live every moment of life

I learned few days ago that even when we want some things to pass without us seeing them, we will always look back trying to see them.
I thought of how boring life would be without its ups and downs, all that I go through have shaped me. My good practices, my mistakes,my happiness, my sorrows, my disappointments and whatever else I went through was worth it because of who I am now.
I would like to inspire you,don't be sad when things do not work as you want them to, don't give up when people you care about walk away from you just let them go.Everything works for a greater good and that is preparing you for greater things, true love, good understanding of matters,ability to handle greatness and the most important thing is a newer stronger you.

Changing Indian Cinema

Media and Entertainment is one sector which is growing by leaps and bound. Urbanization and penetration of television in the life of the people has given a further boost to this particular industry. The growth rate of the sector is facilitated due to improvement in the standard of living and also the increment in the income of the people and much of the credit can also be given to the advent of ‘corporatism’ in the film industry.
The movies of now are in stark difference from yester year flicks. Earlier movies were produced by individuals with not a strong financial backing. The script written then was with a formula of a heroine, hero, villain and load of songs. So if the movie tasted success then it was a lottery and if it tanked then the life was in the midst of misery. Now the industry survives on mullah and hype because the fore runners of the industry are big Corporate Honchos.
The trend began back in 2004, when Yash Raj Films became YRF with the release of Veer Zaara it became a brand to reckon with. The strategy was to produce 3-4 films a year; these were not mere films but a packaged product for definite consumer. A full proof idea was followed- a huge budget, bigger star cast and good music. This was done with a difference which was a new captain of the ship was appointed every time with a new release. This formula churned out hits like Hum Tum, Dhoom, Chak De India etc. But 2007 was not that great because of the entry of new players in the game who played their game interestingly and differently.
UTV can be named as a second big player of the league. The films UTV opts for are not regular ones but are more story oriented and are powerhouses as far as the acting mind it acting and not actors are concerned. Thus, the films like A Wednesday, Fashion, Dev D, Aamir etc. became their identity. These genres of films were openly welcomed at the box office. Another name worth mentioning is Karan Johar’s Dharma Production which has created a niche for itself from the audience perspective.
Moreover, Anil Ambani’s group BIG Pictures has given films like Jodha Akbar, 3Idiots and also wrecked like Raavan and Kites. They strategically got in the picture of film production, distribution, exhibition and processing. And because of this strategy BIG got freedom of purchasing movies at high price. Hence, success and crunches followed.
All these movies have changed the face of Indian Cinema. It’s no longer three shifts a day industry. The budget is no longer cut at the cost of technology. Nor the stars neither the item songs but its only and only story that matters now. Freedom to make such story based films like Rang De Basanti, Chak De India is what Corporate culture has brought into this money driven industry.
It’s a new era belonging to these kinds of films. It’s all about indulgence to the hilt! And the floodgates for opportunities are waiting.

"A kiss is a lovely trick designed by nature to stop speech when words become superfluous."

love without expressing.......you jump i jump

 "I can't. I'm involved now. You let go, and I'm, I'm gonna have to jump in there after you."

"But I'm too involved now. You jump, I jump remember? I can't turn away without knowing you'll be all right... That's all that I want."


Jack: Rose! You're so stupid. Why did you do that, huh? You're so stupid, Rose. Why did you do that? Why?
Rose: You jump, I jump, right?
Like his name-twin in Brokeback Mountain, Jack Dawson never tells Rose that he loves her. When she tries to say it to him, freezing on a door in the Atlantic Ocean, he shuts her down, tells her not to say her good-byes.

But, we know Jack loves Rose. He never says it. My favorite kind of love: the deep, unspoken kind. Love without words is my favorite love.

Delhi Gang Rape (the country crying for you )

That girl, the one without the name. The one just like us. The one whose battered body stood for all the anonymous women in this country whose rapes and deaths are a footnote in the left-hand column of the newspaper.
Sometimes, when we talk about the history of women in India, we speak in shorthand. The Mathura rape case. The Vishaka guidelines. The Bhanwari Devi case, the Suryanelli affair, the Soni Sori allegations, the business at Kunan Pushpora. Each of these, the names of women and places, mapping a geography of pain; unspeakable damage inflicted on women’s bodies, on the map of India, where you can, if you want, create a constantly updating map of violence against women.
For some, amnesia becomes a way of self-defence: there is only so much darkness you can swallow. They turn away from all the places that have become shorthand for violence beyond measure, preferring not to know about Kashmir or the outrages in Chattisgarh, choosing to forget the Bombay New Year assault, trying not to remember the deaths of a Pallavi Purkayastha, a Thangjam Manorama, Surekha and Priyanka Bhotmange, the mass rapes that marked the riots in Gujarat. Even for those who stay in touch, it isn’t possible for your empathy to keep abreast with the scale of male violence against women in India: who can follow all of the one-paragraph, three-line cases? The three-year-old raped before she can speak, the teenager assaulted by an uncle, the 65-year-old raped as closure to a property dispute, the slum householder raped and violently assaulted on her way to the bathroom. After a while, even memory hardens.
And then you reach a tipping point, and there’s that girl. For some reason, and I don’t really know why, she got through to us. Our words shrivelled in the face of what she’d been subjected to by the six men travelling on that bus, who spent an hour torturing and raping her, savagely beating up her male friend. Horrific, brutal, savage—these tired words point to a loss of language, and none of them express how deeply we identified with her.
She had not asked to become a symbol or a martyr, or a cause; she had intended to lead a normal life, practicing medicine, watching movies, going out with friends. She had not asked to be brave, to be the girl who was so courageous, the woman whose injuries symbolised the violence so many women across the country know so intimately. She had asked for one thing, after she was admitted to Safdarjung Hospital: “I want to live,” she had said to her mother.

But there is always one that gets through the armour that we build around ourselves. In 1972, the first year in which the NCRB recorded rape cases, there were 2,487 rapes reported across India. One of them involved a teenager called Mathura, raped by policemen; we remember her, we remember the history and the laws she changed. (She would be 56 now.)
Some cases stop being cases. Sometimes, an atrocity bites so deep that we have no armour against it, and that was what happened with the 23-year-old physiotherapy student, the one who left a cinema hall and boarded the wrong bus, whose intestines were so badly damaged that the injuries listed on the FIR report made hardened doctors, and then the capital city, cry for her pain.
She died early this morning, in a Singapore hospital where she and her family had been dispatched by the government for what the papers called political, not compassionate, reasons.
The grief hit harder than I’d expected. And I had two thoughts, as across Delhi, I heard some of the finest and toughest men I know break down in their grief, as some of the calmest and strongest women I know called and SMSed to say that she—one of us, this girl who had once had a future and a life of her own to lead—was gone, that it was over.
The first was: enough. Let there be an end to this epidemic of violence, this culture where if we can’t kill off our girls before they are born, we ensure that they live these lives of constant fear. Like many women in India, I rely on a layer of privilege, a network of friends, paranoid security measures and a huge dose of amnesia just to get around the city, just to travel in this country. So many more women have neither the privilege, nor the luxury of amnesia, and this week, perhaps we all stood up to say, “Enough”, no matter how incoherently or angrily we said it.
The second was even simpler. I did not know the name of the girl in the bus, through these last few days. She had a name of her own–it was not Amanat, Damini or Nirbhaya, names the media gratuitously gave her, as though after the rape, she had been issued a new identity. I don’t need to know her name now, especially if her family doesn’t want to share their lives and their grief with us. I think of all the other anonymous women whose stories don’t make it to the front pages, when I think of this woman; I think of the courage that is forced on them, the way their lives are warped in a different direction from the one they had meant to take. Don’t tell me her name; I don’t need to know it, to cry for her.

Battleship Potemkin My favourite ..........

We are talking history, we are talking cinema of the montage, a resurgence of Russian revolt - an epic. So this is tribal....this is primal....this is Sergei Eisenstein’s battleship Potemkin!. An ostentatious masterpiece, it’s about a society where injustice and domination leads to mutiny and emancipation. The film is a powerful deterrent for an ex-soviet citizen speaking of the times the Russians were facing then. It’s That most famous of all Russian films, boasting of all the features that were once a trusted formula in many Hollywood flicks but which have now faded into obscurity while the unsinkable battleship is almost invariably in pride of place.

In Battleship Potemkin, The powerful communist propaganda was treated deftly in its portrayal of a then oppressed Russian society. The history of its release in the west is trailed with constant attempts by the censors to ban the film. 1954 saw the ban lifted in Britain.

The film lives revolutionary method of montage that makes it one of Einstein classic. But it is not answer enough since incendiary as the event may have been it can’t Willy Nelly its way to proclaiming the status of numero uno! Even now in the aftermath of the demise of Russian Communism, the Potemkin battles on. As its two dimensional semblance of  bally- hoo festers, the film has hit upon yet another layer which feeds the eternal need for rabble rousing  (protest) against any form of oppression.

When the film was shot, the use of the twelve apostle’s cruiser had swift impact. For the seven years that saw the film ban from theatres, there were no free seats in German cinemas. Even as Hitler rose to power, the crowds in Munich were craving for a glimpse of the battleship!. Goebbels, the German propaganda minister, called on German film-makers to channel Eisenstein’s brilliance in their own films saying, “I am convinced that if some cinema showed a film which portrayed our epoch in a true way, and if it was a true national socialist Potemkin, in such a cinema all the tickets would be sold Battleship Potemkin would fall flat as poll was called for. Film makers are not too fond of the montage technique anymore, it being dispersed and demystified - becoming a truism. Andrei Tarkovsky, the much celebrated master of “post Stalin” Soviet Cinema, publicly depreciated montage as effeminate and artless, because it "buttonholes", the audience and does not amount to an accurate entirety. The film doesn’t entertain a linear narrative and thought its black and white the absence of shading rather than color is an

People from post war era are much more used to a three-dimensional depiction of the pre-revolutionary aristocracy, members of which were shown advocating decadence, romance, confusion and decline making them more human than some mighty, relentless and outright revolutionaries. Adaptations of Chekov, Bondarchuk and Balgakov were frequently staged and televised inspiring nobility with profound implications. The film on the other hand cultivates a rather subliminal and streamlined story of real events, acted by dull, two-dimensional marionettes but nonetheless it was heartfelt to me for the way it harbors the need to disobey and strive for freedom against any form of inhuman oppression. Not for its numerous interpretations of reality, nor its montage technique. All of us have that basic instinct to crush that which holds us back; establish justice. Potemkin is more “anarchy” than “Communism” - more “early Christianity” than “Marxism-Leninism”. The film only pictures what triggered the mutiny on the ship – (the rotten meat) rather than explain the reasons for the revolution. Even then some scenes from the film strike upon orthodox icons – that lady with the murdered child as the reification of Mary, the mother of Jesus , benign citizens as modern martyrs And the battleship firing its mighty cannons at the tyrants is perhaps the image of God punishing the evil-men. The turbulence that Russia faces as Political chaos clouds the country almost a century after the film is not too different from the images in Eisenstein’s Potemkin!

Legacy: As the soviets' disappointment with the ways of changing the world grew after a decade of romance with the avant-garde, the Bolsheviks’ taste for experimentation was soon gone to be replaced by a sense of predictability that social realism reflects. nevertheless, that flirtation with experimentation resulted in a horde of classics, be it in, sculpture, theatre, painting, literature and of course, cinema – which, quotes Lenin is “the most important of all arts for socialist Russia “And it would be nothing short of blasphemy to question Eisenstein’s genius that evolved during this period. To this day, battleship Potemkin continues to be one of art’s (cinema) triumphant achievements and a favorite of critics and film-makers alike as constant inflow of ideas and innovations plague this extraordinary medium of cinema! off long in advance."Eisenstein's answered in an open letter:"Great art, true portrayal of life and life itself are only possible in the Soviet land.” a student of engineering and architecture, Eisenstein believed in transformation, defying machines and technology. He thought a world revolution was in order. In this belief he was quite a mnemonic deputy of the Russian intelligentsia of that time.

My days on student union and my changing views towards politics 4 (country is calling u)

Youth is associated with energy, impetuousness, ambition, independence, fresh ideas and enthusiasm. Every field, be it science, education, research, technology, literature, music or filmmaking, the youth plays a significant role in them. Youth forms the future and the hope for progress in right direction.


But when it comes to the sphere of politics, the youth are seldom seen in the forefront. Especially the urban youth studying in schools and colleges have distaste for politics. Very few youngsters have an ambition of pursuing a career in politics. They cannot be blamed entirely, as many politicians do play a dirty game under the guise of politics. Neither is the system of getting into a political party and transforming its internal dynamics so simple or transparent.

Rural and uneducated youth are more susceptible to the promises and the teachings of hate politics practiced on distinctions of caste and religion. So they end up entering politics for all the wrong reasons and fighting for the wrong causes. The semi-urban or urban youth is wiser to the kind of tactics that politicians employ. Some go as far as calling it a way of increasing the bank balances by sacrificing whatever ideals democracies stand for.


Idealism is important for the proper running of any democracy. The youth are becoming cynical and very few believe that idealism and politics can coexist. The riots roused, the bribery given and taken, empty promises made by mountebanks; are all characteristics of our political system. But our responsibility does not end with stating this as a fact and shrugging it off. Building and maintaining peace and progress of the country is something you can start at your own individual level; by saying no to intolerance and unjustified societal dogmas and saying yes to education and unity.


Today’s youth icons of India, like Sachin Pilot, Jyotiraditya Scindia, Omar Abdullah and Rahul Gandhi, show promise. And although the idea may be repulsive, Raj Thackeray is a youth icon to many. When people who claim to lead from front are preaching the wrong philosophy, it becomes difficult for impressionable minds to judge between right and wrong.


Recently, Omar Abdullah was sworn in as the youngest Chief Minister of Jammu and Kashmir. His heartening ‘I am a Muslim and an Indian too’ speech in Parliament has won him approval of the youth. Here is, at last, something that makes sense in the civilized republic of India. This is a far cry from the religion based politics played by most politicians in India. But isn’t it ironical that we are admiring something that should be a fact, not an out of the world declaration?


By 2015, 55% of Indian population will be below 20 years. This shows what kind of prospective power rests in the younger generations. We have to see that they are empowered through the right education and the proper spirit is nurtured. Then there will be no looking back on the communalism, resentments and violence of today. So, it is now time to let go of the ties that are tying us down to hate and intolerance. The dream of our nation can be converted to a reality if the youth join hands and pass on new legacies to the future.