My uncle once said to me, “You NGO philanthropic types work with poor people because it makes you feel better about yourself.” As acerbic that statement sounded back then, Salman’s latest flick KICK really proved my uncle right. Here goes…

Salman plays a romantic Robin Hood of around 40 years of age, whose solo mission is to give back to needy kids. But how can a common superman like Salman save countless helpless kids without too much money? Well he turns to robbery – hence comparisons with Robin Hood. He’s also in love with the stunning yet morose psychiatrist Jacqueline Fernandez. For those who have not seen the wondrous Jacqueline on silver screen much – you didn’t miss much. She’s drop dead gorgeous, and a definite upgrade over Salman’s ex – Katrina. Unfortunately, just like Katrina, she merely adds the glamor quotient; she’s yet to get a hang of acting. Salman on the other hand does what he does best – Bhai-giri! With second-rate Dabang style dialogs and ridiculous action sequences, I was unsure what I was doing in the theater – till the 2^nd half of the movie came along!

Oh man, I am not a Salman fan, but boy, the addition of Nawazuddin Siddiqui and Randeep Hooda, made movie a paisa vasool for me! Here are some key takeaways I got from the movie:

1. Katrina has been replaced by Jacqueline

As shallow as the comparisons are, Katrina had her best years as an actress when she dated Salman. As Katrina continues struggling to make her mark as a serious actress, Salman has been quick to replace Katrina with a slew of actresses like Zarin Khan, Daisey Shah and so on, but Jacqueline is the real deal. She’s got the looks of an Anglo-Indian, doesn’t overshadow Salman, and adds the innocuous glamor factor.

2. Every man deserves a father like Mithoon

Mithoon and Salman’s mutual admiration goes back to the days of Veer. Mithoon has a short but memorable role in Kick, and he plays one cool dad who kicks it back with his son like no other, be it sharing a couple rounds of drinks, lewd dancing or attempted robberies.

3. Nawazuddin has substance

A humble actor from a small village in Uttar Pradesh, Nawazuddin is here to stay. He is a delight despite his short appearance as a scheming heartless villain in the movie. His talent is somewhat wasted in this frivolous movie, but we need to see more of Nawazuddin regardless of the quality of script he’s doled out!

4. Chetan Bhagat’s ability to write scripts is just as amazing as his ability to write books

How you read this statement depends on your opinion about Chetan. If you like Chetan, you might have no beef with Kick’s mindless dialogs and incoherent sequences. If you’re like me and have a hard time leafing through Chetan’s mindless books, you might be cursing Chetan for writing yet another piece populist crap!

5. Lastly, Salman loves his philanthropic image

Here is the crux of this 3 hour-long movie – SALMAN LOVES HIMSELF MOST AS A PHILANTHROPIST, so much so that he truly believes himself to be an ANGEL out there who saves the lives of innocent millions. Hence, my earlier point about NGO types loving themselves – but Salman takes it a step further – he made the movie about himself. He projects himself as a restless philanthropist who does the illegal to raise funds for needy. Hmm, perfect messaging before his sentencing for the drunk driving case? This movie seems all about Salman and his NGO “Being Human”, with massive masala and glamor. Nope, Bill Gates could never pull that off!

So all in all Kick is an entertainer, a story about Salman himself at his narcissistic best. Don’t go looking for substance, because you won’t find any. Go for senseless masti and you will find plenty of it. As Salman Bhai says, “Mere Bare Main Itna Mat Sochna. Main Dil Main Ata Hoon, Samajh Main Hanin”…translation, “Don’t think too much about me. I dive into the heart, not your mind”. Ahem!

Remember those five crazy sisters of the popular television sitcom Hum Paanch and their hapless father who found solace debating with a picture of his dead wife, a head-strong Shanti who fought for her and her mother’s rights, and several other independent, modern and career-driven women of popular soaps  such as Banegi Apni Baath and Tara in the 90s. Thanks to mighty TV producer Ekta Kapoor, as we entered the 21^st century, Indian television saw the sudden popularity of ideal bahus (housewives) in those unimaginative storyline that projected stereotypical Indian family values. These ideal bahus changed everything about the portrayal of women in Indian television. Suddenly, “good” women are shown as someone deprived of any natural sense of ambition, desire and self-respect. For some reason, if a woman is modern, fashionable and ambitious, she is shown as loud, lurid and vile. Watch any serial, it always revolves around a Sita (read: an ideal woman), married to her Ram (read: an ideal man). Unfortunately, Sita has to suffer because of the plotting and scheming of a Suparnaka (read: an evil woman). Invariably, there are senseless misunderstandings between the couple, and they part ways. While they are separated, Ram is shown impregnating every Eena, Meena and Deeka, and Sita marrying and producing children from every Tom, Dick and Harry (I am not exaggerating, I actually read the plots of some of the popular shows before writing this blog). At the end there are so many children- now all adult characters-it is difficult to figure out who is who and who is doing what. Meanwhile, Sita has gone through several plastic surgeries, her name has changed from Sita to Gita to Mita (it does not even matter after a while), she is now a grandmother, yet, she does not have a single grey hair. She is still suffering for reason known to her only. It gets so ridiculously insane that her suffering has no intrinsic dignity and naturalness in that struggle.

Recently, when I was in a small town of Bihar, I heard a woman commenting, “If Bhabho can do this to her daughter-in-law, I can definitely do.” I am not sure what she was referring to but I was surprised to find that she was talking about a character of a popular show Diya and Baati Hum. I was deeply concerned realizing that Indian soap opera, being the most common genre on Indian television, could be social influencer for millions of women around the country. Data suggests that, Indian television reaches out to more than half of Indian households, and the television business is twice the bigger than the Indian film industry.

So popular Indian soaps are that they are uploaded online in no time, and there are several discussion forums where each episode or character is discussed in detail. Even though there has been no academic research about it, nonetheless, it is safer to assume that these TV characters do exert greater cultural influences. Thus it is concerning watching sadly regressive stereotypical portrayal of women who are doing nothing except plotting, scheming, bullying, fighting and suffering for no reason.

We are in the year 2014, yet, I could not find a single television show that shows a female protagonist who is a career-oriented woman. Even if a woman is shown with a career, the story focuses on her family issues in the most melodramatic fashion. As for example, one of the most popular shows Diya and Baati Hum shows a story of a daughter-in-law, Sandhya, who is from a middle-class family in a small town and dreams of becoming an Indian Police Service officer. With the support from her husband, she becomes a police officer. Yet, she has to prove again and again that she is capable of handling responsibilities of both her home and work together, at times, sacrificing her police duties for her household duties. After all, Sandhya, being an ideal Bahu, cannot be shown as a working woman neglecting her family for her professional ambitions.

Worse, what bothers me the most is television’s depiction of a woman having loose morals based on the clothes she wears. As for example, in another popular show Yeh Hain Mohabattein, the female protagonist, Ishitha, is a modern and independent woman and she is a dentist. Because she is an ideal bahu, she has to be wrapped up in flashy saree and gaudy makeup all the time- even when she is treating a patient, cooking in the kitchen or cleaning the house. At the same time, the female antagonist of the same show, who is a power hungry evil woman, is shown wearing corporate style “sleeveless blouse”. For some reason, all TV serials depict that an “ideal” woman stands for Indian values, and the “evil” woman is the epitome of western values.

I vaguely remember my mother watching a serial called Rajani in the 80s. It was about a middle-class housewife who raised voice against corruption. The show was extremely popular amongst middle class women at that time. To think that a feisty housewife, draped in the traditional saree, hair pulled back and a bindi on her forehead, was shown fighting the corrupt and inept civic system some 30 years ago, and today, television housewives in expensive sarees, and garish makeup, are indulging themselves in kitchen politics, scheming and bullying or “as ideal bahus” tolerating all sort of abuses- it is a sheer misfortune. Rajani’s problems were common everyday obstacles faced by thousands of ordinary middle class women. Today’s ideal bahus’ problems are so exaggerated and inflated that no ordinary middle class woman can relate to them. Yet, we are watching them and making them popular. It is high time that we as an audience evolve and refuse such negative portrayal of today’s women. At the same time, TV being a very influential medium, the makers of these daily soaps understand their social responsibility and revive the concepts, storyline and characters of women and show the real women and their real concerns.

High time……!

Further reading:

TV icon Rajani inspires government’s consumer awareness programme

Many of our women readers often ask us what it is like traveling on public buses, trains and rickshaws in India, especially in remote and seemingly precarious regions. Reports of rampant gang-rapes, gropings, molestations can instill fear in even the fool-hardy. Being the most unsafe for women among G20 nations doesn’t inspire confidence, yet traveling solo as a woman in India has its perks – perhaps more than even men enjoy!

I for one love traveling alone through India. In fact, there are some distinct advantages using public transportation and even visiting public places such as places of worship, fairs, bazaars etc. 

Don’t judge a book by it’s cover

The recent travel to Bagru, Rajasthan, for our new ethical-fashion venture – House of Alva, was nothing short of an adrenaline rush. With 10 days to kill in parched Bagru, I carried with me a delicious bottle of creamy Baileys. After all, what’s a girl to do in a hotel room after a long day in a remote village? Little did I know that the Indian Railway does not allow Baileys and it’s sisters on railway stations and train routes. Inebriated and out-of-control passengers are not something the Railway does wants to deal with, given a majority of 1.2 billion Indians still actively use the Railways to get around in India.

For those who have traveled through the New Delhi Railway Station, passing through security check-points is no joke. Bored and harried railway officers relish the authority to frisk common citizens at the slightest of infractions. My bottle of Baileys, didn’t see the light of the day – the innocuous bag holding the Baileys was pulled out almost immediately.

A formidable pot-bellied officer informed me about my contravention, and told me I was required to pay INR 5,000 fine on the spot, in cold cash! Not only was I frazzled but also embarrassed. With no cash in my pocket, I had no qualms returning the bottle to the Indian Railway. But apparently, that was not an option – not only was I required to pay the fine, I also got an earful about how good Indian women are not seen with Baileys. I lied…foolishly…saying I was going to celebrate my honeymoon. Clearly a woman in her 30s, with ratty jeans and a cheap worn out cotton shirt didn’t evoke the romantic images of a blushing Indian bride. I was trapped in my own web of lies!

But here’s the distinct advantage of being a woman. All I said was, “I am sorry!” I didn’t know the rules and I was just plain sorry! And it worked, my fine was reduced to INR 500 and I was let go. What happened to the bottle of Bailey’s I am not telling! I also know that the officers ended up being merciful because of my gender. And I am not complaining!

Oh yes! Don’t judge a book by it’s cover!

My other recent trip was to my favorite city in the entire world – the chaotic Varanasi. Apparently the city was also the favorite of Shiva’s, in whose name the world famous Vishwanath temple stands tall against the banks of the Ganges river. Just like countless pilgrims, seekers and sinners, I too was in line to meet the Lord of the World. As I stood tired in the long lines, a Pandit (priest) caught hold of my hand, gently patted my back, and said warmly, “Sundari, tum idhdar aao, Bhagwan tumse milna chaate hain.” (Literal translation: “Pretty woman, you come here. The Lord wants to meet you). Creepy? Yes! A chance to cut through the line of at least 200 people to get ahead to see the Lord – also yes!

A moral dilemma indeed, but things moved too quickly and the Pandit just grabbed my hand and took to me to inside the Holy Chambers to see Lord Vishwanath – who in his heavenly abode must be shaking his head in disapproval at me and the Pandit both.

I do very well realize what happened there. I implicitly took advantage of the fact that I could cut through the line as a woman and the men standing in line would just grumble as I would get away with a mere, “sorry!” Would I ever cut a line just because it was easy to do so? Quite possibly never! Would I ever trust a holy man, dragging me to see the Lord while calling me Sundari? Definitely not!

Sometimes life reveals itself in the most interesting circumstances. I am always the one to write off police officers in India, because their reputation as bribe mongers precedes their rotundus bellies. Similarly, I always put Pandits and holy men in India on a pedestal, knowing all too well there might be seers among them as there must be some real freaks. The lesson here was not to judge people by their profession, their looks, or their disposition, but to give them a benefit of a doubt regardless of the circumstance.

Lastly, I also am thankful for everything moms have taught us. When you’re wrong, just say sorry. A simple sorry often gets you out of the stickiest situations, and I am thankful mom taught me well!

Read more:

G20 Countries: The Worst and Best for Women, Trust Law, Thomson Reuters Foundation

Not that it is wise to indulge in Bollywood gossips, particularly when it is about the tabloids and movie stars’ marketing stints and gimmicks. However, when the nation’s leading “newspaper”, Times of India (TOI), is absurdly obsessed with a woman’s anatomy and her private parts (read: Deepika Padukone), it is time to get alert. Before I go further, let me first get the juicy story right. Apparently, several months ago, when Deepika, India’s leading female movie star, appeared in a public event, a photographer managed to raise his camera 3 feet above his head for a “top view” and clicked what he needed to sell his picture- her cleavage. Times of India published it with a headline “OMG, Deepika Padukone’s  cleavage shows”, as shown in the tweet picture below, which was clearly a deliberate and desperate attempt to objectify a woman’s anatomy to garner attention. Deepika retorted and tweeted, “YES! I am a woman. I have breasts and a cleavage. You got a problem?”

As powerful as her tweets sound, particularly they  voice the opinion of millions of girls who are tired of men staring at their breasts while in public places, yet, why she countered right when her movie was releasing, bothered many viewers.  While it would have been wiser for TOI to just keep quiet and let the matter disappear, instead, it published the lamest article last night, justifying its act (which was in no way moral and apposite) by further publishing Deepika’s several cleavage showing photo-shoots from her modelling days and justifying what they did was right.

First thing first, let us not get into Deepika’s past work. What she did, who she was, how much she exposed- that should be the least of our concern. Personally, for me, she is an accomplished actress with a divine body and a flawless smile. If her work requires her to go naked, and she finds it acceptable, that is her life, and her choice- let us move on! But taking her “cleavage” picture from an angle without her knowledge, and pointing to her cleavage with ‘circles’ and ‘arrows’ just so readers do not miss it, is plain wrong.

Second, Deepika’s cleavage-showing magazine shoots that the TOI is publishing today to justify why their “pointed” cleavage photo was no different, had “Deepika’s permission” to “glamorize her body”. It is an art, and part of her profession that she chose to be. Third, by pointing and circling Deepika’s cleavage, TOI actually “grossly” objectified a woman’s body. Perhaps TOI does not care that objectifying women means somehow it is also promoting violence, trivializing sex, and damaging a woman’s sense of self-esteem, but let me not get too serious about women violence that we are facing in this country today , and focus on Deepika’s cleavage only. Frankly speaking, I would have no issue if TOI had simply claimed that publishing “OMG!! Deepika cleavage show?” got them more “likes” in the hit market, and being a public figure, Deepika’s cleavage sells. But, when Deepika raised her concern, least TOI could have done was an “apology”, if not, at least “keep quiet”. Instead they had the goddamn guts to justify their shameful act by further publishing all the cleavage showing pictures of Deepika, making unfortunate personal attack by citing Deepika beginning her career as a ‘calendar girl’ for a liquor brand, and further boasting how TOI is careful enough to ‘pixelate’ a woman’s vagina or nipples if they show up in a picture (BTW, if vaginas and nipples are shown un-pixelated on a newspaper website, then it actually becomes a pornography site). Zooming into her cleavage and pointing with an arrow itself is degrading enough, on top of that, arguing how she had “knowingly” posed many times in the past and thus she should have no problem if TOI decided to publish one of the creepiest photo about her cleavage- is wrong, shameful and unfair. For a second, even if we forget about Deepika Padukone, is it even appropriate for a leading national newspaper to make news out of a woman’s cleavage? Seriously, Times of India, enough is enough. High time, you stop digging your own grave and take some responsibility, decency and progressiveness.

And I just hope, for her own sanity, Deepika does not respond to this outrageous article published by the TOI. Silence is golden, specially when dealing with morons. And let us move on..!!

Who doesn’t love Deepika Padukone? She’s blessed with a perfect body, a captivating smile, a tall athletic father, a reconstructed nose, and an enviable career. She’s gorgeous and guess what, we all love her from head to toe. Men gape at her and her cleavage – as do women, and as did Times of India.

The controversy began when Times of India tweeted a picture of Deepika Padukone’s picture captioned – “Oh My God!: Deepika Padukone’s cleavage show!” Deepika Padukone replied “Yes! I am a woman. I have breasts and a cleavage! You got a problem!!??” Of course, the world supported Dippy and rightly so.

No one, as a matter of fact had a problem with her cleavage. TOI was simply trying to cash in on the cleavage show – just as Deepika Padukone has done in her movies and off-screen appearances. Deepika further issued a statement via her official Facebook account that she essentially was a liberated woman who had a firm control on the portrayal of her characters on screen. She played these characters convincingly – regardless of the length of dresses she wore or the unmissable show of cleavage. All this had nothing to do with her REAL life – and she ended matters there.

But then TOI took it a step further to justify their inane reporting by saying Deepika was a hypocrite – she flaunted her cleavage to further her career – during liquor promotions or movies or parties etc. Clearly there was a malicious attempt to link Deepika to alcohol and sleaze!

Few facts seem irrefutable in this saga:

1. TOI is trash – they’ll cling to any report to catch eye balls
2. Deepika is the new age feminist – she got TOI by the balls and she’s not letting go!

But here’s my issue with Deepika’s argument. Deepika stated roles require her to be near-naked if needed, and she portrays each character convincingly; but was an important distinction between her REAL and REEL life. While that’s absolutely true, Deepika cannot walk away from the crux of the argument TOI tried to make and failed miserably – Deepika and mostly all other leading actresses use their body and their acting abilities to draw in audience and capitalize on their movies. And there’s nothing wrong with that! Indians need to just grow up and accept that women own their bodies and they have every right to flaunt it the way they want.

Sadly, there’s little distinction between personal and professional life when there are constant demands and attempts to flaunt perfect figures, perfect smiles, abs and asses, cleavages and navels during off-screen appearances! Deepika and her contemporaries know all too well that a sexy image sells – what she wears will be noticed because she’s a famous public figure. In fact, as Shah Rukh Khan cleverly put it, actors die for public attention regardless how it’s sought – that’s what makes them famous. Deepika knew all too well that her picture would be taken in the public place, but surely the picture’s tasteless angle and the caption set her off when she took on TOI! That said, TOI had the right to publish the picture, because it was taken in public place without encroaching on Deepika’s personal space. It’s a sad reality all of us citizens have to live with, let alone celebrities like herself.

In addition, I am a bit skeptical about Deepika’s new found feminist avatar. Very recently she was bobbing around in a song from Dum Maro Dum which said –

“Hey, tu phir dekh raha hai

Aaj aankh sek raha hai, kal haath sekega

Aaj dheel chhod raha hai, kal khud hi rokega

Aaj mere liye chair kheech raha hai, kal meri skirt kheenchega

kheenchega ke nahin huh!”

(Translation: Today you pull the chair for me, tomorrow you will pull my skirt. You are going to pull it or won’t you?)

Of course, the camera explores every inch of her scantily clad body as she dances to risqué tune and portrays a forgettable dancer for a full 5 minutes in a 3 hour movie. The question arises, what character was she trying to play so convincingly in a song objectifies women? Or was the handsome amount of the money she got for the song sufficient to shut the feminist lurking in her?

I would much rather Deepika apologize for demeaning women when it was convenient and lucrative for her to do so! Perhaps she should have simply said – she made stupid choices in the past playing roles that objectified women and added nothing to the feminist debate. But that would expose the inherent hypocrisy TOI pointed out – Deepika conveniently capitalized on her assets in REAL and REEL life, but was terribly hurt when TOI did the same.

The magnitude of Deepika’s hypocrisy doesn’t end there. I distinctly remember her giving Kangana Ranaut a lecture about choosing characters wisely and not doing roles to just earn a buck. You see, unlike Deepika, Kangana didn’t have the family support to ride out financially trying times, and therefore chose dismissible roles such as Rascals, Double Dhamaal, etc. This despite Deepika’s choice of bizarre roles herself where she was nothing but a pretty scantily clad figure – Race 2, Housefull, Dum Maaro Dum etc. And what about her collaboration with Yo Yo Honey Singh in Chennai Express – the guy who literally sings songs glorifying rape? It may appear to a lay person, that Deepika’s version of “respect” for women serves one purpose – furthering her career.

Catch the excellent Rajeev Masand interview here:

The problem with celebrity is such – it’s hard to draw the line between REAL and REEL when the line is based on mere convenience and money! Deepika cannot simultaneously be a feminist and part of an industry that objectifies women non-stop. She has to take a stance and if her’s is a feminist stance, then she must distance herself from work that portrays her as a mere sex object!

Of course all of us support the #IStandWithDeepikaPadukone hashtag campaign, but honestly, I hope Deepika doesn’t change her mind again when she’s offered big bucks to dance around for 5 minutes in another forgettable role. I hope her work and her life do justice to feminists striving behind the scenes for equal opportunities for women around the world. More importantly, I hope she realizes the importance of her stature and the message she’s sending about womanhood through her on-screen and off-screen portrayals.

There’s no attempt to exonerate Times Of India – a practically irrelevant news paper since 2000s. TOI champions worthless news items that clutter both it’s printed version and the online version. The whole cleavage debacle is an immaturely planned gimmick to regain readership from formidable competitors such as DNA, The Hindu etc. By defending their idiotic tweets, retorts and explanations, and red arrows that point to Deepika’s ever present cleavage, TOI has further sunk itself in a hole.

I am pretty sure the only readers they’ll have left are Uncle ji’s who love hating on hot women but enjoy gaping at their cleavages on their toilet seats and Aunty ji’s who love hating on hot women…period!

I am done watching 5 Seasons of Breaking Bad back-to-back, without really giving my eyes or my rattled brain a break. But I am clearly feeling the pangs of withdrawal that no other social-crime drama has evoked. I zoned out from my surrounding world as Walter White’s existential dilemmas clouded my thoughts ever since. In a way I was glad the show ended because I couldn’t handle sleepless nights anymore, wondering what would happen next!

Sadly, I am a bit late in uncovering the Breaking Bad phenomenon. I say sadly, because I am a year too late in discovering intricately woven plots that give you the highest highs and the lowest lows; complex characters with evolving morality as if personal choices exist only in shades of grey; and a fast-paced script that gives you jitters in daylight.

Breaking Bad is possibly the MOST captivating series in American television, and also possibly the BEST one yet. There have been some brilliant and commercially successful Drama series in the past decade worthy of mention – The Sapranos, Mad Men, House Of Cards, The Wire and so on. But Breaking Bad is class apart – unpredictable, edgy and realistic. Yes, realistic!

Breaking Bad is an antithesis of the popular genre of American shows – it’s not glamorous, isn’t really staged to appease any demographic group, it’s gory and gut wrenching. Unlike Mad Men’s dramatically essayed and glamorous characters from the 60s, Breaking Bad is replete with grungy and messy sketches of otherwise unglamorous people – teachers, medical professionals, drug dealers, DEA agents etc. Unlike House Of Cards, they are no manic ambitious political nuts who are anti-heroes from day one. Characters in Breaking Bad always swing in shades of grey – they themselves don’t know when they “break bad” – morality is a mere convenience!

So, if you’re thinking of which show to watch next, invest your hard earned leisure time on Breaking Bad. You will constantly find yourself living vicariously through Walter White – a crystal-meth-making, middle-aged, cancer ridden, genial Chemistry teacher played by Bryan Cranston (of Malcolm in the Middle fame). We are hurled into Walter White’s lackluster life of a genius, with a less than handsome career as a high-school teacher and an inability to provide for his impending cancer treatment. He decides to partner with the street savvy, yet naive ex-student – Jesse Pinkman (played by Aaron Paul). The two cook up a plan to craft the purest form of meth.

The money from the deals is to provide for cancer treatments and a nest eggs for wife, Skyler (played by Anna Gunn) and his two children. Greed, shifty morality and massive egos clash as Walter White takes on drug lords, cartels and eventually his own family. The show ends with the disintegration of life, keeping in line with themes of karmic balance. “What goes around comes around” is the central idea being reinforced throughout the series, and each of the character is dealt with cards she or he deserves.

Unlike other dramas on TV, Breaking Bad is different because it’s not a story about Walter White – it’s a story about you and I, and what we would do if we were Walter White. During the entire length of the show, I embodied Walter White, Jesse Pinkman and Skyler. I was all of those characters and constantly asked myself existential questions:

Would I sell drugs to build a retirement nest egg? Obviously not. But what if I had cancer, had no savings, had to provide for my disabled child, an infant and a spouse, and in my mid-50s had no real financial means to face all the misery life hurled at me? Would I change like Walter White did?

Though the viewers may not agree with Walter’s choices, they understand him. Viewers similarly might understand why Skyler despises her husband for making meth, but may not agree with her acceptance for the blood money meth provides. Lastly, it is hard not to feel sympathetic for Jesse, a petty peddler, whose innocence and kind-heartedness makes you fall in love with diverse shades of humanity within each one of us.

In the end, the show forces us to think if people hustling drugs or selling their bodies for money a whole lot different then you and I? Or are we – “respectable citizens”, just a personal tragedy away from being derailed?

The show hits us where humans are the weakest – our insatiable greed. We are a greedy bunch, us humans, and often we do not know when to stop. For example, over the first 2 seasons Walter White had made enough money to pay for his treatment and built a decent nest egg, but he continued cooking meth at the expense of his family’s safety. Money – millions of it, became his identity. He couldn’t walk away, nor could Skyler despite knowing well that Walter even killed people to secure money for the family.

In fact, greed espouses cruelty. Further if morality becomes malleable, it is easier for humans to hurt others for personal gain. Nothing else explains the evolution of Walter White from being a compassionate family man, to a cunning, calculating murderer, who is addicted to the idea of being dangerous, bad-ass and a money-making machine. Though he keeps telling everyone including himself, he is cooking meth to provide for his family, he couldn’t unentangle the demands of his ego to make millions at the expense of innocent lives.

But the evolution of Walter White is not the crux of the show. It’s the evolution of the viewer’s perception of morality that’s at the heart of the show.

Just like Skyler, we come to understand that personal relationships are messy. Even if our significant others are making immoral choices in life, abandoning a loved one is often not that easy. Similarly, walking away from messy situations in life is easier said than done. Walking away requires immense internal courage, social support networks, financial support systems, and a clarity about how we envision our lives to be.

The show is not about the disintegration of life and humanity – it’s about the highlighting the best in all of us. For example, lessons on kindness and selflessness from Jesse are the most unexpected. Walter’s dedication to his family and blind love for his wife is endearing. Skyler’s lust for money yet her constant inner struggle is feeling we all can empathize with.

In the end, the show holds a mirror to our ideas of morality. We are all an amalgam of the good and the bad. In the end however, we are all guided by humanity that connects us all and may be only saving grace for our species.

So watch the show because it will leave you a better human at the end. It will leave you more compassionate and empathetic. We may not agree with a lot of decisions people make, but we can at least attempt to understand their life story.

I spent a night in a renowned haunted Hollywood Roosevelt Hotel at Hollywood Boulevard last night and experienced the most irking experience of my life. First, I had a nightmare, and I could sense a strong negative emotional response from my mind. Awakened in a state of distress in the middle of night, in my hypnagogic state, I began to experience a strange sensation in my head. I sensed an evil presence; it was sitting on my chest and trying to strangulate me. Worse, I could hear some strange sounds. As I woke up in the morning, I was thinking about Marilyn Monroe. I could feel as if she was present in the mirror in front of me. Suddenly, lights went dim, and I heard faint voices of children chuckling. I got very scared, picked my hand bag and quickly left the room. As I was walking down the dark corridor, a tall man greeted me and passed by me. As I turned back in two seconds, the man had simply vanished. Did I just see an unearthly phantom? I froze, and decided to leave the Hotel immediately.

It was really early in the morning when I fled from my room. Thus the Hollywood Boulevard was literally empty. To come out of this spooky experience, I decided to spend some time in the nearby Coffee Shop. As I was drinking my coffee, I stared at the Hotel Roosevelt from outside. The hotel, indeed, looked like a Hollywood haunt.

Opened in 1927, apparently, the first Academy Award ceremony was held in this Hotel. The renowned Blossom Ballroom of this Hotel is allegedly haunted. Even today, the hotel looks much as it possibly did in the 1920s. In fact, the moment you enter the hotel, you experience an unusual uncanny feeling. Perhaps the dark corridor, old-fashioned letterbox, old staircases, and outmoded chandelier in the lobby – everything takes you back to the 20s.

History also brings many untold stories of those celebrities who possibly spent days in this Hotel and who possibly met with a tragic ending. Even though the Hotel has nothing to do with the death of these celebrities, many allege that, their spirits are still straying around the area. Even the Wikipedia indicates that the Hotel is haunted and talks about the incidences of people seeing the ghosts of Marilyn Monroe and Montgomery Clift. In fact, National Geographic, has also printed that Hollywood town itself is filled with celebrity ghosts, particularly mentioning about this Hotel.

I spent more than an hour in the Coffee Shop thinking deeply about what I just experienced. I was not ready to believe that I had just encountered the Hollywood ghosts. Hence I tried to figure out the answers for every ghostly experience that I faced.

First, let me start with my strange dream. Right before sleeping, I had read several articles about the Hotel being haunted. I actually fell asleep feeling scared and disturbed. Thus, in my dream, I saw myself to be disturbed, helpless and sad. Regarding the evil presence who was sitting on my chest and trying to strangulate me, I googled about this feeling, and I learnt that Science calls it the Old Hag Syndrome. As bizarre as it sounds, apparently, this experience is neither uncommon nor paranormal. It generally happens when the mind is awake but the body is still asleep. Because I was already scared that I might be haunted, I was subconsciously imagining that somebody was watching me while I was asleep. This was disturbing me, thus I felt heaviness on my chest.

In the morning, I felt the presence of Marilyn Monroe. This could be because when you walk around the Hollywood Boulevard, you see Marilyn Monroe everywhere. Be it the wax statue in front of the Madame Tussauds (which is right in front of the Hotel), any restaurant in the Boulvard or even a regular grocery store, Marilyn is everywhere. And let us be honest, we all are fascinated with her life as well as her death. And when you are in a place which is supposedly haunted by her, you have no choice, but to feel her presence.

I later found that the dimming of the light was due to the switchboard that the Hotel uses. I also found that the room next to ours had a mother and her two girls, thus I could hear children giggling. The rooms are so closely connected, you can practically hear everything. Perhaps that explains all sort of strange noises I heard in the night. And lastly, the man who vanished in the corridor. I went back to the same corridor to inspect and noticed a small left turn meant only for staffs. He possibly turned left, instead of going straight in the corridor. Thus, when I turned back, he was not there.

Did I get back to the hotel room? Not for another three hours. I was too scared to enter, thus I decided to roam around the street. Suddenly I realized that I had already pre-paid $400 for my room for two nights, and there was no way the Hotel would refund my money just because I saw some random ghosts. Thus, I decided to enjoy the room rather than indulging the stupid figment of my imagination. That is when I decided to get back to the room. After all, money is more important than ghosts. In fact, I am writing this blog in the same Hotel room, and right now, I do not feel haunted. My grandmother used to say that ghosts haunt weak minds only, and perhaps because I have now overcome my fear, I totally feel relaxed in this haunted room right now.

Whatever said and done, I will never forget this ethereal experience, and I am happy that I enjoyed the true essence of Hotel Roosevelt- a ghostly experience. I imagined, I felt, I fled, I overcame my fear and I returned. I did it all. And I think it was worthwhile.

So friends, if you want such an uncanny experience, stay in Hotel Roosevelt, read a lot of ghost stories, read about how the Hotel is haunted, stay scared, use your imagination and enjoy the ghostly ride.

Here is the scariest article about the Hotel

Have fun!

“Who is God after all?” That is what an alien (portrayed by Bollywood megastar Aamir Khan) asks in the recently released Hindi movie PK (or Peekay). He innocuously explains, “There are two types of God. The first one created the Universe. He is loving, forgiving, omniscient, protective and unprejudiced. There is another God whom People created. He is forgetful, wrathful, prejudiced, and might punish you if you do not believe in Him or do certain things. The first God encourages love, while the other God feeds on fear.”

How right this alien is about our God. Entangled in the twisted concept of religion and our religious customs and traditions, we mortals have completely forgotten the first God. We have become god-fearing than god-loving. We do not want to displease God, and thus we behave according to the moral rules of our religion. There is nothing wrong in having some concern as to what consequences God might bring upon our lives if we disobey Him. Nevertheless, problem arises when we turn into blind religious adherents and start following the rules made by men (not God) who use God’s name to further their agenda. So blind we have become in our faith that we have completely forgotten that God would never want us to kill the innocents, suppress women or scam people in His name. This is what the movie PK is all about.

******************Spoiler Alert****************************

The character PK is an alien who has no vices. He has no name, wears no cloth, and speaks no language. When he lands in our planet Earth, his remote control is stolen. He cannot go back to his home without it. In his quest to find the device, he seeks for God because every human being he meets suggests that only God can help him find it. Finding God gets too confusing for PK as we humans have made the concept of God too complicated for aliens. He goes desperately from god to god, temple to church to mosque so God can return his device. He learns from the humans that only by pleasing God, he can get his remote control back. Things get chaotic for PK when he starts mixing different religious rituals and routines to please the Lord. He is an alien, so he cannot differentiate between Hindus, Muslims or Christians or a temple, a church or a mosque. Seeing Hindus offering and breaking a coconut in a temple, he does the same in a church. He is reprimanded by the Christians. Seeing Christians drinking wine in a church, he buys a bottle of wine and enters a mosque. He is nearly killed by the Muslims. He ends up thinking that God has a multiple personality disorder. As funny as this scene is in the movie, it has a very profound meaning that tradition that is sacred in one religion could be equally offensive in another religion. No wonder why we fight with each other justifying why our God is better than the others’.

The movie does not shy away from stressing the commercialization and politicization of religion that is going on in the world today. PK meets several god-men, priests or prophets who claim to have spoken to God. These men tell PK to follow certain religious rituals to please the Lord . He blindly follows them, yet, he finds no success. PK innocently concludes that either God is misleading these men (he calls them God’s managers) or these men are not hearing what exactly God is saying. That is when he gives up his blind faith and starts challenging many rituals and customs we mortals blindly follow and reveals that God might not approve of whatever is going on in His name.   There is a scene when a concerned husband asks the god man (aptly played by the actor Saurabh Shukla) what he should do to cure his sick wife. The god man suggests that the man should visit the God (or a temple) which is several thousand miles away and offer his prayers and money there. PK asks the god man if he heard God’s message correctly because if God is our Father (as the god man claims), then how can a caring Father approve of this man (who is also God’s child) travel miles away instead of spending time with his dying wife and providing her the care and love that she needs. You will find several of such questions regarding God’s distorted messages in the movie.

But let us be clear that the movie is not against God or any religion. It is about what we god-fearing souls do in the name of God. Luckily the movie is not preachy either. It is directed by the noted director Raj Kumar Hirani, and he has done what he does the best – moralize his audience by using comedy. In his Munnabhai movies, he underlined the power of a warm hug (Jadoo ki Jhappi) and values of Mahatma Gandhi which we have long forgotten; in the movie 3 Idoits, Hirani urged the youngsters to follow their dreams and aspirations. In PK, Hirani has just questioned us about our relationship with God. Do we trust our God? Because if we trust Him (and trust comes with love not fear), then we do not need to entrap ourselves in all these blind superstitions to reach Him.

So friends, please do not miss the movie. You will laugh, you will cry, and when you come out of the theater you will possibly ask your soul the same question that PK asks throughout the movie, “Who is God after all?”

Our parents are aging, and we are all worried about how we will care for them in their infirmity. For me, my mother especially has been the center of my universe, and the most giving and strongest woman I know. I love my mother dearly and always hoped I would be around her as she aged. My mom is a fiercely independent woman – diametrically opposite to the parent’s character portrayed by the yesteryear’s angry young man – Amitabh Bachchan.

The movie Piku depicts the warm yet loud relationship shared by Piku and her aging father Bhaskor Banerjee (Bachchan). Piku is portrayed as a strong, successful, stunning, sexually and financially independent woman – Deepika Padukone. Banerjee, similar to many progressive Bengali men I have met, takes pride in his daughter’s independence and insists she marry for purpose, and not to merely serve a man. Piku and Banerjee get along barely with frustrations hurled at each other daily – just like any other parent child duo. But Piku’s dedication to her father’s wellbeing is something I aspire for.

For what’s it’s worth, the Eastern traditions place a significant emphasis on taking care of parents and grandparents to ensure the family unit is tightly-knit. Piku, delivers a modern version of the traditional Eastern world values and highlights a modern woman’s dilemmas when caring for aging parents – managing dates, work, social and personal engagements.

Piku endears further with the introduction of Irrfan Khan in a romantic lead. I was surprised at myself calling Irrfan Khan one of the sexiest man in showbiz. His scruffy, direct style and drunken eyes did the magic! All characters in the movie are cast well including Amitabh Bachchan, who plays are perfectly eccentric old man who is direct, mostly rude and needy! Moushami Chatterjee is as gorgeous as ever and effervescent as Piku’s maternal aunt. She is seen constantly bickering with Amitabh during the course of the movie, reminding us of our own family drama.

Deepika Padukone is a surprise package in Piku. She more gorgeous today than when she was introduced to Bollywood 8 years ago. Unlike her contemporaries, Deepika continues to experiment with meaty roles and shines in this movie too. She’s subtle when morose, and loud when upset! She’s fiery and it’s easy to connect with her value system.

Kolkata, one of my favorite cities in the world is charming when the sun rises over the Howrah Bridge or setting over the Ganges. In the recent years, young directors with roots from West Bengal have made a mark in Bollywood. Soojit Sircar (Vicky Donor, Madras Cafe), Soojay Ghosh (Kahaani, Bang Bang) Anurag Basu (Barfi, Life in a Metro, Gangster), and the legendary Ritupurno Ghosh. Bengali directors have directed and produced some landmark cinematic pieces through history, and I sure hope the successful trend continues. Rather than adapting to the usual Bollywood song-and-dance style, Bengali directors highlight subtle background scores, Darjeeling’s enchanting streets, and Kolkata’s street food – perfectly blended in serious cinematic undertones.

Lastly, the background score by Anupam Roy is melodious and truth be told, I’ve invested in the soundtrack already. Oh and did I mention, Jisshu Sengupta is also an added eye candy? Don’t miss the movie, it will leave you smiling for days to come! Even my choosy movie-lover mom said so…

Dil Dhadakne Do (DDD) has many flaws – Zoya Akhtar is no Rajkumar Hirani (Munnabhai series, 3 Idiots, PK) when it comes to narrating stories about social problems. Her movie’s characters cannot shout out loud like what Paresh Rawal’s character did in Oh My God. Nevertheless, Zoya has her own style of making you wonder about our problematic patriarchal culture and superfluous obsession with social status.

The story revolves around four key characters. Anil Kapoor plays the Father Mehra, a self-made billionaire who expects his son to lead his business, but he does not want his son to think whom he wants to spend life with. Shefali Shah plays the Mother Mehra, an insecure wife who is aware of her husband’s philandering ways; yet, chooses not to protest because she has no confidence that she can have the same social status without her husband. Her blind preference for her son; and not able to empathize with her daughter is the highlight of the movie. Priyanka Chopra plays the Daughter Mehra, a successful self-made entrepreneur but she is a silent victim of the regressive patriarchal upper class culture that she is part of. Silenced by her parents and her husband every time she expresses her discontentment, she is an extremely unhappy woman in the movie. Ranveer Singh plays the Son Mehra, a confused young man, who does not have the business acumen like that of his father’s and his sister’s; yet, he is expected to lead a multi-million company because he is the ‘son’ of the household.

Wearing designer clothes, carrying high-priced bags and sipping expensive wines, these rich people incessantly gossip about others; plan marriages without asking their children just for the profits in their business; perceive ‘allowing’ women to ‘work’ is a big deal; and are regressive when it comes to women. When Priyanka Chopra shares her pain about being in a loveless marriage, the mother reminds her that she should give up her lucrative career and focus on making her husband happy. It did not matter to these parents that the husband, who is superficially modern but belying a typical patriarchal mindset, has no respect for their daughter. Priyanka’s silence showcases the frustration of those women who are never supported by their own family to come out of painful marriages because they are too worried about the society.

Some viewers questioned how rich people could be so regressive. I would like to remind the readers that female infanticide in India actually started in upper class families in Delhi and Harayana some decades ago. In addition, we all have met those aunties who have no work but to gossip about their own ‘so-called’ friends behind their back;  those women who are compelled to stay in a bad marriage because they are reminded to compromise; and those individuals who are not able to follow their dreams because of the parental pressure on how they should lead their lives. Through Priyanka Chopra’s character, Zoya highlights no matter how successful you are as a woman, the society still thinks your job as a woman is to ‘marry the guy your parents approve’, ‘produce babies’ and ‘keep your husband happy’. So persistent these gender norms are that many women (here, the Mother Mehra) actually think they can do nothing without their husbands and allow husbands to get away with all their mistakes. Even though the movie has the most bizarre (and incomplete) ending; it does make you think that no matter how modern we think we are, we are still entangled in our deep-rooted patriarchal, superficial and shallow culture.

That’s all Dil Dhadakne Do is about.

Though I so wished Zoya had a courage to end the movie with Priyanka’s character taking over the Mehra Empire.  Unfortunately, just like Mehra family, Zoya too thought it made more sense to give more importance to a son’s character than a daughter’s to end the movie..!!

That is where Bollywood fails…!!

Shahid Kapoor got married earlier this year to the pretty young lady – Mira Rajput. He then went on to star in the newest Dharma Productions – Shaandaar, as in GRANDIOSE – or as fans and critics stated A DUD OF GRANDIOSE PROPORTIONS! Disgruntled and green-eyed Shahid fans have started blaming the newly wedded wife for brining immense ill-luck to Shahid. Ironically, it’s an ill-fated career slump his ex-girlfriend Kareena Kapoor faced too, when she publicly dumped Shahid for the much wealthier playboy Saif – the younger Nawab of Pataudi. Kareena hasn’t been able to salvage her career since. The last hit movie she delivered on her own shoulders was “Jab We Met”, ironically again, with Shahid Kapoor as the leading protagonist in the movie.

Shahid has been drool worthy pretty much since Kareena dumped him, but you have to wonder – what possessed or compelled Shahid to take on Shaandaar? It cannot be a handsome renumeration from Karan Johar! From the last we heard Mira Rajput is seriously well-off and given their marriage was a “Shaandaar” Punjabi and Rajput affair – dowry must have taken care of Shahid’s monetary problems for a lifetime.

The movie also stars Alia, whom I am an unabashed fan of. She’s stunning, raw and just capable of great performances given the right script. Not only was her talent wasted in this weirdly juvenile movie, but she’s actually opened herself up for painful jokes about her intellect yet again – remember AIB?

The script had potential – it skirts around issues of gender disparity, patriarchy, positive body image and female empowerment. Pankaj Kapoor has two daughters – one is gorgeous, insomniac, illegitimately birthed from his previous relationship, and the other (his daughter in real life) is sweet, caring and overweight. Pankaj is an adoring father and stands by his daughters as a meek Indian father usually does. Pankaj assumes his insomniac daughter will be able to sleep the day she meets her prince charming, and his overweight daughter will be able to fend for herself at the hands of a vacuous, self-absorbed, skinny women loving, foul-mouthed, arriviste Sindhi boy. Both assumptions are really counter productive to the idea about women’s empowerment – women do not need a man to restfully sleep at night, or a man to tell them how pretty their bodies are. And that my friends is literally what the movie is about – girls finding the right guys and dumping the wrong guys.

I do think it was my bad to expect more from the collaboration of Anurag Kashyap – my favorite director ever, and Karan Johar – my favorite celerity bitch-fest show-host ever! Their partnership has produced loads of crap in the past such as Bombay Velvet. But it’s not like Karan is not capable of making socially sensitive movies. Take Gippi for instance. The story grapples with issues about body image, broken marriages and kids of divorces with magnificent charm! But maybe social filth and carnage depicted by Anurag, and over-the-top-drama and insane color palettes depicted by Karan Johar cannot really ever converge in cinematic artistry. So let’s request the Lord of Movies that the bromance between Anurag and Karan ends for once and for all!

My disappointment with the movie is possibly due to my misplaced expectations with Shahid and Alia. Shahid has spoilt the audience by delivering power packed performances such as Kaminey, Haider, Jab We Met and so many more. Similarly Alia has been a stunner in practically every project, except of course her debut role in Student of the Year. I just expect better from the two and wasn’t really sure what to make of the mess they left behind with Shaandaar.

As I work through my confusion, I recommend watching the movie only if you’d give anything to watch Europe, Shahid or Alia on large screen.

I am one of those Bollywood fans who gets proud witnessing the success of our actresses. Not all are born with a Kapoor, a Bachchan or a Khan surname, yet some actresses have made it on their own. Deepika, Priyanka, Kangana- they all started somewhere, faced failures, yet managed to rule Bollywood due to their continuous hard work.

Bollywood is also a Kingdom of three Khans- Shahrukh, Aamir and Salman. The foremost milestone for any Bollywood actress is when she manages to work with ‘the’ Khan. It does not matter if she is a 20-year old young girl – the moment she dances around a tree with these men in their 50s, her credibility as an actress is established. I do not blame the Khans. When a 64-year old Rajanikant can do it, why not our good looking Khans? As long as we are not fed up of Khans  doing the same old tricks for past 25 years (Shahrukh’s Rahul-Raj true love; Salman’s larger-than-life Bhai;  Aamir’s holier-than-thou avatar), our Khans will continue embracing younger actresses and discarding older ones.

Nonetheless, things are changing.

There are many actresses who have now managed to come out of the Kingdom of the Khans and create a brand for themselves. Deepika, the current Bollywood female superstar, has been using her star power to raise awareness about mental illness and depression by sharing her own struggle with depression. Kangana, who inspires millions of small town girls with her “rags-to-riches” life story has been vocal about why she would not endorse any fairness cream. Priyanka, another small town girl, who is gradually making her presence felt in Hollywood as well has been vocal about racism.

These are women who have achieved their stardom on their own merits and are now demanding an equal pay for the star power they bring to a movie- a fair demand considering the box office performances of most of the movies these women were part of without the presence of any Khan! Tanu Weds Manu, Piku, Mary Kom, and so on! I have to admit that it was Deepika that overshadowed Shahrukh Khan in Chennai Express. It is rumored that Shahrukh asked the filmmaker that Deepika’s name should be before his name in the credits (thank you Shahrukh). Without the presence of any prominent male actor, Kangana’s Queen and Priyanka’s Mary Kom did an amazing business. Today, a big movie Bajirao Mastani that is facing Shahrukh’s Dilwale in December is relying on Deepika’s and Priyanka’s fan following. That is the kind of power  women of Bollywood are enjoying these days.

While it is an exciting time to be a woman in Bollywood, and these successful actresses are raising a voice against gender disparity in wage, one accomplished actress who has been working for 15 years commented, and I quote, “Actresses are paid what they should be. At least, I am happy the way I get paid.  That’s why it’s always nice to do a film with Salman, Aamir, Shah Rukh, Akshay, Ajay — because the budget is always high.”

And she is none other than Kareena Kapoor Khan.

Mrs. Kapoor Khan is wrong and regressive in many ways. Unlike her, not all women are “lucky enough” to be able to “associate themselves with successful men” to be paid well in life. Gender disparity in wage is a serious global and social problem that exists in all sectors at all levels. This Time Magazine article might enlighten many people (like Mrs. Kapoor Khan). It quotes:

“Women earn 77% of what men earn. Even after accounting for the fact that women often work in different occupations and industries than men, as well as differences in work experience, union status, education and race, 41% of that gap is still unexplained. When social scientists control for every employment factor that could possibly explain the disparity, women still earn 91% of what men earn for doing the same job.”

People like Mrs. Kapoor Khan should know that gender discrimination has tarnished most of us. If you are a woman, you are likely to be paid less than your male counterpart no matter how talented and educated you are. Just take this study finding to understand the seriousness of the gender discrimination that we are facing. As per the data provided by Center for American Progress, women would need a doctoral degree to earn the same as men with a bachelor’s degree.

Luckily the world is not made up of Mrs. Kareena Kapoor Khan alike and there are many powerful women who defy such regressive views. Even our own so-called ‘dumb’ Alia Bhat is raising a voice against the discrimination (and rightly so because she is as successful as her male counterpart Siddharth Malhotra and Varun Dhawan).

As a lifelong Bollywood fan, I sincerely hope our actresses move out of such regressive views and create their own place in Bollywood.

And for now, kudos to Deepika, Priyanka, Kangana, Alia and many other actresses for standing up against the gender discrimination. More women power to you!

With the holidays around the corner, mega movies are about to hit the theaters. We are anxiously awaiting:

1. Sanjay Leela Bhansali’s Bajirao Mastani (BRM) starring Deepika Padukone, Priyanka Chopra and Ranveer Singh in the lead
2. Rohit Shetty’s Diwale with Shahrukh Khan, Kajol and forgettable people in the lead
3. Imtiaz Ali’s Tamasha starring Deepika Padukone and Ranbir Kapoor in the lead
4. Sooraj Barjatiya’s Prem Ratan Dhan Payo starring Salman Khan as Prem and practically his niece Sonam Kapoor in the lead (already in theaters)

Given the stellar line up of movies, I feel nothing but sorrow for Sanjay Leela Bhansali. I wonder if Shahrukh and Rohit Shetty’s Diwale frenzy and the Imtiaz’s cult followers are going to leave any opportunity for Bhansali’s movie to breathe. I for one am not a fan of the Bhansali’s work at all – it’s grand theatrics, ostentations sets, and non-stop melodrama. But you have to give it to the guy. He believes in his vision for years on end, even if the rest of the world mocks him and tears him down.

For example, Bhansali has been known to have pursued Salman and Aishwarya for years to star in the movie as the lead pair in the BRM. Sadly for fans, Aishwarya and Salman broke up and Bhansali remained loyal to Aishwarya instead of Salman. Salman left no stone unturned to insult Bhansali till he finally shelved the idea of BRM. He instead went to produce crappy movies with A-listers gone bust. There was Guzaarish with Hritik and Aishwarya; Saawariya with Rani, Sonam and Rabir. But things are starting to look up for Bhansali with the golden girl Deepika Padukone in his kitty. Not only was the romeo-joliet remake Ram Leela a brilliant hit, but there’s may be hope for Bajirao Mastani with Deepika starring as Mastani.

For nonpartisan Bollywood lover like myself, I am rallying for Bhansali. With passing years, I have become fundamentally opposed to the Khan brigade for several reasons.

1. Khans want to make the country stupid!

Think about the last good movie that Shahrukh Khan made – probably a decade or two ago – Chak De India, Paheli and Swades. That was the last time the man bothered earning his money as an actor. Both Swades and Paheli flopped and SRK quickly realized that our country of 1.5 billion could care less about acting chops or a script. The audience wants cliched-arm-open scenes with moist-eyed 40+ year old hero romancing a 20+ year old hottie in a sheer sari, dirty dance numbers, brainless romance in obscure foreign locales, and Ram-Laxman love between male leads. So honestly, does Indian audience need movies like Nolan’s Interstellar? Hell no! We have our own galaxy full of sickly bad-ass movies – Happy New Year, Chennai Express and now Diwale. If you don’t believe me check these posters out – it’s like Diwale Dulhania Le Jayege and Kabhi Khushi Kabhi Gham cross-bred yet again.

Less said about Salman’s movies, the better! Bhai wants to ensure pretty women in the movie do little or nothing…I mean, not like actresses can pull audience in a theater with meaty roles?

Aamir Khan of course is above any categorization – he might as well change his last name to Aamir Kappor of the incredibly talented Kapoor lineage. And then there’s Saif Ali Khan, a total lost cause since his wedding – remember Humshakals, Bullet Raja? We lost Langda Tyagi to Kareena a long time ago! Also included in the Khan list is Saajid Khan and his sister Farah Khan, who are sadists – they enjoy unleashing suffering on their audience year after year!

2. Salman Bhai is a hater and it isn’t cool anymore!

I was pretty disappointed with Salman’s idiotic comments about Guzaarish being a worthless melodrama that even doggies wouldn’t watch? Come on now, why insult the dogs like that? Though, Bhansali lifted the entire movie from the Oscar winning The Sea Inside, he tried…he really did.

During the release of Prem Ratan Dhan Payo, Salman further slipped in my good books after hurling insensitivities at our Dhak-Dhak foreign-returned Madhuri. He stated Sonam was better actress than Madhuri…like what? Does he want to get smacked by Sanjay Dutt? Oh, but then Sanjay is still locked up in Pune somewhere…therefore, the audacity! But the whole being-in-the-news-all-the-time plot is so predictable with Salman. Before the release of a movie, he goes around talking crap about competition and belittling them – that’s unprofessional and uncool!

3. Boo! Khans have rigged the movie hit-making game

Remember the massive spat between Ajay Devgn Films and SRK + Aditya Chopra during the release of Son of Sardaar and Jab Tak Hai Jaan during 2012? Ajay Devgn claimed that SRK, Adi and their posse totally screen-grabbed all the theaters leaving no chance for any other movie to show face! Same drama happened during the release of Chennai Express when SRK and Rohit Shetty booked the entire country’s theaters for a million days to make the 500 crores and kill the fans with delight.

Here’s the trick – if SRK does not let anyone else’s movie play in the theater while his is running, there’s no chance anyone else will be the Badshah of Bollywood…ever! We are stuck with aging SRK with 20 year olds forever!

No matter how unimaginative Bhansali’s movies are, he tries hard to capture the attention of the audience by doing something grander each time. He then crawls back under the rock and cries a lot because Khans are mean to him – you’ve got to have sympathy for the man! As a sensitive human being, I therefore support Bhansali’s new venture – Bajirao Mastani.

Lastly, Imtiaz doesn’t need anyone’s good wishes. His brilliant work and soulful movies speak for themselves. There’s no question I am a big fan of Imtiaz Ali and his lovely locks. My heart still aches when watching Rockstar and Highway…I am planning on spending my Christmas listening to songs from all of Imtiaz’s amazing movies –  Khan’s are no competition for him!

Here are some of my favorite Imtiaz songs to hum along

Read more – Is Sajid Khan the Worst Director in India? 

The most fulfilling human projects appeared inseparable from a degree of torment, the sources of our greatest joys lying awkwardly close to those of our greatest pains – Alain de Botton, distilling the thoughts of Friedrich Nietzsche in The Consolations of Philosophy

Tamasha, the latest movie from director Imtiaz Ali had conflicting reviews, and after watching the movie tonight I was compelled to write a review about why you should watch it too!

The story is about a man who has lost his inner purpose and identity. His inner artist is crushed by the hyper-competitive, colorless world. Ved, played brilliantly by Ranbir Kapoor is a Product Manager in the IT world who has submitted himself into leading an insipid robotic life on a journey to nowhere! He meets Tara, played by Deepika, and savors an anonymous fun-filled week vacationing as grown-up kids – happy, carefree and just being! They part and meet again after half a decade, but Ved goes back to being monochromatic – with no passion for life.

As they rediscover each other, Tara realizes Ved is not the same person she had met during the vacation and leaves him. Ved on the other hand is rattled by Tara’s close inspection of his inner fears, his hatred for the rat-race he’s failing at, and his unfulfilled desires as an artist. Tara implores him to rediscover himself as they part ways.

Why Tamasha is Unique

What Ved finds is what each one of us is waiting to discover – we’re all unique and special in our own ways. We all are born with talents no one else can replicate. That’s our soul’s offering to the world. However, most of us either forget to listen to our soul, or poor circumstances prevent us from paying attention to our calling.

The elegance of the movie lies in that Ved and Tara walk their individual paths to self-discovery. Ved is a conformist when he meets Tara, but is forced to break free from his mind’s shackles only once she leaves him. Until then he had been mechanically doing all prescribed things to please her, to please his parents, and to please the world. He needed to feel the greatest pain of abandonment to realize his greatest joy. It wasn’t a woman who could complete his soul’s void, it was his discovery of who he really was within that truly fulfilled his being.

Deepika is Relentless

For all Deepika fans, this movie is nothing but a treat. Not only is Deepika easy on the eyes, she has grown tremendously as an actress. Since Cocktail, she really hasn’t looked back and she has delivered another brilliant performance with Tamasha.

Imtiaz’s Movies Reflect his Soul

Tamasha is not unlike Imtiaz’s other movies – Rockstar, Highway, and Jab We Met. Imtiaz bares his soul; he explores his journey as a creative artist and justifies his commitment to his art via his story telling. He uses the motion picture, lyrics, background score and strong characters to compel audiences to search their souls, to discover elements of their struggle, and to transform challenges into a prescription for a more fulfilled life.

Having said that, all of his movies also seem to follow a somewhat predictable pattern. A sorrowful childhood experience that leads to an unfulfilled adulthood, and the meeting of the hero and heroine leading to a big “ah-ha” self-discovery moment. I am hopeful Imtiaz will break the foreseeable mold in his next soulful movie.

The movie is faintly inspired by Anurag Kashyap’s work – the UP / Bihar inspiration, the background score and the sidekick characters are oddly familiar like the ones seen in Dev D and Gangs of Wasseypur.

Lastly, I also appreciate the covert feminist voice Imtiaz brings to his movies. His heroines have a mind of their own, they break the traditional Indian value system to carve their own destiny despite the hero’s journey. As an ardent Imtiaz fan, I’d like for Imtiaz to sketch bolder female characters as they exist in the world today – heroines who don’t have to be rescued by the hero at any juncture, heroines who know what they want and pursue it consistently.

All in all, Tamasha is a good movie. It needs time and patience from the audience as it reveals itself during the first-half. Hang in there and tell us what you think!

Spoiler Alert! Spoiler Alert! Spoiler Alert!

Spellbound, Dumbfounded and Shocked

That is my expression right now after watching Star Wars: The Force Awakens.

If Star Wars Part IV, V and VI were about Luke Skywalker and his quest to reach his father Darth Vader; and Star Wars Part I, II and III were about Anakin Skywalker and his journey from being a noble Jedi to getting himself into the Dark Side of the Force; Star War Part VII is all about Han Solo, Han Solo and Han Solo.

I might be exaggerating a little bit about Han Solo but growing up adoring Han Solo, it is next to impossible for us not to make this movie about Han Solo.

Han Solo is the same Han Solo we met in Part IV. He is with his friend Chewbacca messing up with rogues- just like good old time. I have to mention that we did miss Jabba the Hutt while Solo and cohort were fighting the crooks. Oh Han Solo! You made this movie the best experience for most of your fans.

But there is a tragic ending …perhaps the much needed tragedy because George Lucas wants us know that Star Wars series are only getting darker; and here we are dealing with the most ruthless psychopath villain in the coming years. The new dark warrior, Kylo Ren, is dangerous, unpredictable and multifaceted.

If the Dark Side of the Force is getting darker; we are also getting a powerful Jedi. And guess what? It is a woman! Yes…a woman Jedi- Rey- is going to fight the Dark Side with her friend Finn- a delusional and redeemed First Order Storm-trooper.

George Lucas gives us enough hints that Rey is powerful, much powerful than what Luke was in the Part IV.  Daisy Ridley, playing the role of Rey, is beautiful, powerful and extremely likable. The moment you see her, she wins your heart. By the time the movie ends, you want to be the part of her journey fighting the Dark Side.

John Boyega as Finn is amazing. He is possibly the new age Han Solo providing that comic timing. Let us see where it goes!

The ending leaves you with more questions than answers.  George Lucas did it deliberately. As we come out of the theater, we are left with wondering who Key is, why Kylo turned into the dark side, and why Luke disappeared. And more important question, ” What will happen next?”

And that is the essence of Star Wars. We fans are left with more questions anxiously waiting for the next movie.

Oh 2017, come fast!

Bajirao Mastani is a wretched love story about Bajirao the stately Maratha Peshwa (equivalent to Prime Minister) and Mastani (a half-Muslim) warrior princess of Bundelkhand. The movie is lavish – magnum opus of sorts, a grand-slam delivered by director Sanjay Leela Bhansali. I loved the speed with Bhansali delivered all elements essential to a Bollywood movie – stunning song sequences, insanely rich costumes, captivating action, drama, and strong characters.

The otherwise flamboyant Ranveer Singh, plays the traumatized and much-in-love Bajiao. Deepika Padukone plays his love interest – Mastani. Mastani is unlike other women of her time – she’s warrior, performer, and a feminist beyond her times. She fights alongside Bajirao when the Peshwa wages a war to save her father’s kingdom against the Mughal (Muslim) Sultanate.

Priyanka Chopra stuns as Bajirao’s wife Kashibai who adores her husband, like the rest of his kingdom. Her portrayal is imbued with quiet restraint and melancholic emotions. Though Bajirao falls in love with Mastani, Kashibai does not take the transgression lightly. Though she accepts her position as the lesser love of his life for the greater good of the kingdom, the love-triangle is tumultuous.

I didn’t expect to love the movie as much as I did. The movie is best enjoyed in a good theater setting, with plush chairs and excellent sound system – after all you will be killing 3 hours at the theater. Bajirao Mastani is like most other Hindi movies – you can enjoy the movie at a very superficial level or delve into each character. Of course, we do the latter in this blog and you should stop here because we discuss the plot and characters in detail.

Warning – Spoiler Alert!

The Kashi Bai (Priyanka Chopra) Angle

Priyanka plays the role of Kashi – the homemaker queen who is happy to take care of Bajirao’s family, household, children and his mother – with whom she shares an honest and endearing relationship. Their love making scene is colored with passionate hues of Holi and showcases the depth of their stable matrimony.

When Deepika – Mastani whirls into Bajirao’s life, Kashi suffers silently, strewn with jealously and agony. At this time, Bajirao was relishing matrimonial and physical bliss with both the women in his life – both of whom bore him sons around the same time. Just like her mother-in-law – venomously played by Tanvi Azmi, Kashi initially discriminates and vehemently rejects Mastani’s influx into her blissful martial life. But Mastani does not back down and eventually becomes the primary romantic influence in Bajirao’s life.

At this point, Kashi’s character sketch falls apart in the typical Bollywood-Bhansali style. Kashi invites Mastani to a women’s gathering where they dance together singing praises of Bajirao – aka the Pinga dance. Kashi eventually however, rejects Bajirao and bans him from her bedroom – an equivalent of divorce of sorts during that day and age. Her love for Bajirao however, does not recede and she strives to save Mastani’s life rising against her own son – Nana Saheb.

The feminist in me cannot reconcile Kashi’s undying love for a man who didn’t really care for her existence and her decision to stay in the marriage. Bajirao saw Kashi as other patriarchal Indian men see their homemaker wives – not of a significant economic value! Kashi seemingly understood this and remained a silent well-wisher in Bajirao’s life. Why she didn’t walk away from the marriage does disturb me – after all she made is clear to everyone in the royal court that she did not approve of Bajirao’s transgressions. Given she was his lawfully wedded wife who didn’t approve of polygamy, she could have retired with significant wealth in her maternal home. Her state is perhaps a disconcerting mark of times and a reflection on the state of women in India – even the royal ones.

The Mastani (Deepika Padukone) Angle

Mastani stuns…period! She is a warrior and fights tooth and nail for her right as Bajirao’s second wife. She’s insulted by the Peshwa’s family, called a prostitute and sneered at, for her Islamic faith. She hangs on for scarps of love she receives from Bajirao.

The sheer strength of Mastani’s character seems so out of world. She fights beside her man, she bears his child without the royal support, and dies a miserable death in captivity awaiting his return. But she fails to see the misery she has caused Kashi as she vehemently pursues her passion for Bajiro. She continues to remain married and reside in Bajirao’s kingdom despite the incessant insults hurled at her.

Though true love may be supreme, but bearing insult for a man who would not fully commit himself as a father or a lover sets an anti-feminist tone. I wonder if the women’s dignity took a backseat given the high political stake and cultural oppression. I doubt these issues even phased Bhansali, who seemed obsessed with justifying the love between Bajirao and delivering the emotional saga slyly. 

The Love Triangle – the Feminist Concerns

The jilted Kashi Bai, the love-struck Mastani, and the aching Bajirao are trapped in a mutual admiration and love fest. Granted the movie was not crafted for feminists, but the movie is a clear reflection about the social acceptance of men’s transgressions, and the women’s acceptance of men’s transgressions despite their social status.

Deep in my heart, I just secretly wished that either Mastani or Kashi would leave the high and mighty Peshwa – not because of concerns around polygamy – after all, to each his own – but his inability to stand up for either women and do justice to their stature. He tries to abdicate his position but is lured right back to war with desires to expand the kingdom. He aches and yearns for Mastani with his last breaths – an emotion all lovelorn lovers can relate to, but isn’t able to save her from the conniving Peshwa family.

In all, I strongly feel that had Bajirao really loved either of the women – especially Mastani, he would have ensured she and his son were safe, alive, and well taken care of. Instead, he left the women in his life to fend and fight for themselves – which was not particularly becoming of a Peshwa or even a common red-blooded man.

Final Thoughts

Despite my viewpoint, I loved the passion with which Bhansali delivered the movie. You can imagine the director living and breathing his characters, war settings, courtroom drama, and the theatrical performances. No detail is missed – the Marathi costumes and the Mughal costumes and jewelry are right on mark. The subtle greens (depicting increasing influence of Islam in the kingdom), and the saffron (depicting the tensed Hindu kingdom) perfectly juxtaposition in this sepia toned movie. The social commentary surrounding intolerance shown from warring parties is impactful – the Peshwa’s desire to establish Hindu supremacy in the country and Mughal’s love for war and carnage.

The movie is must watch for all Bollywood fans and worthy of a discussion over coffee…

Have you ever witnessed life come a full circle, like in the “what goes around comes around” kind of way? My co-blogger Deepti and I have spent numerous hours discussing the Ranveer-Deepika-Ranbir-Katrina love angle and we just experienced Bollywood’s biggest karma-is-a-b**** fallout in recent history.

As you must have already read – Ranbir broke up with Katrina. Incidentally, it is also the day Ranveer and Deepika won the Filmfare award as the new “it” Bollywood couple. It’s an irony of sorts because Deepika really got burnt by Ranbir’s incessant cheating with Katrina, broke up and eventually found Ranveer – the crazy loverboy! But then, it’s Ranbir we’re talking about – he carries the Kapoor legacy so to speak. The doomed Katrina-Ranbir pair broke up because Katrina was pretty pissed off about Deepika’s lingering presence in Ranbir’s life.

Despite all the drama, Deepika’s measured approach to success has been talked about just as much as the men in her life – from Dhoni to Ranbir to Ranveer. The lady is unapologetic about her successes and failures. You rarely see her getting caught up in drama and always takes the high road. Regardless of your opinion about her work, Deepika is a young lady who carries her own and here’s what we can learn from her dignified grace:

Keep Calm When Good Luck Turns on You

It all began with the massive fallout between Deepika and Ranbir, when Ranbir allegedly cheated on her. Ranbir’s initials as tattooed on her neck couldn’t save her from the misery and the pain after the breakup – and she talked about her depression publicly. But, she turned her agony into relentless passion for work and she cranked out one good performance after another – Cocktail, Chennai Express, Yeh Jawani Hai Diwani, Piku, Bajirao Mastani to name a few. Good luck came back around didn’t it?

The Universe Does Not Reward Reaction, it Rewards Stillness

Ladies in Bollywood talk a lot of absurdities about Deepika. They call her catty, jealous, over-zealous with her PR, vindictive etc. But Deepika rarely reacts; she carries on with dignity and never fires back. Her contemporaries have played the victim card; remember when Kangana cried about not being friends with Deepika anymore and being hurt about not being invited to Piku’s after-after-party? Remember when Sonam said Deepika’s PR was too busy putting out poor news about other actresses? There’s one thing Deepika didn’t do – REACT. She carried on! It was Kangana and Sonam who seemed catty and jealous! Deepika on the other hand kept bagging one good film after another with a focused approach.

You Experience True Abundance When You Forgive

The public breakup, the depression that followed, the failed movies and the mockery from critics must not have been easy for Deepika. Many wrote her agony off as a rich girl’s problem, yet – misery is misery be it a rich woman’s or a poor woman’s. What’s critical is that Deepika did not talk poorly about Ranbir – instead she was always the better person and spoke warmly about him and about the healthy post-breakup relationship they shared. She forgave but made better choices – both personal and professional. She grew from her experience.

What Goes Around Comes Around

In the end, it is Deepika who is having the last laugh. She’s enjoying the accolades, the endorsements, the international limelight, and the affection from her directors and majority of the male co-stars. The girl who was once written off, as just a pretty face was possibly the only reason 2015’s Tamasha (with Ranbir and Deepika in the lead) did the little business that it did.

Ranbir Kapoor despite being the better actor is still struggling to deliver a hit on his own – much like his talented cousin – Kareena Kapoor. If you really want another evidence of what-goes-around-comes-around– you must remember that Kareena dissed Deepika pretty poorly back in 2010 on Koffee with Karan, and really has had a pretty sucky career since! Katrina, Ranbir’s ex-love might as well bite dust – with no RK, it’s hard to imagine she will have any career left.

Lastly, here’s the best evidence of what-goes-around-comes-around! When Karan Johar asked Deepika about advice she’d give to her ex – Ranbir Kapoor, she suggested he endorse a condom brand…ahem…an insinuation about his promiscuous ways. Here’s the irony though – Ranveer Singh, her beau now endorses a condom brand. Isn’t it interesting how life works out?

In the end, no one really knows the inside scoop, but Deepika is a wise lady. She’s ambitious like no other and has been able to channel her stressors into successes. Of course the stunning face, a near perfect frame and the tanned Indian graciousness doesn’t hurt – at least her fans are not complaining.

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There is something about Sunny Leone that is disturbing to many of us entangled in the so-called notion of morality. A woman should be like Sita- pure, innocent, harmless and devoted to her man.

Sunny Leone is anything but Sita.

As an adult, she made her own choice getting into the porn industry and she did quite well. Life as a porn star is limited as competition is high. Possibly, Sunny saw it coming and decided to get into Bollywood. Not a bad business move, because today, she is the most googled woman in India, and has found her market with a certain kind of adult movies in India.

Fair enough!

But in Sita’s world, not all misogynists can digest life choices made by a woman who is so sexually expressive and unapologetic about it. One being a certain senior journalist from CNN-IBN named Bhupendra Chaubey (whose existence was unknown to many of us till he interviewed Sunny Leone).

When Sunny Leone went to his show (The Hot Seat) to promote her movie, probably, even she had not expected the kind of questions he would ask. He started with if Sunny had any regrets in life. Had she said ‘life as a porn star’, that would have given him an utter satisfaction. She did not say so.

That possibly bothered him because within five minutes he asked again and he was specific this time, “I asked you about your regrets and you spoke about your mother. If I was to turn the clock back, will you still do what you did?”

“One hundred percent,” Sunny replied with confidence.

This possibly angered his ego because after that Sunny was bombarded with questions about how people look at her, degraded her (he called her an ‘item girl’ at one point), and accused her of corrupting youth and stealing housewives’ husband.

The nightmare for Sunny did not end there.

He moved one step further by teaching Sunny Leone how she should be. He commented, “We will also see movies of Sunny Leone in the future, where Sunny will be dressed up from head to toe in a saree. I mean covered completely?”…because in his words, “That also has its own charm.”

In many ways, the interview was disturbing.

The journalist symbolizes the mentality of many men who decide how a woman should behave. Recently, I watched a documentary called ‘India’s Daughter‘- a documentary about the gang-rape of Nirbhaya in Delhi. The documentary emphasizes some men justifying rape because in their mind, ‘a woman should never cross her boundary, and if she does, she is immoral and thus she deserves humiliation’.

As I was watching this interview, I did not find this journalist any different from one of those men who dons the role of moral compasses, questions a woman about her choices and believes that the only way to bring such a rebellious woman back to her senses is via humiliation.

Of course, comparison with a rapist is exaggeration and unfair as morale boundaries are subjective. Yet, imposing your morale values to others’ choices and lifestyle can be dangerous. The one who raped Nirbhaya in Delhi that night (and I am referring back to the documentary India’s Daughter) questioned about her morality as well. “How can a woman be out at night with a man other than her brother or father. She asked for it.”

That is the danger of morality.

We do not know when we end up hurting or humiliating the other person just because in our mind the other person is immoral. So blind we become with our opinion about others who are not following the so-called norms as we define (based on our twisted notion of morality), we do not even realize when we start thinking like that rapist (India’s Daughter).

Last night, the journalist’s attitude towards Sunny Leone was equally disturbing because he too came with a prejudiced mindset, determined to make Sunny accept that she is corrupting ‘good Indian youth’ and give her some lecture on morality. In his own words, he concluded, “People think if you see a Sunny Leone film, you will be morally corrupted. I am wondering if I am becoming morally corrupted, well, because I am interviewing you.”

And that possibly explains his own pervert mind because he was trying too hard to prove his own morality.  To prove so, he was humiliating a woman who is open about her sexuality and not afraid to flaunt it.

On the other hand, I have to applaud Sunny Leone for handling such negativity, prejudice and hatred with so much grace, intelligence and composure. She was bold, articulate, unapologetic, humble, positive and attractive. She came across as a smart and intelligent business woman who knew what she was doing and had the balls to accept it with no regrets.

On a personal note, I found it extremely offensive when the journalist suggested wives view Sunny Leone as a threat. I am sorry, Mr. Journalist, we women are much more evolved than you are. We are not so insecure that we feel threatened by an online presence of Sunny Leone. Rather I am grateful as she has provided some pleasant moments to my husband as well. After all, a happy man is a happy husband; and a happy husband is a good husband.

As the interview ended, clearly Sunny Leone came out looking like the winner- morally at least!

Watch Sunny Leone Interview here

Have you ever loved, and eventually felt searing disappointment when life couldn’t deliver all love was meant to be – a loving propitious future, enduring years of blissful harmony? Such is the story of Masaan (translation – crematorium), meticulously interwoven in the narrow lanes of Varanasi –  where four strangers come together and are stripped off of everything they know about love.

Spoiler Alert – But Do Read On!

Moral Policing – A Young Indian’s Distress

The first story starts with Devi (played by Richa Chadda) and a young man she has sex with in a questionable hotel. It is unclear if the man is her lover or her client, but Devi is caught by the corrupt police officials who ask for a bribe in exchange for Devi’s graphic video. Her lover commits suicide and Devi is guilt ridden for the rest of the movie. Despite your personal stance on premarital sex or prostitution, your heart will feel for Devi as she tries to navigate the filthy, conservative lanes of Varanasi hoping to find dignity and make peace with the corrupt police system in India.

Devi shares a detached yet loving relationship with her father (played by Sanjay Mishra) who is perplexed with the intensely passionate and independent woman his daughter has turned out to be. He is a compassionate man, trying to understand the relationship Devi shared with the young man in the first scene. He also encourages her to work so the two can pay off the bribe as quickly as possible.

Devi and her lover are victims of the oppressive and conservative value system imposed on the youth of India. There isn’t a single secluded spot where Devi could meet her lover without being labelled as a prostitute. Despite her lover’s passing, Devi is still propositioned by lecherous men, who openly ask her for her price wherever she went.

Ultimately, for an Indian woman who wants to experience intimacy, the rules still work against her!

The Passion of First Love

The second story revolves around Deepak (played by Vicky Kaushal) and Shaalu (played by Shweta Tripathi), young college students experiencing the first passion of love. Their days are plagued with hidden smiles, loving gestures, and endless conversations about Urdu poetry – Mirza Ghalib and Bashir Badr.

The sheer innocence of their relationship stirs the buried passion we all felt when we kissed first – the longing desire for just a little more. It’s like a memory etched on the surface of the heart – each one of us knows how good it felt to be held by our first love.

Here’s the most un-Western reality about a majority of Indian romances, the first experience of love and passion doesn’t just lead to an extended dating period, but mostly to a quick wedding. That’s what Deepak and Shaalu wanted after just a couple of meetings – a quick wedding as soon as Deepak found a good job.

But their passion turns into sorrow, with Shaalu’s untimely accidental death. Her body, hidden in shrouds, lands in the hands of unsuspecting Deepak – who identifies the pretty pink ring she always adorned. Her body lands up at his workplace and residence, he was once so afraid of taking her to.

Harishchandra Ghaat is a small Ganges basin assigned to cremation activities only. A quiet, yet unforgiving place where flames engulf the dead – millions of dead who wish to be cremated by the Ganges for ultimate salvation. I found myself, letting out a sigh of pain watching Deepak grieve for his beloved at the Ghaat, as he says, “Why doesn’t this pain end?”

Harishchandra Ghaat, analogous to Masaan – the crematorium, is a place where many Indians bring their departed kin to be honorably cremated. It is also the place where life or whatever is left of it ends cruelly. The hidden pain and barbarism of the cremation process – the brutality of breaking the skull to ensure the entire body perishes at the banks of the holy Ganges, with only ashes left behind.

Life Goes On…

The movie culminates into Devi and Deepak moving the Allahabad (famous for the Kumbh Mela) to give meaning to their departed lovers. Instead, they find each other in a new city possibly ready to let it all go. And that is the best part about the shared human experience, we all manage to heal.

The Big Cannes Win

The movie has been directed by Neeraj Ghaywan – who once served as the Assistant Director to Anurag Kashyap. The storytelling and the plot is so attuned to Kashyap’s passionate style, you may think Masaan is a sugar coated Kashyap movie. Ghaywan makes no attempt to hide behind difficult subjects of child labor, prostitution, police corruption, and misogyny in India. In fact, he lays the issues naked and forces the characters and his audience to come face-to-face with these difficult issues.

The brilliant part about the movie is characters are far from glamorous, hyper-sexualized and physically exceptional to gaze at – like the usual Bollywood lineups. Yet, each character is captivating, raw and honest, and the characters linger in your mind long after the movie is over.

Masaan was featured as the official film selection at Cannes 2015, won two awards and was widely admired by critics and fans alike.

If you haven’t already seen this movie – you’ve missed out!

Here’s my favorite track from the movie:

“Tu kisi rail si guzarti hai, main kisi pull sa thartharata hoon” (translation – you pass through my life like passionate train and I ache with eagerness like a bridge you just passed over.)

Sahib Biwi aur Ghulam- the classic based on a novel by acclaimed Bengali writer Bimal Mitra- must be finest Hindi cinema of the century that highlights the decline of wealthy aristocracy and the rise of working class in colonial Bengal. Released in 1962, the movie shows the contrast in two social classes through the character of Bhootnath- a young lower middle class  servant in the Haveli (mansion) who ends up becoming a successful architect later in life.

The movie primarily revolves around Choti Bahu, played by Meena Kumari. Choti Bahu is a beautiful bride in the aristocratic family. She has everything except the love of her husband. While other Bahus of the huge manor have ungrudgingly accepted their husband’s debauchery and infidelity (after all that is what rich landlords are supposed to do), there is Choti Bahu who bewails her solitude and refuses to accept her life as an abandoned wife whose husband prefers spending his nights in the brothel with the courtesan (Tawaif). Choti Bahu is condemned for her desire by other women in the household. After all, as a woman, she has to think about family’s honor and she cannot demand anything from her man.

But for Choti Bahu, it is all about her obsessive desire for her man. So much so that she can go to any extent to seduce her man. And she does so. She befriends Bhootnath, the servant in the Haveli, asks him to get some vermillion (Mohini Sindoor) that is said to make husbands faithful. Of course, the vermilion supplied by her newly-found Ghulam does not work. A woman with such an ethereal beauty not able to get the attention from the man she desires – her misery only escalates. With intensified despair, increases her readiness  to cross any line to be on her husband’s side. When she realizes that her husband cannot be roused without alcohol, she starts making her Ghulam supply alcohol so she can become his drinking companion and keep him by her side. This works for some nights. Sadly, her husband’s sexual interest in her does not last for long  and he goes back to the brothel. By this time, Choti Bahu has already become a raging alcoholic. Watch out the most powerful scene:

I must mention that no other movie has offered a mystical experience as this movie when it comes to the gradual introduction of Choti Bahu. As we are told the story through Bhootnath’s eyes, we too see the shadow of lonely Choti Bahu in the beginning. One night, Bhootnath is ushered quietly into the Haveli. We too enter the Haveli with him. Both Bhoothnath and we first see the dainty, jewelry adorned feet and her silk saree. Gradually Bhoothnath raises his eyes, and so does the camera. When their eyes meet, Bhoothnath as well as we are smitten by her ethereal beauty. A close-up scene of Choti Bahu’s lips followed by a shot of her suggestive eyes indicate Bhoothnath’s attraction to her physical attributes, and how he becomes her “Ghulam”.

As the movie progresses, the relationship becomes far more complex than just Bhoothnath’s infatuation. Choti Bahu knows that she does not need to seduce him as she is well aware that the young servant is besotted. She has now found a confidante. There are scenes when she gives him the cognitive gaze which she would like to give to her husband. Then there is another scene, when Ghulam tries to grab her hand to stop her from drinking more, she shouts accusing him of trying to touch her inappropriately and sends him away (the most heart breaking scene as he walks away).

The movie has the sad ending though. Her husband is paralyzed, and Choti Bahu hears that some Baba can cure him. She reaches out to Bhootnath again and asks him to take her to the Baba. Without any question, the faithful Ghulam agrees once again. As per the Haveli tradition, a virtuous lady cannot leave the Haveli – and that too with another man. She has disobeyed the tradition, so much so that she becomes a woman so far beyond redemption that her fate is to be murdered and buried without honor in a secret grave. The last scene links Choti Bahu’s skeletal remains with the ruins of the Haveli.

The highlight of the movie is the ambiguity of the relationship between Choti Bahu and Ghulam. As much as we want to perceive it as a platonic relationship between two people who belong not just to different classes but to different dimensions, we are left wondering if despite being in love with another girl, Bhoothnath ever desired Choti Bahu. Or does a man-woman relationship always need an explicit definition? Perhaps, sometimes, it can just be left without being explained. That is the beauty of this movie.

In all fairness, Sahib, Biwi aur Ghulam is not only about the relationship between Choti Bahu and Ghulam. There is a definitive emphasis on the Haveli lifestyle, their mulish extravagance (there is a scene of opulent wedding for a Haveli cat/ dog), the caste system, and how deranged Haveli inhabitants are despite having wealth and power. Then there is a sub-plot- a sweet love story of Bhootnath and Jaba- a young, vibrant and independent girl, played by Waheeda Rehman.

Do not miss the movie. You can find the paid link here