KANNAMMA - SONG - LYRICS

 

KANNAMMA LYRICS - TELUGU

కడలి పై వెన్నెల

పుడమి పై కుసుమమై

పుసెనుగా ఓ రూపమై

నువ్వే గా కన్నమ్మ

వేకువ లో మిహిరానికి

వేచి చూసే రేయికి

వెలుగు చూపే తొలి కిరణం

నువ్వే గా కన్నమ్మ

LYRICS TRANSLATION IN ENGLISH

Moonlight on the sea

Has blossomed as a flower on earth

As you my beloved Kannamma 

Like the night awaits

For the first rays of dawn

The one who gives light as first ray of sun

Is my beloved Kannamma 

JO LAALI - SONG - LYRICS

 

JO LAALI LYRICS - TELUGU

కలలెన్నో... కన్న మా కళ్ళ కే

కనుపాపవయ్యావు నీవే

ఊహల్లో ఊగేటి మా ప్రేమకే 

రూపానివయ్యావు నీవే

పదిలంగా పది నెలలు

ఒదిగొదిగి ఉన్నావుగా

ఇక చాలు ఆ వెతలు

నిదురించు మా పాపవై

జో.. లాలి జో.. లాలి జో.. లాలి జో..లాలి

ఎంతో యాతన ఎంతో వేదన

అనుభవించిన నీవే 

ఎదురుచూపులు మా పడిగాపులు

మైమరిపించిన నీవే

మృదువైన... కదలికలు మేమే తిలకించగా

మధురంగా... సరిగమలు నీకే వినిపించగా

జో.. లాలి జో.. లాలి జో.. లాలి జో..లాలి ।।4।।

SEASONS

Seasons come and go
They don't last that long
And wait for us to write
That seasons song
Winters are cold, Summers are warm
Monsoons are moist, Autumn is calm
They do what they are meant to
Each year without any qualm

SAAMNE TU - SONG - LYRICS

 SAAMNE TU - SOUNDCLOUND LINK

SONG LYRICS

Saamne Tu Aaye Toh

Saans Tham Sa Jaaye Toh

Saare Sapne Sach Hue Tab

Saavan Yahi Hai Lage Ab

Sang Tera Rahe Jab

Saathi Tum Ho Kahe Mere Lab

Tum Hi Ho Meri Chaandni

Tumse Hi Hai Meri Har Raat

Tum Hi Ho Din Ki Roshni

Tumse Hi Hoti Hai Meri Har Baat

Saamne Tu Aaye Toh

Saans Tham Sa Jaaye Toh..

RRR (2022) - TELUGU

 

A movie that's made with good visuals and wonderful music but lacks emotional depth.

There are many highs throughout the film, but they didn't move me much. Perhaps, I felt it was a bit fabricated for my liking. I felt like many cinematic liberties were taken for enhancing the drama. Establishing friendship then a conflict between the two lead characters and finally a happy conclusion, it felt like manipulating the drama for keeping the viewers engaged. Having said that, in totality, it's definitely worth watching once but we can get back to some well-shot scenes multiple times.

I loved the acting of the leads especially NTR Jr who displayed a range of emotions and hit the chord perfectly every time. I wish he wins accolades and awards the world over for his performance. The scene when "Komaram Bheemudo" comes made me extremely sad and the way it was acted by NTR made me cringe and also tear up.'

I loved the lyrics of "Komaram Bheemudo" and hats off to the lyricist 'Suddala Ashok Teja' for doing a wonderful job in keeping the words rooted in pure Telangana dialect and yet conveying an emotion of being born for mother earth.

The way the scenes were written especially the usage of animals around the interval was a surprise and kind of gave me goosebumps too, and I wish there were more such intelligent scenes.

I watched it in IMAX and could make out the digitization of animals, the train even large gatherings of people. Aesthetically, I loved "Bahubali-2" more than this film in terms of Visual Effects. 

Music is one thing that I loved in this film and I shall be hooked to a few songs for a very long time while the song "Komaram Bheemudo" shall be on my playlist forever. 

Overall, a definitely good one time watch in theatres. A 3/5 from me.

THE CORE OF THE TEACHINGS BY J KRISHNAMURTI - MY INTERPRETATION IN TELUGU

"సత్యము"  అనేది మనిషికి ఏ వ్యవస్థ ద్వారానో , లేక మతం, సిద్ధాంతం, పూజ లేదా కర్మ ద్వారానో  తెలియదు.  ఏ తాత్విక జ్ఞానం లేదా మానసిక చర్య ద్వారా కూడా సత్యం బోధపడదు. "సత్యము"  అనేది తన ఆలోచనల సమూహాన్ని, తన సంబంధాలను అద్దం లాగా చేసి వాటి పరిశీలన  ద్వారా, తన మనస్సులోని విషయాలను అర్థం చేసుకోవడం ద్వారా, విచక్షణ లేదా స్వీయ పరిశీలన ద్వారా తెలుసుకోవాలి. 

మనిషి తనకు తానే రక్షణ కోసం మత, సామాజిక, రాజకీయ, వ్యక్తిగత కంచెలను, గోడలను నిర్మించుకున్నాడు. ఇవి చిత్రాలు, చిహ్నాలు, నమ్మకాలుగా వ్యక్తమవుతాయి. ఈ చిత్రాల భారం మనిషి ఆలోచన, అతని సంబంధాలు మరియు అతని రోజువారీ జీవితం పైన అధికారం చూపిస్తాయి. ఈ చిత్రాలు మనిషిని మనిషి నుండి వేరు చేయడానికి, మన సమస్యలకు కారణాలు. జీవితంపై మనిషి అవగాహన ఈ చిత్రాల నుండి అతని మనస్సులో ఇప్పటికే ఏర్పడిన భావనల ద్వారా రూపొందించబడింది. 

మనిషి యొక్క స్పృహ, వివేకం తన అస్తిత్వానికి, ఉనికికి ఆధారం. సాంప్రదాయ అనుసరణ ద్వారా అతను పొందిన పేరు, గౌరవం మరియు సంస్కృతి పైపై మెరుగుల వ్యక్తిత్వం. మనిషి యొక్క ప్రత్యేకత సంప్రదాయ అనుసరణ లో లేదు, అతని స్పృహ లో దాగి ఉన్న విషయంలో  ఉంది. అంటే ఎప్పుడు అయితే చిత్రాలు, చిహ్నాలు, నమ్మకాలకు మనిషి అతీతుడుగా ఉంటాడో అప్పుడే పూర్తి స్వేచ్ఛ ఉంటుంది, ఇది మానవాళి అందరికీ సాధారణం. కానీ సాంప్రదాయ అనుసరణకి, కట్టుబాట్లకు మనం బానిసలం అయిపోయాం. సాంప్రదాయం లో ఒక హాయి ఉంటుంది, "సృష్టి ఎలా సంభవించింది?" అనే ప్రశ్నకు "దేవుడు" అనే సమాధానం హాయినిస్తుంది. ఆ సాంప్రదాయపు హాయిని త్యజించి నప్పుడే నిజమైన స్వేఛ్ఛ దొరుకుతుంది. కానీ మానవాళి నుంచి మనం మానవ మంద అయిపోయాం, దిగువ జీవులం అయిపోయి, ఆ సాంప్రదాయపు హాయిలో కాలం గడిపేస్తున్నాం.

స్వేచ్ఛ అనేది ప్రతిచర్య కాదు; స్వేచ్ఛ అనేది మనం ఎంచుకునేది కాదు. నేను స్వేచ్ఛగా ఉండాలి అనుకున్నాను కాబట్టి స్వేచ్ఛగా ఉన్నాను అనేది మనిషి యొక్క భ్రమ, నటన . స్వేచ్ఛ అనేది ఒక నిర్దిష్టమైన దిశ లేకుండా ,  ప్రతిఫలం ఆశించకుండా, శిక్షకు  భయపడకుండా జరిగే స్వచ్ఛమైన పరిశీలన. స్వేచ్ఛ అనేది మనిషి చివరి పరిణామం కాదు, అతని ఉనికి యొక్క ప్రతి దశలో ఆలోచనలో  ఉంటుంది. నిశితంగా పరిశీలిస్తే మనలో స్వేచ్ఛ లేకపోవడాన్ని మనం గ్రహిస్తాం.

ఆలోచన అనేది సమయం. ఆలోచన అనేది సమయం ఇంకా గతం నుండి విడదీయరాని అనుభవం ఇంకా జ్ఞానం నుండి పుట్టింది. సమయం మనిషి మానసిక శత్రువు. మనం  చేసే ప్రతి పని, అనుభవం నుండి వచ్చిన జ్ఞానం మీద ఆధారపడి ఉంటుంది. కాబట్టి మనిషి ఎప్పుడూ గతానికి బానిస. స్వేచ్చ అనంతం - ఆలోచన ఎప్పుడూ పరిమితం కాబట్టి మనం నిరంతరం సంఘర్షణ ఇంకా పోరాటంలో జీవిస్తాము దాని వల్ల మానసిక వికాసం లేదు. మనిషి స్వీయ ఆలోచనల కదలిక గురించి తెలుసుకున్నప్పుడు, అతను పరిశీలన చేసుకున్నప్పుడు మాత్రమే ఆలోచనకి - ఆలోచించే వాడికి,  గమనిస్తున్నవాడికి - గమనింపబడే వాడికి , మధ్య వ్యత్యాసం చూడగలుగుతాడు. 

గతం లేదా సమయం యొక్క ప్రభావం లేకుండా అంతర్దృష్టి ఉన్న స్వచ్ఛమైన పరిశీలన మాత్రమే స్వేచ్ఛ ని  ఇస్తుంది. ఈ కాలాతీత అంతర్దృష్టి, మనస్సులో లోతైన, తీవ్రమైన పరివర్తనను తెస్తుంది.

సంపూర్ణమైన నిరాకరణ అనేదే సానుకూల పరిణామం. మానసికంగా సైద్ధాంతికంగా మనల్ని మలిచిన - సాంప్రదాయాన్ని,  గతాన్ని నిరాకరించినప్పుడు మాత్రమే నిజమైన ప్రేమ, కరుణ,  మేధో సంపత్తి కలిగి స్వేచ్ఛని అనుభవిస్తాం.  అప్పుడే సత్యాన్ని గ్రహిస్తాం. 

THE PHOENIX PROJECT

 

Thanks to my boss and best buddy HARI SHANKAR for recommending this book. It's a wonderful read for IT Professionals in general and those involved doing DevOps in particular.

This book is like an Ayn Rand novel in which the protagonists Howard Roark or John Galt are giving lectures and work on DevOps, ITIL LEAN MANUFACTURING. Well, Ayn Rand is my favorite author hence the reference.

This book is about the most important project named PHOENIX PROJECT in PARTS UNLIMITED company

Below figure represents the cast of the company in which the protagonist BILL PALMER has become the VP of IT Operations much against his will and this book is about how he manages daily activities and with the help of his colleagues and bosses brings the culture of DevOps into IT Operations and helps the company and turnaround from a hopeless state back to a profitable state.

Also to mention that the cover of the book gives each character an avatar

Takeaways : 

1. The concept of a work center that is made up of four things and each are equally important:

• The machine 
• The man
• The method
• The measures

2. THE FOUR TYPES OF WORK

When Bill is struggling to understand what is going wrong within his organization, he is taken under the wing of what appears, at first, to be an eccentric mad-man but ends up being a voice of reason (represented by a character named Eric). He explains that Bill doesn’t truly understand what work is. Furthermore, Bill doesn’t understand that there are four types of work. What are these four types of work?  

Business Projects

These are initiatives that directly add value to the business, such as adding new features to increase growth or capture market share. This “work” comes as a result of the organization defining its objectives and thinking about what it takes to accomplish those objectives.

Internal IT Projects

These projects are those which are needed to either support or enhance the business projects mentioned above, such as the internal management dashboard.

Changes

Changes can be projects in and of themselves and are generated as a result of working on the two kinds of work above, that is business projects and internal IT projects.

Unplanned Work

While the 3 kinds of work above are types of planned work, there exists a fourth category of work called unplanned work. This work results due to operational incidents and issues, or due to the unforeseen or unplanned consequences of the first 3 kinds of work. Working on unplanned work comes at the cost of working on planned work, and is sometimes referred to as “anti-work” because it prevents us from working on meaningful tasks. 

3. THE THREE WAYS OF WORK

Once the types of work have been identified, they can be minimized and mitigated by following The Three Ways.

The first way is about the left-to-right flow of work from Development to IT Operations to the customer.

The second way is about the constant flow of fast feedback from right-to-left at all stages of the value stream.

The third way is about creating a culture that fosters two things: continual experimentation and understanding that repetition and practice is the prerequisite to mastery.

Identifying the kinds of work we do and implementing the Three Ways to elevate how we engage with our work is the key takeaway of this book.  

A book is hard to be justified in a tiny blog post, but I’m hoping you see enough wisdom in The Three Ways and how they apply to you. 

A grouse if I had any was that the time spent on the overhaul of the ways of working is too less. The change that they're able to achieve in the book in the given timeframe is, well, quite unrealistic. Most companies don't face extinction and are not forced to relook at the way services are delivered. And if they do, changing the whole value stream and culture of a company is probably something that takes years and not weeks and months (if we talk about a normal mid-sized company). Having said that, I very much like and appreciate the thinking model behind the novel, as expressed in The Three Ways was startling.

MY FAVORITE QUOTES FROM THE BOOK: 

“Improving daily work is even more important than doing daily work.”

“In any value stream, there is always a direction of flow, and there is always one and only constraint; any improvement made anywhere besides the constraint is an illusion.”

“A great team doesn’t mean that they had the smartest people. What made those teams great is that everyone trusted one another. It can be a powerful thing when that magic dynamic exists.”

“repetition creates habits, and habits are what enable mastery.”

“Left unchecked, technical debt will ensure that the only work that gets done is unplanned work!”

“As the saying goes, if your colleague tells you they’ve decided to quit, it was voluntary. But when someone else tells you they’ve decided to quit, it was mandatory.”

1917 (2019) - ENGLISH

                                                

The best film of 2019 technically. A must watch for those who love camera work.

Brilliantly shot and edited to appear as a single take, every camera movement is intelligent and serves a purpose as the mission unfolds.  The edits are camouflaged behind the camera work which is combined with precise time blocking.

The performances of the two young leads Dean-Charles Chapman and George MacKay are engaging, with both leads swapping the narrative focus from each other in meticulously planned storytelling beats. The mission is the key focus as the two soldiers make their way through increasingly dangerous situations. Along the way, they encounter key army personnel, played by a cameo row of British actors, including Andrew Scott, Colin Firth, Mark Strong, Benedict Cumberbatch, and Richard Madden who put in brief like a single frame, but impressive performances

The cinematography by Roger Deakins is mesmerizing, choreographed, and executed to perfection around the horrific elements of war. Some of the frames are visually breathtaking, and demand to be revisited to absorb everything they have to offer. Thomas Newman’s score escalates the experience of soaring heights. This film could easily sweep up all the technical awards at the Oscars this year. All these factors firmly put director Sam Mendes in the upper echelon of directors currently working today, if he wasn’t there already. ‘1917’ is tense, captivating, meticulous, horrifying, and stirring – an exceptional achievement in filmmaking.

A 5/5 for this film.

RAAT AKELI HAI (2020) - HINDI

A classic whodunnit mystery that’s well performed and meticulously directed.

When it comes to writing a whodunnit story, the biggest aspect is the concealment of the motive of the murder until it’s revealed. This film did that job very well. Till the climax neither the murderer nor the motive was revealed although it’s sprayed all over the film that there are politics involved. For 2 and a half hours it just went on and on without giving any breathing space and kept me hooked. So that’s definitely a winner.

The acting by the ensemble cast is just perfect the casting is done nearly perfectly. A butcher looks like a real butcher, the policemen look real and even the maids are near perfect. Kudos to the casting director and a big thank you for selecting the OTT platform superstars Nawazuddin and Radhika Apte. These folks are ruling the roost I must say be it ‘Sacred Games’ or ‘Ghoul’ or this exclusive Netflix film.

Editing is a big factor that differentiates a great mystery film from a mediocre one because you got to know how much to show and when to cut to keep the suspense going. This film does not let us down in editing. Now, the editor, the master Sreekar Prasad. He is just getting better and better I guess.

The screenplay is tight and the direction is classic. There is a Hitchcock in there and I could see references for David Fincher too. So I must say this is a fine debut by Honey Trehan and hope to see more from him.

The use of lights just amazed me with not one moment having under or overly lit. They are just right setting the claustrophobic mood perfectly.

All in all, this is perhaps the best of the year so far from Hindi Cinema. Now the sad part of these whodunnit stories is that you rarely watch them a second time because once you know the mystery you may not like to revisit. 

So it’s a terrific one time watch that demands 4/5.

GULABO SITABO (2020) - HINDI

A charming film that conveys a strong message subtly embellished with fun and realism. It's a satire that's realistic and hilarious.

First and foremost, there needs to be a mention of the setting and backdrop. The Haveli (Mansion) named Fatima Mahal in Lucknow becomes the central character of the film, it's contrary to the modern world. It stands tall against the forces of modern materialistic and greedy beings like archeologists and lawyers albeit the collapsing walls. Also greedy are the two main men Mirza played by the ever-reliable Amitabh Bachhan and Baankey played by the flagbearer of new-age Hindi films Ayushmann Khurana. I will talk about these two in a while.

As if the backdrop and the two main characters are not, it's the smart women who outsmart these men and runaway with few jaw-dropping moments. The ending is smartly done by the smartest lady in the film. Not just the octogenarian Farukh Jafar the smartest I believe is the writer Juhi Chaturvedi. Juhi has a knack for the low-key realistic stories and the way she brought this story to life is worth many accolades.  

This is the fourth film I have liked from this writer-director combination. The others being Vicky Donor Piku and October. Hope that Shoojit Sircar(director) and Juhi Chaturvedi(writer) give us many more such films. Shoojit's placing of scenes and setting up the mood and getting the right emotion is pretty perfect. There is never an off-beat moment in the film and that credit I give to the director. I believe he is getting better at his craft. 

The cinematography is worth a mention, the ambiance set up the mood. Although I watched this film at home it made me travel through the streets of Lucknow and took me to almost every corner of the haveli. The detailing is just right and blends well with the narrative and the usage of light is wonderful. Tungsten filament lamps, torches, and neon street lights, they give a strong feeling that there is still a long way to go for us as a country. Also, a mention to Vijay Raaz (Gyanesh) and Brijendra Kala (Christopher) who have done a fabulous job. Indeed all the artists have done wonderfully well.

Now, getting back to the two main characters - Mirza and Baankey who fight relentlessly and never give up a fight are the amazing aspects of this film. They hold the film and yet are split apart by their own vested interests. They own each and every frame they are in. When both are in one scene then it's electric. Thanks to the team for bringing these two great actors together in a meaningful film. 

The title is taken from the puppet show "Gulabo Sitabo" and it's wonderful to see that puppet shows are still being referred to albeit as a metaphor. 

A definite watch. A 3/5.

MARRIAGE STORY (2019) - ENGLISH

A movie that moved me for the way it depicted contemporary relationships.

Marriage is part of life but family is definitely life. This is what I believe. Now the definition of family will differ from person to person. For a few 'family' includes their parents and for a few 'family' to begin after marriage. But once we decide what is family, we hold on to it, despite our own flaws or the spouse's flaws. Family means being there for each other and holding on what we made.

It is definitively one of the best productions I have ever seen by Netflix and on Netflix. Thanks to the director Noah Baumbach and the actors Scarlett Johansson and Adam Driver who have given superlative performances. Adam Driver brought tender nuances to his highly self-centric character that made his performance stand out and kudos for such portrayal.

Also, I am appalled and astonished by how biased the system is for women. Empowering women does not have to weaken women but in reality the world over, men got to pay a lot more than women do. Just another day when my friend said 'Separations are tricky', I didn't get it fully but now after watching this film, I got it to an extent.

The separation ordeal between Nicole (Scarlett Johansson) and Charlie (Adam Driver) is extremely realistic and indeed highlights today's existing reality. That part although, the most sensitive in the film was also the most hard-hitting. Applause to the director for the way he handled this.

In one dialogue, Nora the lawyer of Nicole says that "The idea of the caring father who dedicates to uprising children and enabling his partner to follow a career is a very recent one as recent as last 30 years" And yet surprisingly, they got to pay hefty sum to the women and this I believe is the take away of the film. This film is a critique of the current legal system for divorce and the way it's all played out is interesting.

The pace is a bit slow and I understand that the content demands it that way. Apart from the pace, I loved all aspects of this film.

A 4/5 for a superb drama on marriage and the legal system. 

ONCE UPON A TIME IN HOLLYWOOD (2019) - ENGLISH

Tarantino is back to doing what he does best, taking time to build and end with a bang.

This is a Tarantino film and there is no doubt about that. The shot composition, the character development, the eccentricities within normal people and then there are guns and killings. This is a really well-made film nevertheless, but for an average filmgoer, it may turn as a tad slow affair as it takes a lot of time to build and eventually, it leaves the viewers on the edge.

The history is known as what happened to Sharon Tate (played by Margot Robbie) and who has done it. The notoriety of Charles Manson and his family is also known through various documentaries, yet I went to watch the film to see Tarantino's take on the history and boy he delivered in his own inimitable style. Like it or not, he made the film in his way and I salute his courage.

The film is structured with a few conversations that are terrific and memorable. Cliff Booth (Brad Pitt) paying a visit to Mason's family (the hippies), Rick Dalton (Leonardo DiCaprio) learning how to say his lines from a young girl, these stood out in my memory and perhaps enough feed through the film.

Technically, it's superlative, the art direction to construct the period of the 1960s. The cinematography that showed the whole world of the specific period and how the landscape was then. The music oh, I always loved Tarantino's choice of songs and this film is par. If at all, I had a problem it was with the editing, some episodes felt a bit longer than needed and a few just added to length without adding much to the narrative. Acting is supreme and it was wonderful to see Al Pacino, he was just fabulous.

It's definitely a good film that has an edge like any other Tarantino film. It's a different matter that I did not get that edge. Having said that, it's one of the better films of the year. A 3/5 for this.

हर लफ्ज़ में आपका नाम

लिखने को बैठा पर कुछ लिख नहीं पाया 
क्या लिखे हर लफ्ज़ में आपका नाम जो पाया 

ज़रुरत नहीं

मुलाक़ात होती है आप से हर रोज़ ख़यालों में, आँसू ढूढ़ने की ज़रुरत नहीं 
जब भूलेंगे आपको दिल खुद ही रुक जाएगा मरने के लिए वजह की ज़रुरत नहीं 

BE MY ANGEL

The clouds hover as I speak
Over my head filled with thoughts
Of nothing but death and being weak
Come, be my angel, end my draught

JOKER (2019) - ENGLISH

The physical, the psychological and the metaphysical senses would be satisfied.

A Joker is enough for those Super Heroes (Marvel or DC). Joaquin took this character to another level. A director Todd Philipps did more than what Christopher Nolan did with "Dark Knight". It's amazing. freaky and yet a beautiful film. It asks questions on upbringing, parenting, how circumstances around influence the character of a person. It explores, how oppression can make a normal human turn into a rebel or rather a JOKER.

It's definitely not an easy film to watch, it's psychologically disturbing and yet there is deep empathy that develops through the journey of the film. The Joker while attempting to humanize the antagonist in the beginning, doesn't glorify him, it sustains a fear of what could Joker evolve into. He turns out to be a monster nevertheless. It's also a statement on unchecked illness and disturbed childhood and what effects it could have on the mind of a person and what it could lead to eventually.

The film is extremely real sans visual effects and CGI and that I thought was another best part of the film. The cinematography by Lawrence Sher brought out real times, real people, real locations and real emotions on the camera. The movie did not need any tricks to show us what if feels to be just oneself.

The character of JOKER is heavily layered in each aspect. Just the way he laughs is hysterical, funny, empathetic and sad all in a laugh. To bring such versatility to histrionics, I think no one better than Joaquin Phoenix can do. Although his performance deserves an Oscar unquestionably, I doubt he will be ever given the Best Actor Oscar, the best possible chance is to get a best-supporting actor Oscar. The reason I think so, it would set a bad precedent to award a tremendously dark character and the conservative Academy may not do so. I would be happiest if he truly gets an award.

The story has references to Batman - Bruce Wayne but not many so it's a complete JOKER film. Well, I forgot to mention Robert De Niro, he does a cameo that's sweet and memorable. Also, Zazie Beetz brought the human aspect in this otherwise dark inhuman film.

Thanks to Todd Philips for giving us a dark take on JOKER and for making us walk out of theatres with a film that's worth a watch once in a lifetime. Once you see it, it never gets out of head, it's such an impactful film.

A 5/5 for JOKER. My favorite dark film so far of the year.

PERPETUAL SPREE

So here I go, into the wind
Putting everything behind
Fly I do, into the skies
Away from the joys and cries
In this realm, I feel free
Love to make this a perpetual spree
From where I shall never come back
Just fly with freedom filled backpack
Down there, the town is full of clowns
Wearing so-called tuxedos and gowns
Up here, I don’t have to keep on anything
No-one to ask or feel for a thing
Ashes I have become, murdered by mortality
The freedom it has given from fake morality

BARFF - HINDI

Saurabh Shukla's 'Barff' is about the distinction between truth and faith.

About The Play: Dr. Siddhant Kaul is visiting Srinagar to attend a medical conference. His taxi driver Gulam Rasool, requests him to treat his ailing child. Upon arriving at the village, Doctor gets shocked as there is only one house and the rest of the village is deserted

Language: Hindi
Cast: Sadia Siddiqui, Sunil Palwal, and Saurabh Shukla
Writer & Director: Saurabh Shukla
Length: 90 minutes

VENUE: CHOWDIAH MEMORIAL HALL, BANGALORE
DATE: 13th JANUARY 2019

My Review:

A play that raises epistemological questions of truth, belief, and justification.

Although I watched it 9 months ago, the impact is still lingering on and I am guilty of not writing the review all these days. So today, I decided I must write what I feel about it.

The play is about a doctor who is asked to help his driver in the Kashmir Valley on a Wintry Night. What began as a simple conversation between the Driver and Doctor slowly built-up a lot of drama and ended provocatively raising a lot of philosophical questions. Having said that, the format is neither preachy nor philosophical, it's more drama and thriller. Things are not explicit, they are subtle and layered and that's the best thing about the play.

The writing is impeccable, it's very organic and fluid. Never did I feel that something big is going to happen till it happened. The events were as natural as they can be. It showed the vulnerability of humans, the thought process of a common man, the trepidation within each of the characters.

The set was beautiful, it was a single set with two places shown by shifting focus lights, but the simple setup was enough for this spine-chilling drama. The chills come through the writing and acting and not because of the props or set and that was wonderful again.

"What we see is not truth but what we believe is" - this is the essence. The core of the play is about questioning the faith, the belief of each one of us.

This dialogue summarizes the play

"Duniya ke saare Sach, Yakeen par khade hote hain. Aap Yakeen karke dekho, Sach apne aap ban jaata hai. Varna Sach….apne aap mein kuch hota nahi hai, Janaab!"

It's a fabulous, one of the most intriguing and highly intimate plays I have ever seen. Thanks to Saurabh Shukla for giving us a worthy time. Watch the play to believe it whenever you get a chance.

SO I SEE IN A BUS

A plethora of countenances few joyful
Looks galore hardly any soulful
Withered by the mundane and mediocre days
Battered by the busy life’s ways
Cursory gestures at the conductor's behest
Neither a contest nor a protest
I see them all and I see them in me as well
Not so different from a frog in the well
At every stop, some get down while some stay
The story of each one seems the same to convey
All alike give lifeless glares
What’s life when it’s all just empty stares

THE LION KING (2019) - ENGLISH

What's the fun in watching the same story in just live animation like real animals with hardly anything added.

Maybe if I had watched it another language, I would have had fun, but as I watched in English, I felt like a repeat. Content-wise, I didn't see any change, only the hair of Simbaa flying across the forests was the newer aspect. Experience wise, I watched this in 4D and I did not like projection. The screen was made 4:3 and each end on the right and left were shelved. Not sure if it's in PVR cinemas alone or across theatres, but it did not give me the satisfaction of viewing in a theatre.

If I have to review this, I would copy-paste my review of the original film. Few scenes were added for compliance sake, just to call it new and Beyonce's spirit song was added to the track. That is all, new in the film which was great. It's a product of toxic nostalgia, and those who love to relive their childhood may love this one, but for me who seeks new stories, this was not meant to be.

Nevertheless, it's a film made for the market for this generation kids who missed out the great animated version. Technically, this film is for sure well made, with all animals being created on the computer and the voiceovers were good too, yet the crib of nothing more continued within. Definitely not worth in theatres, I'd rather sit and watch the original online.

An average 2/5 for this old film in new technology.

Here's the link for a review of the original film.

https://braddugg.blogspot.com/2011/12/lion-king-1994-english.html

SUPER DELUXE (2019) - TAMIL

"Life is nothing but Super Deluxe" - This line stuck me after I watched the film and I believe this line summarizes the film too.

Existentialism - "humans define their own meaning in life, and try to make rational decisions despite existing in an irrational universe" 
Nihilism - "not only is there no intrinsic meaning in the universe, but that it’s pointless to try to construct our own as a substitute"
Absurdism - "a search for meaning is inherently in conflict with the actual lack of meaning, but that one should both accept this and simultaneously rebel against it by embracing what life has to offer"

I saw an element of these three philosophies in the film.

Super Deluxe emphasizes that that there is no pattern to our human lives which are a series of random events. Hence the line "Life is nothing but Super Deluxe". This is not just a film, it's a meta film that has many metaphors, analogies and extremely detailed.

Just accept the flow of events in life and exist, this is what this film conveyed me. The best part is that it's neither preachy nor pretentious. As the events unfold, the viewer's intellect is challenged and me as a viewer was so engulfed in finding patterns that how many ever I found, I still believe there is still a lot more deeper meaning.

From colors to costumes to camera angles and characters, everything is well thought and put together. The USP of the film is the merging of concepts that are perceived to be so contradictory to each other and yet making the viewers accept "that's how it is and it's okay". The Movie tells 4 stories and touches aspects like Non-Duality, Chaos Theory, Butterfly Effect, Electrons, Alien's, Karma, Schrodinger Cat and what not, this is perhaps the most detailed screenplay that gives spaces in whatever way it could to so many aspects of philosophy.

To mix profanity with philosophy, sensuality with spirituality, aliens with humans and ending with the line "The best part of life is life in itself" was beautiful.

Dialogues are beautiful but one line that stuck with me is "Edhi Thevayo Adhi Dharmam" - Whatever is the need that is right and just. Also, it brings out debate of existence of god beautifully I strongly believe that "Tokkite Raayi, Mokkite Devudu" - If you stamp it's a stone, if you worship it's god and that was conveyed with the line "Adhi Kalla Dha Saami" - It's a rock after all. This happens when one believes that god saved him and becomes priest while another says that a rock saved him.

Every actor is so damn good that I could not believe that there is so much of unexplored talent. The best story amongst the four was the one of Rasukutty (Ashwanth Ashokkumar) and Shilpa (Vijay Sethupathi). Ashwanth Ashokkumar who played Rasukutty should be given a national award for being the best child actor. I am stunned by the wisdom he displayed playing his character.

The usage of songs is so terrific that I cannot even think how "I am a Disco Dancer" kick started and ended the film. While the film can be called a visual puzzle the background score brims with nostalgic music, the visuals put with music are seductive to say the least.

It's the trailer I found so fascinating that I did not see anything like it before. It pulled me to watch the film. I went and saw this in PVR - Arena Mall, Bangalore and being a non-Tamil in a non-Tamil city, I expected that this film would have subtitles but alas, there were no subtitles. Despite my request, they could not get subtitles and that's my crib with PVR. Hence, I had to wait for this film to be released online (now it's on Netflix) to watch this film again then understand it and then write about it.

Since it is released on Netflix I am hooked to this film.

Ideology- “Nothing in the world is good or bad, it just depends upon the person who is seeing it”

I believe that every dialogue was written after reading many many books, every color was chosen with a deep meaning attached and every framed was made to convey a meaning. The scenarios are eccentric and so are the characters but to accept them as they are and each other character accepting other's as they are is something that I loved.

I accept this film as it is. I shall not rate this film, it's simply beyond greatness. Here is the trailer

To give a perspective - (Sorry, I am revealing plot lines now and this is a spoiler)

Would you be okay, if your wife slept with her ex-boyfriend?
Would you be okay, if your mother is an adult film actress?
Would you be okay, if your father has become a eunuch?
Would you be okay, if your friend became an alien?
Would you be okay, if what you believed as god, is just a rock?

It's not worth conveying anything to those comforted by their own prejudices.

So those who are not okay with any of the above questions and are comforted by their own judgement and expect life to be in a certain way, then this film may not be for them. 

TOY STORY 4 (2019) - ENGLISH

Toy Story has one of the finest friends for me in the name of "Woody" (taken from the film's theme song - You Got A Friend In Me) and this is another great installment of the franchise.

The film begins with the song "I Can't Let You Throw Yourself Away". It evokes my emotion of how I can't let this film franchise away. The feelings I have for this series, which began nearly a quarter century ago with four terrific installments are something special. The series has run from the level of "great" to "perfect" and the fourth installment keeps up with that.

The first film of the series, "Toy Story" was my first animated film in the theatre and there are a lot of memories that rake up each time I watch a film from this franchise. I must also say, that I was fortunate enough to watch all the 4 installments in theatres. Personally, there is always an excitement attached with fear of this franchise, excitement is understood but the fear comes because the bar it has set is so high that I am afraid it each will it be as good as the previous film. Touch wood, so far this has been a great journey. I believe the same anxieties I have gone through were coming out of the film in the character "Woody" and that in itself was surprising and also enthralling.

Is "Woody", still the same and excited as ever, or does it becomes just another boring toy that does not want to be a mere plaything anymore and seek something better? Thankfully, both aspects have come good in the film, and both are etched together beautifully and seamlessly. "Woody" remains true to the character. The guy who has taught a lot about friendship, loyalty, never giving up, yet he needs a better avenue to display his great characteristics and seeks something more than being a toy. "Woody's" fear that he's become obsolete, boring, not special anymore, and otherwise incapable of holding the attention of a child is the same I have gone through and I believe, each one goes through these phases.

We give up on Toys, when we turn teens, we give on gadgets when we turn old I guess. Also, the worse is we give up on parents when we think we are capable to deal with lives on our own and we give up on so many people once our transactions with them are done. In a transactional world, this film franchise stands tall and continues to feed us life lessons on why one should never give up on those who helped them, built them, fed them and have been with them through tough times.

Very few movie series are as affable and accessible to people across all ages and cultures as this one, yet Toy Story has remained rich in the thought provocation aspect with its metaphors, subtle philosophy and words that are worth mentioning at many instances in life. "Woody" is perhaps the greatest animated character ever. Although he never changes the size, color, shape, or voice, yet always manages to stand by what he believes in and that is the true sign of a hero.

My Three Life Lessons from this film are:
1. Listen to your inner voice, it guides you in the right direction
2. Loyalty may not payback as we expect yet being loyal gives a purposefulness to existence
3. If we believe, “Yes We Canada”, then we certainly achieve (Canada is reference to character Caboom)

I am very happy that this franchise has continued to reinvent itself over a span of a time which is long enough for two generations to grow up. This I believe is the true achievement of this. My rating doesn't matter for the finest animated film of the year yet.

From me, it's a 4/5. Wish there was a little less drama and more of action, my wish only.

Here is my review of TOY STORY 3.
https://braddugg.blogspot.com/2017/02/toy-story-3-2010-english.html

GULLY BOY (2019) - HINDI

An inspiring film that is inspired by the real lives of rappers.

Never a dull moment would be tough for me to say as this film has some uncalled for subplots, which didn't add up at the end. Perhaps the subplots were there to add some lines like "Meri boyfriend se golu golu karegi toh ghoptungi na" (This is pure Mumbai accent and watch the film to get the line). I didn't like a sub-plot of Kalki (Sky) getting into Ranveer (Murad) and also the job aspect of bringing in Vijay Maurya. But apart from a few of these moments, the film is terrific.

The streets of Dharavi, the behavior of the people living in slums, the dialect of the place and the hearts of rappers are captured in a realistic manner. The ebb and flow of the film are fine, barring a few uncalled for aberrations. The writing is as real as it could get at least for the characters, the dialogues are like those we hear on Mumbai streets. It has a vibe and energy that is so infectious and so affable.

The acting is really good, loved Siddhant Chaturvedi (MC Sher), Vijay Raaz as Murad's father and also Vijay Verma as Moeen. But the heart and soul of the film is Ranveer Singh as Murad and boy, he delivered a terrific performance. He just played with ease and the comfort level he exhibited is really commendable. Murad was ably supported by an energetic Safeena played by Alia Bhatt. I loved Alia in 'Udta Punjab' and respected her in 'Raazi' and I am amazed now by her energy and the natural way of portrayal in 'Gully Boy'.

The technical aspects are great, the cinematography, the production work, the locations, the costumes and above all the music. This is perhaps a definitive and a go-to film for a rapper in India for many years to come. Ranveer Singh sang 'Apna Time Aayega' like only he could and that is currently something I fall back as I am growing over it now.

A 4/5 for a good film that is perhaps the year's best from Bollywood. 

THE PIANIST (2002) - ENGLISH

A great film on a World War Two jew survivor and not someone who is a hero or a fighter and that is unique in itself and the best thing about the film. It's as real as it could get.

The Pianist is based on the book by the same name written by 'Wladyslaw Szpilman'. Szpilman is a Polish Jew who is a Pianist in Warsaw and this film is about his survival. He survived through his own instincts, luck and stoicism and this film just showcase the same, it does not dramatize and we witness what Poland went through from 1939 to 1945.

The film does not have any urgency and takes its own time and that for me is the point about this film. I like films that take space and time to set things up. The establishment of the protagonist as the finest Pianist in Poland, the announcement of World War Two and the inhuman nature of the German Soldiers towards Jews, it's done and setup taking a considerable amount of time before the survivor story kicks in and gives us few lumps in the throat and goosebumps.

When I first watched this film, it left an indelible mark on me and even as I revisited this recently, it still feels fresh and left the same impression as it did in the first viewing. Thanks to the writing of 'Szpilman' and the screenplay by 'Ronald Harwood' there is hardly a dull moment in the film.

The acting by each and everyone is impeccable and for his acting as 'Szpilman', 'Adrien Brody' was deservingly awarded the Academy Award (Oscar). The technical departments like the Art Direction, the Sound and the casting are all pitch perfect and they transcend us flawlessly to the times of war and transport us to Warsaw.

One of my personal favorites is the usage of music and the one scene where the movement of fingers (without touching piano) is shot with Piano music playing in the background stood apart and that heart-rending scene won me over.

A 5/5 for this. Can't rate it any less a must watch for many generations to come.

STREE (2018) - HINDI

A rustic film that thrills more than horrifies.

I was happy by the end of the film, despite few illogical aspects and the existence of a devil. I was pleased to see an film set in the country side and has those characters itself. There is no camouflage and it's all given to us as it is. In villages or in rural India, there are many stories like 'Stree' being told but to bring it to the screens without much drama is a commendable effort.

Rajkumar Rao and Shraddha Kapoor did their roles well and so did all the supporting cast. Looks like the whole cast is on top of their game. The role that stood out was Pankaj Tripathi as Rudra. He brought out the original flavor of the central India and the dialect, his body language and his appearance enhanced his character and the whole film in a big way. The film comes into it's own since Rudra entered and each time he is thereon screen, a bone is tickled

The originality comes from the fact that a folklore story has been depicted without much frills and drama and in the end there is ambiguity. The only aspect of concern was the length, few moments in the second half were unnecessary I felt. It's a horror comedy that resembles the rural India in it's own fears and scares.

The camera and sound departments did wonderfully well to provide the eerie atmosphere needed for this film. The setting in Madhya Pradesh and the shoot-on-location helped a lot. The locations, the people, the environment seemed authentic adding value to us as a viewer.

This is the second outing for Pankaj Tripathi and Rajkumar Rao together after a wonderful 'Newton' and they seem to have great chemistry on-screen. It's endearing to see so many good actors together.
Despite it's flaws, it's fears and hilarious scares, 'Stree' conveys an important message and that is the icing on the cake.

I liked it when I watched it in theaters and also when I revisited it now. A 3/5 for this.

TOUCH OF EVIL (1958) - ENGLISH

One of the finest opening scenes, a film has ever got. Great from the word go.

This film directed by Orson Welles, need to be watched multiple times to understand the careful scene setup, the camera angles and the intercuts in the screenplay and how the story moves forward by characters. There is action certainly but it gels so well with the plot that it seems very organic and that's the beauty of the construction of the scenes.

The opening scene of 3 minutes that is continuous and shot with very few changes in angles, and just follows the leads is amazingly done. I suppose it's a superlative achievement in the history of cinema itself.

Orson Welles and his cinematographer, Russell Metty, were meticulous in the construction of every scene, the characters and entangled in the shots that resonate the feelings. There is a sense of claustrophobia in the film depicting that the characters are locked in their own emotions. The story although told linearly, it feels like there are scenes in a loop.

The acting and writing are top-notch. Charlton Heston (Of Benhur and Ten Commandments fame) did a terrific job in the film. I felt his performance in this film as Vargas was more accomplished than his other films. (Benhur and Ten Commandments)

The writing is great too, yet to get to the dialogue, it took me 3 viewings till date Yes, the plot is kind of labyrinth and the direction extremely calculated. So, I was engrossed in these aspects more than the story itself.

This is a great work of art and passion for sure. watch it for Orson Welles, his direction and yeah, he indeed acted too and his character of Quinlan is something that I had cherished for all its eccentricities. I am not sure if there is an ever a director who indulges in his own character as much as Orson Welles does.

A 4/5 for this and definitely a great film.

EVEREST (2015) - ENGLISH

It's about an expedition went wrong, the film went wrong too with a straightforward narration.

Although we need more such films that talk about the perils of tampering with nature, there are hardly any coming out. The so-called disaster movies are mostly about what happens when nature turns against us and this one seems no different and that's the sad part. The predictable screenplay and the no surprise narrative made this film a dull affair despite a terrific cast. 

This had an ensemble cast of Jason Clarke, Josh Brolin, John Hawkes, Robin Wright, Michael Kelly, Sam Worthington, Keira Knightley, Emily Watson, and Jake Gyllenhaal and yet their roles were written with less or no substance. Except for the cinematography which captured the grandeur of the Everest well, there is little that struck me. 

The writing is just laborious as if they wanted to make a film straight from the book. A backstory to some characters and the why was this expedition trying to be made commercial, could have been shown more dramatically. The non-dramatic narration did not work with me. 

Although I liked it, I would go back to the Everest made for IMAX in 1998. I saw that Everest in 2006 and I loved it, this Everest pales in comparison. A 2/5 for this.

96 (2018) - TAMIL

A walk down the memory lane with the first love has never been more mature than this.

To be frank, there is nothing that one can strongly dislike, but for me, the WhatsApp chat messages messed up the emotional feeling a bit. The journey overall was nevertheless beautiful.  It's a film that is emotional and drove the emotions pretty well. It's realistic, subtle and keeps the emotions clean. It never messed up once with the feeling and the love between the teenage Ram and Janu seemed genuine.

I was in school in the 90's so I could correlate to this story, although I never had a love story in school. If ever there was one, then perhaps it would be in this way I think. More of the eye and fewer words. The flashback story was beautifully done.

Above all, I loved the character development in the film. The film began with the song, there is no dialogue nothing, just as the titles ended, the film cut into a song where a photographer captures many aspects of nature. The song was beautifully shot and the music is extremely good. That song is named as "The Life of Ram" and even now, I am listening to that song. It will be in playlist forever I think. Also, never did I see the protagonist directly shown as living his profession. It's for the first time I suppose, I have seen a photographer's journey in a film through a song.

The story seemed very much of Ram till the point Janu entered. She owns the story and brings her own perspective. It acted like the perfect foil for the straightforward Ram. Janu even interprets one scene from 2 perspectives and that is also subtly placed. Felt like 'Rashomon for a scene.

Also, the journey they underwent for a night was beautifully captured in a terrific composition 'Thaabangale'. This song too will be in my playlist for a long time. Just hats off to the entire crew to take a normal story and yet make it one of the most memorable ones.

Director Prem Kumar must be credited and applauded heavily for the right cast and content. There are hardly any dull moments in this film, where mostly we here 2 people talking. Such is the strength of the writing that it would be sad if I had not loved what I saw. He succeeded in making me in fall with the film. The only glitch if any is the duration of more than 2.5 hours.

This film will definitely last as a memory in your lifetime. Thanks, everyone who worked especially Ram (Vijay Sethupathi) and Janu (Trisha). A 4/5 for this memorable film. 

CLASSICAL NIGHT WITH BOMBAY JAYASHRI AND ABHISHEK RAGHURAM

DATE : 23rd NOV 2018

VENUE : RAVINDRA BHARATI, HYDERABAD

ARTISTS : 

Bombay Jayashri (vocals) 

Abhishek Raghuram (vocals)

Ravichandra Kulur (flute)

Murad Ali (sarangi)

Praveen D Rao (keys/harmonium) 

Anantha R Krishnan (mridangam)

Ojas Adhiya (tabla)

 Yatra - The jounrey within conceptualised by Carnatic vocalists Bombay Jayashri (my Goddess) and Abhishek Raghuram , travelled through my city of Hyderabad and I was blessed to be witnessing their journey.  It was a concert par excellence, I have Bombay Jayashri's concert in 2013 but this was beyond words. I can never find any words to explain how good I felt while at the concert and even now as I write this blog.

Nonchalant notes on Sarangi began the flow in an enchanting manner. I always thought of Sarangi as a melancholy instrument that set pensive tone but the blend it brought was pitch perfect and Murad Ali was too good with the Sarangi to begin with.

The first song of the concert was  Subramania Bharati’s provocative ‘Enda Neramum Nin Maiyal’ in Shuddh Sarang  and I suppose that the raag had something to do with Sarangi. The lift was beautiful and it set the mood for what was to come through for next hour or so.

The song was followed by Marathi bhajan, ‘Tejonidhi Lohagol’, composed by the late Jitendra Abhisheki.  The raag was Lalit. Although I heard the bhajan few years back, this rendition was beautiful and brought the might of the sun to the stage on a full moon night (Yes it was Karthika Pournima)

Next came a medley of a trinity - excerpts from familiar padams Ososi (raag Mukhari), Panimati (raag Ahiri), Aligite (raag Huseni). The rendition just took the flow to a beautiful place where, I wished, this recital could go on like this. The notes chosen were slow and they highlighted the highs and lows of the compositions perfectly. 

Then came the biggest surprise, the most beautiful surprise I ever heard. Before the surprise was the mellifluous prelude of the flute that set the mood for the joy that would follow. The suprise was 

‘Bhagyada Lakshmi Baramma’ composed in a new bottle with raag Nand. It was full of life, bubbling and cheerful. I have heard the composition many a time before but never with such jest and adulation. I felt blessed to have heard this rendition live.  Abhishek Raghuram flirted with the notes beautifully and it felt like a composer was making love with the composition he was flirtfully yet meticlulously rendering notes with all the passion expressed in his voice.

The suprise continued with the blend of spring raag Bahar and monsoon raag Malhar, for the composition of ‘Kamala Vadane’. Although a Carnatic composition, this piece was rendered more in the Hindustani in familiar Adi talam. The flute and the sarangi followed, with the interlued of the harmonium adding it's flavor too. 

This rendition was followed by the paddhati of 'Tani Avartanam', the conquest between the percussionist for a good 10 minutes without any break or pause. Both the percussionists Anantha R Krishnan (mridangam), Ojas Adhiya (tabla) were relentless and also breathtaking sans pause.

To close the concert, 'Krishna nee Begane’ was knitted with Lalgudi Jayaraman’s tillana. and Bankim Chandra Chatterji’s ‘Vande Mataram’ closed the concert. 

And then, came the applause that had been heard many a times all through this great concert and I stood there bowing my head in salutation to the God and Goddess and to the heaven, the stage that has given me divine pleasure. It's a night that I shall never forget. 

What struck you throughout the concert was the singers’ brilliant sruti management, a Herculean effort for performers, especially when one is a male and the other, a female voice. This not only involved vocal adjustments here and there, but also at times, for one to sing in the lower octave in long stretches as the other used the regular pitch. Bombay Jayashri dared to sing long spells in the lower register, with power and control. The effect was almost one of harmonising. Not everything worked as well of course, like the attempt at simultaneous singing and sollukattu. Also, a brief introduction to each piece would have added production values.

ख़यालों की पनाह

फ़ना होजाये हम आपके लिए ,
चाहत भी आज चाहती है वो समा 
ज़रा हटाकर तो देखो ख़यालों की पनाह को 
आपको भी नज़र आयेगा वो समा