Brew by Sameer Bharat Ram

Sept 2014 40

ENTERTAINMENT

GONE TOO SOON A tribute to the legend Mandolin U Srinivas BE THE CHANGE YOU WANT TO SEE A glance at how Cinema can change for the better when we- the audience, take a stand

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Editorâ&#x20AC;&#x2122;s Note Hi all, We pay a tribute to the maestro, Mandolin U Srinivas, in this issue of Brew and bring out why he will be etched in our memories for many years to come. We also have quite a few big names opening up about what exactly made them who they are and we at Brew, are constantly grateful for the steady stream of veterans who make it big. We have also introduced a serious section to the magazine, talking about Cinema, Art and Music from a more serious aspect. Sadly, these are professions that are not taken seriously by people both in, and outside of it. Itâ&#x20AC;&#x2122;s about time we take a stand and voice out how these professions have to be treated with a whole lot of respect and seriousness. We will have one such article every month, henceforth. Hope you have a good read. Keep brewing! Until next time, Sameer Bharat Ram

EDITOR

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ENTERTAINMEN T

Publisher & CEO Sameer Bharat Ram Sub Editor 1. Vilani Senthamil

Designers 2. Mihir Rangnathan 3. Vijay Singh Nathawat 4. Huzefa Singapore Circulation 5. Seeman Elumaali

COVER CREDITS Photography :

G Venket Ram

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CONTRIBUTORS AND ADVISORY BOARD Sethumadhavan . N Sethumadhavan.N holds an MBA from XLRIJamshedpur and has a background in the FMCG & Retail sectors.It was while leading the editorial team at PassionForCinema. com ( a popular movie portal that’s now defunct ) that Sethu realized that his true passion was Cinema and everything connected to it, including the business side of it.Currently based in Mumbai,Sethu works in the education sector and also runs www.madaboutmoviez.com, a portal dedicated to Indie/Small films,Regional Cinema and World Cinema. Sethu has also been associated with filmmaking workshops and film festivals.

Venket Ram Venket Ram is a leading Indian celebrity & fashion photographer, who has shot principal photography stills for several notable films as well as portfolios. He quit his engineering studies to work with cinematographers for a while, then joined a course in Visual Communication at Loyola College. After that, he worked with photographer Sharad Haksar and in 1993, started his own studio. He recently released the first two editions of his annual calendars in 2011 and 2012 with an overwhelming response.

Kavita Baliga The young American Soprano, Kavita Baliga has sung in concerts around the U.S., Switzerland, Italy and India with repertoire ranging from Opera and Oratorio, Musical Theatre to Indian film. In 2008, Ms. Baliga joined A.R Rahman’s KM Music Conservatory as a faculty member and founded the KMMC Chamber Choir. She is presently developing performance programmes in India.

Mallika Sarabhai Educated as an economist and a business manager, Mallika Sarabhai is one of India’s best known Bharatanatyam and Kuchipudi dancers. She has taken her work and her company Darpana to not only over 90 countries around the world, but also to the farthest parts of India.

Ashok Verghese Is one of the youngest education entrepreneurs who is making a great difference in this field in the country. He is the Director of the Hindustan group of Institutions, again one of the pioneering educational groups in the country. He supports the cause of promoting young talent in art and music.

Neeru Nanda A graduate from Delhi University. Passionate about writing, she freelanced as a feature writer for ten years before switching to publishing. Author of a collection of short stories titled “IF” (Rupa & Co), Neeru is now working on two novels and a series of books for children.

Veejay Sai An award-winning writer, editor and a culture critic. He has written and published extensively on Indian classical music, fashion, theatre, food and art, and loves traveling, researching literary and cultural history. He is an editorial consultant with over 40 brands and designers in and outside India and is on the jury for several prestigious awards in the arts across the country.

Dr. M. Lalitha and M. Nandini Internationally acclaimed, award winning Violin Maestros Dr. M. Lalitha and M. Nandini have been widely applauded as the ‘Queens Of Violin’ and have enthralled audiences across the globe. They have been selected as Cultural Ambassadors and dignitaries to the US and UK respectively. They have published books and written numerous articles relating to Music and religion..

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COntent

FEATURES BE THE CHANGE YOU WANT TO SEE

BOOKSLAUGHTER

COVER STORY A MANDOLIN AND A MIRACLE A tribute to Mandolin U Srinivas

INTERVIEW

IMTIAZ ALI An interview with the one and only

AMITABH SURI About his journey with Indian Terrain

A SREEKAR PRASAD The award winning editor opens up

REVIEW NAZEERUDIN SHAH The book review of his autobiography

JUDGEMENT CALL A list of movies that made it and those that didn’t

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INTERVIEW

CHEERS, AMITABH SURI

Amitabh Suri from Indian Terrain opens up about what got him to where he is now, and his plans in the pipeline.

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Can you tell us about the beginning of your journey? What bought you/inspired you to get into this business? I started working at Indian Terrain after graduating from NIFT, Chennai. I am passionate about the apparel industry and fashion. The environment is fast-paced and allows for quick fire validation. Change is the only constant and this keeps me consistently engaged. How has your journey been so far? Any moments that you feel are most special? The journey has been challenging, yet fulfilling so far. From manufacturing only shirts and trousers and retailing through “mom and pop” stores, Indian Terrain now manufactures apparel across different categories and is widely present throughout India. It’s difficult to choose a single, special moment. The brand has crossed several milestones and I look forward to our phenomenal growth. What are your plans for the future? Any ideas of getting into another genre of business/ expanding your business to other countries? Do elaborate on that. While the brand is already established throughout the country (especially in metros), we’re looking to strengthen

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our foothold across cities in Tier II and III. We’re launching a few more Exclusive Brand Outlets (EBO’s) this year and are expanding our online business as well. This season (Autumn– Winter’14), we’re offering accessories, such as wallets and belts, in addition to our expansive clothing collection. While international presence is something we are certainly open to in the future, at the moment, we are focused on meeting the requirements of our Indian customers. Who is your support system? Family or friends or any other people who helped you reach where you are? Would you like to say anything about them? My support system consists of family, friends, and the Indian Terrain team. They have been tremendously supportive through the journey and I’ve learnt a lot from them. What are your hobbies? Do you like travelling/sports? How do you take a break from work? Do tell us about any interesting experiences? My hobbies include golf, watching cricket and football, reading, and appreciating great food and wine. Of course, all of these experiences are best enjoyed in the company of loved ones and close friends.

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What is your advice for small time as well as budding entrepreneurs? Tell us about your success mantra? I think an important mantra to be successful in the fast-changing retail landscape is to adapt and constantly innovate. Real-life situations are different from textbook examples and not every challenge can be tackled in the same tried-and-tested manner. Young entrepreneurs will have to be patient and learn the business. It takes calculated risks, trial and error, and relationship-building to keep a business flourishing.

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64 NUGUMBAKAM HIGH ROAD CHENNAI 6000034 PH: +91 9176510098/9087244652 www.facebook.com/suede/india suede.india@gmail.com 14 | SEPTEMBER 2014 | THE BREW

MUSIC

A Mandolin and A Miracle - U Srinivas

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At a time when Carnatic classical music was transitioning from its deeply embedded conservative roots to audiences who came with an eclectic sense of musical taste, Mandolin U Srinivas arrived on the landscape and took everyone by storm. He was hailed as a child prodigy, so much so the first issue of the ambitious Sruti magazine started by N Pattabhi Raman had him on their cover. An excerpt says ‘As a musical prodigy, Mandolin U Srinivas belongs to the elite group of individuals with extraordinary musical ability who began to give public performances or compose before the age of twelve. They have appeared throughout history, in India as well as elsewhere in the world. In the west the group includes such famous names as Mozart, Schubert, Chopin and Menuhin’.

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This was how the legendary whiz kid praised way back in October 1983 when he had barely entered his teens. Born in Palakollu in West Godavari district of undivided Andhra Pradesh on 28th February 1969, Srinivas dropped out of school after fourth grade to pursue his passion for music. His paternal grandfather Simhachalam was a small-time Nagaswaram Vidwan. His father Uppalappu Satyanarayana owned a light music ‘orchestra’ called Saraswati Music Party that performed in Nellore and Vijayawada. His mother Kantamma was a housewife. As a kid Srinivas showed no interest in music whatsoever except for a chance discovery of his father who caught him meddling around with the Mandolin at home. Satyanarayana was asked to move to Madras by his friend and

musical guru of sorts Subbaraju for a better future in the film industry. In 1978 Satyanarayana wound up his fifteen year old orchestra and moved lock, stock and barrel to Madras and lived in the same house that Subbaraju was in. By then Srinivas could barely manage to play the mandolin and that too some odd light music tunes from his father’s orchestra. In Madras, the father and son duo sought out to several film music directors like S Rajeshwar Rao who was a student of Chembai Vaidyanatha Bhagawatar. Listening to young Srinivas’s keen interest in music, Subbaraju decided to train him further in mastering the mandolin. Living in the same house might have added to the needful ‘Gurukulavaasam’ that Srinivas required. The rest, as it is said, was history.

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After the Violin, it was Srinivas who broke new ground in bringing in a western instrument like mandolin into the tight-lipped and highbrow corridors of Carnatic classical music. In the caste-ridden world of Carnatic music, being a non-Brahmin added insult to injury. In spite of odds, he rose like a phoenix. All he had to back on was his musical genius. His name became synonymous with the mandolin and he made sure it gained a permanent place in Indian classical music. From small Sabhas, village temples and marriage concerts along with his brother U Rajesh to the most prestigious of global venues, Srinivas was that spark of hope that the Carnatic fraternity could proudly rest its legacy on. After the generation of L Shankar, L. Subramaniam and Vikku Vinayakaram, it was Srinivas who could easily build bridges between the two worlds of Hindustani and Carnatic music. Making a strong comeback in ‘Remember Shakti’ along with John McLaughlin and Ustad Zakir Hussain, to Jugalbandis with pure classicists like Ustad Shahid Parvez or Aruna Sairam, Srinivas was a genius to reckon with. There wasn’t a single person who met him and wasn’t touched by his immense humility, simplicity, selflessness and musical virtuosity. Scores of awards came his way in his short but bright and significant career. Most prominent were the Padma Shri award in 1998 and the Central Sangeet Natak Akademi award in 2010.

He was a gentle genius who survived successfully in a cutthroat world with his own charm and ever-smiling demeanor. In a successful musical career, he established himself as an undeniable colossus with no equals, in a very short span of time. His sudden demise at the age of fortyfive, is a tragic loss to the world of Indian classical music. He will be deeply missed by his friends, fans collaborators and music lovers’ worldwide. For ages to come the world will never see another musician extraordinaire like Srinivas. - Veejay Sai (Veejay Sai is a writer, editor and culture critic)

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Timeline Of Ma

1969 1975 1976 1978 1981 1983 199

On the February 28th of this year, the prodigy was born

At the age of six, he picked up the Mandolin for the first time after he heard it being played at a concert he witnessed

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Guitarist Vasu Rao, introduced seven-yearold Shrinivas to western music in 1976.

Made his debut at the age of nine at the Thyagaraja Aradhana festival at Gudivada in Andhra Pradesh and came to be popularly known as Mandolin U Srinivas

He gave his first public concert in Chennai during the December music season of the Indian Fine Arts Society and never looked back

He played at the Berlin Jazz Festival. It was at the Berlin Jazz Festival that John McLaughlin, first met and heard the fourteenyear-old prodigy, and was left very impressed.

Nationa citizens award b Governm of India

andolin U Srinivas

91 1992 1995 1997 1998 2008 2009

al s by the ment a

He played at the Olympic Arts Festival, Barcelona

He recorded a successful fusion album with Michael Brook.

McLaughin asked him to join the group ‘Remember Shakti’ and they travelled extensively around the world along with other celebrated Indian musicians Zakir Hussain, Shankar Mahadevan, and V. Selvaganesh.

Awarded the Padma Shri by Government of India

Played the mandolin in the John Mclaughlin album ‘Floating Point’ which received a Grammy nomination in Best Contemporary Jazz Album Category

Awarded the Sangeet Natak Akademi Award

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CINEMA

BE THE CHANGE YOU WANT TO SEE A glance at how Cinema can change for the better when we- the audience, take a stand

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There is no denying that Cinema, or rather, filmmaking is carving a new path for itself. Never-seen-before scripts, characters and cinematography are being appreciated if not celebrated. It simply cannot be referred to as just filmmaking any longer- it is now more like the art of filmmaking. Being accustomed to movies with predictable storylines with duet songs shot in foreign locations for centuries now, it seems like we are finally ready to embrace more creative pursuits. Well, has the whole idea of entertainment suddenly become more real? Is this a force to reckon with? Where is Cinema headed? But the most important question remains, what role do we as the audience play in this scenario? Let’s find out. To everyone’s surprise (or shock, rather) content-centric movies are emerging to be the frontrunners of late- movies made from a budget that is not even an one-tenth of that of the big-budget films out there, but are making profits that are almost quadruple of the same! How is that possible? It’s nice to see good content, or regular content with a creative twist - finally being appreciated amongst the audience. Big budget films (commercial films, to put it in colloquial terms)

initially ruled Cinema in India, with mass heroes pulling off unbelievable stunts and actresses dancing away to item numbers in shady costumes. Miraculously, viewers never got tired of this trend- up until now, at least. Commercial films, and commercial filmmakers have finally called it quits. Stunning fantasy plots, bold scripts and cliché stories shot from a different approach are moving slowly, but steadily into the main frame. Movies like Haider- with a brilliant plot (inspired from Hamlet yes, but incorporated very suavely to bring out the harsh Indian political scene) moved many to tears and won more than a few hearts. If this movie had come out a year back, it would have definitely tanked at the box office. “It’s too realistic, I’m not sure I wanted to see all of that”, or “That movie is just totally depressing, man” would have been the comments flying around. Instead (God save the world) people have begun appreciating, some even raving about such films- that they so rightly deserve! With such responses-new filmmakers from the younger generation are being encouraged and given a chance for their bold and creative ideas. What’s more, this warm acceptance by people has also given established filmmakers and directors

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CINEMA

primarily known for their mass movies- courage to swerve towards more creative (and better) pursuits. Talking about these small budget or creative films that made it big- Pizza, Jigarthanda, Soodhu Kavvum and even the crowd-funded film Lucia, are the ones we can relate to much closer to home. The phenomenal success that these movies witnessed came as an eye opener to both filmmakers and movie buffs alike. All this makes it extremely clear that it is not anyone’s doing but ours, as viewers, for the quality of movies that come out in theatres. We must understand that movies aren’t simply just an entertainment factor. Being the most popular media, they have the potential to hone the minds of so many people out there. The standards of Cinema set the standards of people, and we, as viewers must be open to this side of the story too. If we want to watch quality movies, then we have got to start supporting them. Moviemakers are artists too, in a way. They create art for us to witness and appreciate, and if we don’t do that, then quite naturally, they look for other betterments regardless of their whims. So think hard before you step out to watch a movie, before you take that cash out of your wallet to buy movie tickets- because it’s not just a movie you are going to watch. It’s a moral forte for which you, and only you, are the liability. - By Vilani Senthamil

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CINEMA

IMTIAZ ALI ON HIS VIEWS ON CINEMA, HIS LOVE FOR THE MOUNTAINS AND TIPS FOR BUDDING FILMMAKERS

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Imtiaz Ali can be accredited for showing us the spiritual path of modern day love and relationships, through the medium of his films. To his actors, he has given memorable characters to pride upon and to us, cinema goers, he has given us the majestic views of the nature, the soul-stirring music which is effortlessly combined with a story that sinks with us, forever. Long Live Cinema, got the chance to interact with the dynamic personality, on his views on cinema, his love for the mountains and tips for budding filmmakers of our generation.

As a filmmaker you have come a long from Socha Na tha to Highway, what do you think could have been the reason why your films are being accepted by the masses and the classes?

So it must have been a long journey for you? Not a long, but an interesting journey.

I feel that there’s not a significant or a prime reason why I would want to make a film. I make films that appeal to me. Stories that I feel close to.

Your films depict the love for beautiful places, especially the mountains. Could you share about your connection with the mountains?

Your films narrate the stories of individuals who meet each other on a journey. As a writer, when you are penning down a script of two different characters, how do you get the inspiration to sketch characters like Mahabir Bhati, Jordon, Geet Dhillon?

I do love the mountains…I feel that they have a spiritual mystery to them. To me, they are like living people. I find my characters in the mountains. I feel that they are an imaginary character. I am from Jamshedpur, which is a hilly place. As a child, I used to go to Kashmir with my family. That’s when my fascination for the mountains began.

No. It’s instinctive. I imagine my characters and make them as closer to reality as possible. It comes naturally for me to write characters. Of course, they are loosely inspired from the people I have met in life or have taken inspiration from. Who are your favorite filmmakers from the current lot? Difficult to admire as they are close friends. I like the films of Shyam Benegal, Bimal Roy, Raj Kapoor, Guru Dutt. But, among the current generation, I am fond of films made by Raju Hirani , Anurag Basu…But then again they are friends. Could you share about your struggling days in Mumbai? How was it like to adjust to the fast-pace lifestyle of Mumbai? What made you continue with your dreams of making film? I came from a small town where it was difficult to even admit “I want to become a filmmaker”. But when I came to Mumbai, I started off in the profession by employing myself as an executive producer in television, and then I eventually became the creative director and ultimately chose to direct films.

What is your favourite travelling destination? Kashmir. What made you think of adding the Kabir Bhajan “Heera so…” in Highway? Also, what kind of music do you prefer to listen to? What had happened was I wanted a song for the situation in the film when A.R. Rahman recommended this appropriate piece to me. It instantly connected to me and I felt that it was an apt song for the situation depicted in Highway. What kind of music do you personally like to listen to? Personally, I don’t always listen to music. I can’t listen to it for long. But I casually listen to Qawwalis or Western Music. Do you find yourself as an outsider to the glamourous world of Bollywood? I felt like an outsider to any existing group. I have been

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CINEMA

brought up in a different environment and I must say that the film industry has always been open to outsiders. As an outsider, I have received a lot of love and respect from the industry. I will always be thankful to the film industry for it. Do you think it’s necessary for a filmmaker to be an outgoing personality in today’s world? This is particularly in reference to the visible appearance of filmmakers on popular reality shows like Comedy Nights With Kapil. Not necessary. You can choose to be a shy person and still make films and do good work. For instance, Aditya Chopra prefers not to make an appearance in front of the media yet his films are doing such fine business. Well, when it comes to me, I go and have fun on the reality shows. As they say, when in Rome, do what the Romans do… Do you give importance to the technical aspects of filmmaking, while watching a film? No, never. When I am watching a film I am totally observed in the story as an audience. I prefer to watch it as a “film viewer”. You see, I must have seen around 5,000 films to be able to make 5 films on-screen. So, when I am watching a film, I like to watch it as a part of audience. What is the relevance of short-filmmaking in today’s time?

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How can it helping budding filmmakers? You see the Biggest Film Directors from Hollywood came from the background of short-filmmaking. They were all short-filmmakers before they made it to industry. This certainly helps in launching forward the new talent in the industry. Your film gets recognized and it certainly helps in moving forward in your career path. Does assisting an established filmmaker help an aspiring filmmaker? I am sure it must be of some benefit. I don’t really know as I have never assisted any director. What’s next after ‘Highway’? I am shooting a film with Ranbir Kapoor and Deepika Padukone in the leading roles. The shooting of the film is going on. It is expected to release by the end of next year… An actor you wish you would have directed….? Dilip Kumar. Your all time favourite filmmaker? Bimal Roy.

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CINEMA

Among your films, which film do you think you could have directed better? All of them. If not a filmmaker, which profession would you be interested in? I would have been a Basketball player. Mumbai or Himachal? Himachal. A film that made you cry? Umm, I haven’t cried while watching any film, but I am always moved after watching Shyam Benegal’s “Junoon”.

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INTERVIEW

GOOD EDITING LEADS TO WELL-TOLD STORIES. A CHAT WITH A. SREEKAR PRASAD, ONE OF THE GREATEST INDIAN FILM EDITORS EVER!

One of the geniuses behind many critically acclaimed as well as some all time favourite films such as Dil Chahta Hai, Firaaq, Dedh Ishqiya, Fiza, Saathiya, Guru, 7 Khoon Maaf, Thuppakki, Gandhi my Father, Kerala Varma Pazhassi Raja, Morning Raga, Yuva, Raavanan, … the list is endless. His recent project, Pizza 3D, directed by his son Akshay Akkineni, released this Friday. in conversation with editor A. Sreekar Prasad on his experiences in the industry and what his work means to him. You have described on your website about how you would accompany your father (also an editor, A. Sanjivi) while he worked in a film studio. Was there any film in particular which intrigued you so much and was possibly what inspired you to remain in this line of work, for example, Bicycle Thieves inspired Satyajit Ray? Or was it something else?

of a film piece by piece, when I watch a film even today I am able to put away thoughts on technical aspects.

No, there was no single film like that. And when I was growing up I’d never considered a career in cinema either. When I was around 14-15 years things changed and I began to enjoy watching films. I’d always enjoyed reading stories, now films were telling me stories as well. As I watched my father work I was excited by the process of picking out bits from an entirety of footage to create a sequence. And though on the one hand I enjoy this putting together

The editor must have a direct connection with what is happening in the theatre. One must know how to connect with one’s target audience- what they like or dislike; how can we conne ct with their emotions.

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Besides the story, I take delight in the experience of watching films because of heroes, the way they are shown as larger than life characters. When I was young I loved the Tamil action movies especially featuring Rajinikanth.

Do you ever feel that a certain habit is coming on in the way you want to present a particular emotion or moment; that you have to fight the inertia of falling into a stereotype?

Especially while you are working with numerous films of one director. That could happen. That is why I am glad I am able to work with films on various subjects, made in different languages showing different cultures and points of view. Though I work with different directors, no two films of the same director can be the same. I like to work in films that are creatively more satisfying. Technique is the important concern here- how to convey something, and what I use for one film I will not use the same technique in a similar situation in another film. Such as the frame jumps in Dil Chahta Hai. I consciously try to make the images look as real as possible. There should be no gimmickry in editing, and he/s he does not get motifs. The cinema we

we enjoy has transparent editing- work that goes by unnoticed. The power of editing is in making a point, readjusting the screenplay in whatever way one can tell the story effectively. And the role of budget/ production concerns when you do this? Since the budget is decided beforehand, the editing is done accordingly. One must present the story well, as well as stage the star in such a manner to please his/ her fans. Of course that is just a perception of the director and editor ultimately. How much duration of the star’s footage must be kept in a sequence is a matter of discretion. Makers of films that operate from a story point of view keep in mind a niche audience. It is good that alternative/ independent types of films are getting increasing exposure these days, because that enables audiences to make more choices. While stitching together the shots, has the presentation of a star ever got in the way of story telling, or clashed with the way you thought the sequence should be presented? And how did you overcome it? Yes it has definitely happened. Especially when I have worked on Tamil and Telugu films with big stars who needed to be highlighted. Decisions are finally taken based on making, marketing and exhibition concerns. Categorizing Indian films into genres, which genre do you find it most interesting to work in? Though I have no problem working with every type of film, I like thrillers the most. The intrigue and thrill of these stories excite me. Yes it does appear that giving us surprises is your strength. For example in Ek Thi Dayan, Konkona’s character looked quite harmless most of the time, as if the step son’s fears were baseless. She is revealed quite effectively as a frightening “Dayan”. The editing depends on what is planned, and in situations like this one must play it very carefully. Too much screen time could give away the surprise and too little will not give sufficient information. Many of your films were landmarks regarding

young characters and their life stories. What is it about the Youth as an age group that first comes to your mind when you have to portray them? The youth keeps changing with every new decade. But a sense of energy is something consistent about each generation. The sort of energy levels and rashness is unique to this phase of a human being’s life. In the films, you wouldn’t notice anything particular about young characters unless you look for it. What is attempted is an elevation in the mood of the character. We try to complement the character with the pattern or style of editing. For example you will notice for Ajay Devgan in Yuva- the images are erratic, faster, energetic. They are distinct from Vivek Oberoi’s characterization. Similarly in Dil Chahta Hai- each character has a different rhythm. You have often spoken about your conversation with the Director about how the film should turn out. What kind of exchanges do you have with the sound/ music director during the formation of the narrative? For Indian films, music is very important. Because of the drama and melodrama involved, underlining a moment with music helps build bridges with the audience. The audiences are so used to background and other music now that it is an important practice to use the same. It helps to have pre-recorded music while editing the shots, but most of the time we do not have that. When there is no dialog, or when there is a particular montage trying to show passage of time or something similar, we have to imagine what the background score will be like, and we have to plan sound cuts. Sometimes we fit in rough sound. I cannot recall any significant instance of a conversation at the moment, but the director and editor have to explain their purpose to the sound designer because that part of post-production takes place after the sequences are ready. -longlivecinema.com

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REVIEW

And Then One Day by Sanchayan Deka

And Then One Day will leave you wanting for more. Calling it a memoir will not quite explain the frankness and the absurdity of bravery Naseeruddin Shah has penned down. The book traces his controversial attitude and a saga of offbeat brilliance that is him. He is considered to be one of the finest actors in India and the book packs a powerhouse lesson for the young and learning. Shah is explicit, straightforward and many believe he will knock on a few closed doors in the industry. Shah is clearly not a people-pleaser. And Then One Day is not about to brew up a scandal or fuel unimpeded storms. It took him a decade to know he could publish all that he had been writing, so he never targeted at publishing. He comes face-to-face with his tryst with Parveen Murad, his first wife who was almost double his age when he married her, and abandoning of infant Heeba later on. He narrates his struggles and doesnâ&#x20AC;&#x2122;t flinch from the mention of infidelity. The book balances a grounded Shah who rises to stardom with some 250 films and a youngster fighting his way through the nooks and corners of the grey industry. The book also talks about the relationship Shah shared with his father and how his only conversation with him was next to his grave. He cherishes his two sons Imaad and Vivaan who he has dedicated the book to too. Shah is seen trying to establish the father-son relationship he never had, with his sons. Shah talks strongly about the lack of good cinema in Bollywood and importance not given to story-telling. He emphasizes on how even while aping the technological wonders of western cinema-making, we are still puppeteers of a Broadway we think we will someday achieve. Shah lashes out on mainstream cinema where honing of bodies (and not minds) are pivotal.

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After Ramchandra Guhaâ&#x20AC;&#x2122;s approval on the quality he was trying to express, Shah gave publishing it a green light. Still not entertaining the idea of promoting commercial cinema, Shah will leave you awestruck for the simplicity that is this great Indian actor, for with talent, comes responsibility.

THE

VERDICT!

With reviews flying haywire across the net right after (or sometimes before!) the release of any movie albeit local, national or international- we saw no reason whatsoever in adding more reviews to the pile. So here’s a list of all the popular films seen in theatres this month, with our very own predicament for each. Now with just a glance, you can decide for yourself if you want to catch the movie or not!

MOVIE

STORYLINE

RUNDOWN

Adventurer Peter Quill finds himself the object of a bounty hunt after stealing a mysterious orb coveted by Ronan, a powerful villain with ambitions that threaten the entire universe. When Quill discovers the true power of the orb and the menace it poses to the cosmos, he must do his best to rally his ragtag rivals for a last stand-with the galaxy’s fate in the balance.

Fun and goofy, accompanied with amazing visuals – this one works well and you’ll find yourself walking out of the theatre with a fat smile across your face.

When Thomas wakes up trapped in a massive maze with a group of other boys, he has no memory of the outside world other than strange dreams about a mysterious organization known as W.C.K.D. By piecing together fragments of his past with clues he discovers in the maze, Thomas hopes to uncover his true purpose and a way to escape.

A dark movie, with a refreshing plot and a strong climax- it’s a wake up call for many taken up by the sci-fi craze.

Faithful remake of Knight and Day, the storyline is exactly the same. A young bank receptionist gets mixed up with Rajveer Nanda, a spy who has a mysterious background and the movie unravels into a series of run and chase episodes.

It forever remains a mystery why Bollywood would remake movies which didn’t work at all in the first place. Needless to say, you must feel really proud if you have sat and endured the film without walking out!

It’s a romantic story of how opposites attract, when a vibrant lady meets the silent and disciplined Rajput prince. With Disney involved, you can guess the movie ends on a happy note.

Light hearted and fun, this movie simply shows that a romantic comedy if taken with accurate doses of humour and romance, makes a mark no matter how cliché the storyline is.

VERDICT

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STORYLINE

RUNDOWN

The film is a drama focusing on human tragedy and revolves around a character called “Haider” who wants to avenge his father’s murder at the hands of his uncle.

Inspired from Hamlet, this poetic movie is brave and is sure to leave you in deep though long after you leave the theatre.

The action thriller is about how a young man gets into a whole lot of trouble in a foreign country.

It is an out and out commercial film, that just fails to deliver.

The plot depicts reality in it’s rawest form. A tale of two friends who become victims to a political scam, and how they realise what they have gotten themselves into after its too late. It talks about how political parties take hold of the unsuspecting minds of people in the lower rungs of the society, for their own selfish reasons.

It’s a subtle mix of politics, poverty, friendship and romance that evokes strong sentiments from the viewers.

MOVIE

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VERDICT

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BOOKSLA

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AUGHTER LATTERLY, TELEVISION SERIALS ARE LITERALLY TAKING OVER EVERYONE’S LIVES. ALL EVERYONE IS TALKING ABOUT IS WATCHING THAT LATEST SERIES OR CATCHING THAT HILARIOUS EPISODE, AND IT SEEMS LIKE BOOK-LOVERS HAVE DISAPPEARED OFF THE FACE OF THE EARTH. HAS THE ENTIRE CONVENTION OF READING NOVELS JUST MELTED AWAY?

Sighting some of the television serials that top the charts, ‘Friends’, ‘Two and a half men’ and ‘The big bang theory’ are probably the ones that immediately pop up in your head. Of late, the idea of escape is switching on the television, tuning in to an entertainment channel and engrossing in the utterly trivial comedy of two to three characters flimsily tripping on each other. Sure, ‘The Game of Thrones’ and ‘Sherlock Holmes’ serials are quite gripping, but then again, they were adapted from their precedent hit book series. Of course, it would be tolerable if the trend in some way was a healthy one, but the term ‘healthy’ doesn’t come even remotely close to this particular fixation. The potency of concentration on anything at all is severely downsized, and the spell of interest, even more so. Apart from this, you move toward playing the game of the westerners, since most of these serials originate from there, which is completely aberrant from your cultural praxis.Books like ‘The Lord of the rings’ or ‘Harry Potter’, that can pull you into the world of one imaginary character and keep you rooted in that fictional world long after the story is complete, are not even in the picture anymore. Neither are the works of authors like Jane Austen, Erich Segal, Cecilia Ahern and Nicholas Sparks, so heart wrenching that they leave you weeping like a toddler. Or book series like ‘The Shiva Trilogy’ from our very own native, which keep you waiting for years together keeping in mind the exact storyline in all its detail and you longing to discover the key to all those unanswered questions. Be it fiction, romance, mystery, or adventure, there is no field that is void of a prepossessing novel. Is it in any way fair for novels to be bequeathed by these serials and their half-baked storylines? With the birth of every new television serial, comes the death of every novel that has ever made history. Gone are the days where you snuggle into your sofa after a long day of work, with a huge mug of insanely good-smelling hot coffee and get swallowed up by the much more intriguing world of a novel, completely forgetting about your indubitably mundane everyday life. Agreed, these serials are gut-busting, with the slapstick humor of a bunch of witty characters that you grow to love, and possess a profound meaning in their own way beneath that frivolous plot. But at the end of the day, can they comfort you like the dog-eared, yellow and worn out pages of a good old novel?

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