perspective of Anand. Now, he feels the movie through the heart of Roopa. How her life slowly begins to get better. It is like the beautiful sunrise, where the sun slowly attains its golden luster. How horrible would it be if the sun rose in
five minutes?
Life is always good when it moves slowly. May be, that is one reason why He doesn’t have great inkling for the fast-paced American lifestyle. Life in slow motion helps you catch a glimpse of every subtle gesture, every little expression and every small incident. After all, the bliss of life lies in these momentary nuances, which might be lost into the eternity of time if we bat our eyelids. These are the moments, which rekindle in us humility, love and forgiveness, the divine traits which often get shrouded by human emotions and undue attachments. This slow limping back is a catharsis into itself. A catharsis that washes every corner of his heart. A catharsis that makes him aware of those impurities in him. A catharsis that fills him with sublime joy of life.