Vanara: Anand Neelakantan

Let me tell you a bit about the backdrop of this story that it is woven upon.

Valmiki Ramayana tells the tale of how Sugreeva and his Vanara sena helped Rama fight Ravana and rescue Sita. This Sugreeva was an outcast of his brother Vaali or Baali's Kishkinda. He was evicted from the Kingdom of Kishkinda by his own brother who was very dear to him. This is since Sugreeva had married Tara and was ruling Kishkinda since he believed his brother was dead in battle with Mayavi. But the moment Baali comes back winning over the demon, he charges his brother with treachery and evicts him from Kishkinda. Sugreeva waits in vain being an outcast until he meets Rama. Then Sugreeva invites Baali for a duel and Rama killed Baali by standing behind a nearby tree. Sugreeva is crowned again and after him, Angada, son of Tara and Baali is made the Prince of Kishkinda.

Now this act of Rama is justified in various texts in different ways, backing him up that this was done to save Dharma ultimately. This event always leaves a hollow in the epic of Ramayana nevertheless. This novel Vaanara is an attempt at weaving the sequence of events.

Anand Neelakantan has a finesse story telling that captivates the reader. I must mention how he weaves in chapter after chapter. Every chapter ends as a prelude to the next chapter which keeps the reader on toes until the story is completed. One simply cannot put this book down and be at peace until the reading is done. 

Dilemma of Tara about the two brothers, though she heartily loves one and tries to despise the other, her thoughts are stuck not knowing which way to waiver. Baali is so lost in building an empire that though he loves Tara with all his heart, he is unable to spend enough time with her. Meanwhile encashing all this, Sugreeva lusts for his sister-in-law, unknowing of the consequences that it might pose; once Tara is married to Sugreeva as Baali does not return from fighting Mayavi and is thought to be dead, Sugreeva sees that the appeal of having Tara as his is vanished completely, and a constant hindrance towards the relationship sets in. 

Though Tara marries two brothers, she is still considered the virtuous wife and is given a worshipful place till today. Giving the benefit of doubt to the tale that she is considered a pious and virtuous wife, author gives it a justified ending that Tara after Angada and Sugreeva return victorious post battle with Ravana, stays in the sacred grove of seven palmyra trees that Baali had envisioned and nurtured; thinking every moment of Baali, she lives as a telltale to the whole of Kishkinda until her last breath, serving the city-dwellers with her wise deeds and words.

The loyalty of the abandoned wolf pup 'Chemba' raised by Baali is a part of the story that touches the most. The wolf's tried and true love towards its master is depicted well in parts of story where it stays near the cave till its master returns victorious from his struggle with the demon and its unfailing attempts at digging his grave though its claws are all worn out from the futile effort. Chemba still believes that somehow he can bring his master back from the dead if it digs enough to reach his body even after death of Baali.

The sublime character of Baali and Sugreeva's foster father Riksharajas, the valour of Ravana depicted in even his defeat against Baali in duel, the motherly turned pompous Ruma - the wife of Sugreeva, the demonity that is illustrated in weaving sequence about the humongous bull Dundubhi that is brought by Sugreeva, the plight of the outcast - Vana naras - called later as Vanaras, the love and understanding of the two brothers - Baali and Sugreeva and the intervention to their fraternal bonding with entry of Tara in their life, the only amazing city that they build deep in the woods with all amenities and aiming at no caste- colour discrimination is all that is part of reading hangover. 

Definitely a thumbs up for even those who despise heavy reading.

Kesari ✮✮✮✮1/2

Each war has many stories to tell. Of the martyrs, of the survivors, of the wounded, and of the hounded. If wars were only documented, the lines become meager numbers on paper. When a movie like Kesari is made on a lesser known but bravest of battles fought under British India, heart swells with pride for their bravado.

North Western Frontier Province, part of Pakistan in today's world map had witnessed a constant friction and confrontation between Afghans and British. Many of us may know that 21 Sikhs belonging to 36 Sikh regiment killed over 600 Afghans in the battle of Saragarhi. The level of motivation it took not to run away from overwhelming 10000 Afghans and the power of commitment they got in them at that crisis is a question of creative liberty for screenplay and direction. Director Anurag Singh has tapped the right chords to create a slow and touchy movie that says about the turn of events and glorifies the brave battle, ever so rightly.

The movie keeps you in splits at times, touches the raw nerve of British ruled India, flares the viewer's patriotism and polishes our religious beliefs, all at right times during the movie. Songs compliment the pace of the movie. It is a slow paced movie, but deliberately been made so. First 30 minutes is just an under-structure for the story that is to be unveiled. 

Akshay Kumar as Hawaldar Ishar Singh is not the only glorified hero but one among the heroes who fought and were martyred that day. Screenplay has given a rightful space and justice for each hero among the 21+1. The brutality of force and strategies of the then group of Afghans makes us mull over the story and events that we have read about Afghanistan, Lashqar and Taliban in recent times.

None of us moved even when the movie had completed its show. We were shun to silence. It took a moment more to realize that we had to leave the movie hall.

Manikarnika - The Queen of Jhansi ✮✮✮

Jhansi Rani Lakshmibai, one of the key leaders of the Sepoy mutiny against British raj, strategically escaped twice from the British army, gave an arduous fight and was a nightmare to the Angrezi Sarkar until she chose her death by being a rebellion in a battle near Gwalior. 

As British officer Hugh Rose commented in his battle report, Jhansi Rani was the most dangerous of all Indian leaders. Our heart swells with pride when the story unveils on screen, and the battle tactics used at that time is commendable. Story is kept intact as much possible and the glorification of Rani as a personality seems apt in many frames.

This movie itself seems like a mark of respect for a leader's story which sprung through the hoodlum effort by British to erase her name in the History of India. The moment when Lakshmibai jumps off the fort of Jhansi while trying to save her heir  is enough to prove how outgoing and rebellious she could have been who survived battles and did not give in an opportunity for British for being captured alive. This sacrifice is what she believed will become a precedence and instilled an undying urge in Indians about Swaraj.

Now about the movie, Indian audience have watched Baahubali which has given us an excellent VFX that is lasting even after years of its release; we have watched Baajirao Mastani which featured Baajirao, a courtier of Jhansi empire; we have watched an excellent epos with a right mix of everything- VFX, story line, Direction, editing, scale, songs and performance in Padmaavat recently.

Manikarnika has everything, but lacks the same intensity of direction almost for the first 40 minutes. It is noticeable, had this movie been in the hands of a more experienced director, this could have been improvised here and there. I cannot conclude that the movie hasn't much to offer the audience as well, even in those first 40 minutes. But the direction seems a cracked spell at times during the movie which seems crackled further through poor VFX during few instances. Songs are amazing, which is as a matter of fact drew me to the theater. Shankar Ehsaan Loy are back with a bang, that has complimented Prasoon Joshi's lyrics so rightly. But what is lacking, is timing in the movie. Songs seem a bit too many in the movie which would have sounded even better if their gelling with the flow of the movie was better. Songs should always be rightly placed, and must compliment the movie rather than being an impediment to its flow, is what I believe.

Having said that, there is no doubt that the battle scenes, scenes with weaving battle strategics are commendable. Kangana Ranaut has proved yet again that she can mold into any character that comes to her in making. Supporting crew has done their job great. A one time watch, and lore to sing in bits for a long time, for sure.

✮✮✮

ತಿಳಿವು

ತಿಳಿವೆನ್ನುವುದು ಹಣತೆಯಂತೆ
ಬೆಳಗಿಸಿದರೆ ಮಾತ್ರ ಕತ್ತಲೆ ತೊಡೆವಂತೆ;
ಮುನ್ನ ಬೆಳ್ಳಿಯೊಳು ಬತ್ತಿಯಿದ್ದರೂ
ಬತ್ತಿಗಾಗಿ ಕಾಯ್ವ ಕಿಡಿಯಿದ್ದರೂ
ಬೆಳ್ಳಿ ದೀಪದೊಳು ಎಣ್ಣೆ ಮೊಗೆದಿದ್ದರೂ
ಹೊತ್ತಿಸದೆ ಬೆಳಕನೆಂತ ಬೀರ್ವುದೋ

ತಿಳಿವೆನ್ನುವುದು ಹಣತೆಯಂತೆ
ಬೆಳಗಿಸಿದರೆ ಮಾತ್ರ ಕತ್ತಲೆ ತೊಡೆವಂತೆ;
ಮುನ್ನ ತಲೆಯೊಳು ಮೆದುಳಿದ್ದರೂ
ಆಲೋಚನೆಗೆ ಕಾಯ್ವ ಕಿಡಿಯಿದ್ದರೂ
ಕಂಗಳು ಕಂಡಿದ್ದರೂ ಸ್ಮೃತಿಗೆದರಿದ್ದರೂ
ಆಲೋಚನೆಯ ಓರೆ ಹಚ್ಚದೇ ತಿಳಿವರಿವಾಗದೋ ಪ್ರಭುವೇ!

An Insightful Teacher

An endeavor that invokes faith;
Saga of knowledge You bequeath;
A star that emanates its gleam,
You lead the path to awareness, beam!
Rhapsodic tones, You tune to melody;
Obstinance, You mold to self-mastery;
And defiance, to discipline;
To witness excellence sparkle within;
Oh Guru! You imbue faith!
For all the insight You bequeath!!

(Written as an opening phrase for compering for Teacher's day Celebration at National Hill View Public School)

Special Thanks: Thoughtfully edited by Mrs. Anita Vinodkumar, Principal, NHVPS

Why Did I Like Veere Di Wedding

Below the belt talk O..M..G..! Ladies messing around with their lives? No No No. How can girls be themselves amidst everyone? 

- One can enjoy a movie only if your mind is free from these so called taboos.

This movie stands apart from core brand feminist flicks by keeping a sensible story line hemmed with intimate talk. 

Kalindi has seen her parents quarreling constantly and has no faith in marriage. For a girl who is brought up with an independent mindset, it comes as a crashing challenge on her personality to bear with the relationship pressures of the groom's family during the wedding.

Sakshi is a free spirit that's hard to be contained by her husband. She's having trouble calling the relationship an end.

Meera isn't having a smooth-running marriage either.

Avni is sort of desperate for marriage but is a divorce lawyer and is afraid to get into a relationship. Her mom constantly tries to find her marriage alliance and they somehow never workout for Avni.

Movie reaches its crescendo towards the interval and sadly, second half slows down its tempo.

This thin story line is woven with values passed on by their parents and how their family is put before their ego. 

Gang of girls who have been together since their childhood, meet again as Kalindi's (Kareena) wedding is fixed.

However sensible men are, this movie might still seem a not so appealing movie for them. Take your best buds with you is my advice!!

Alter Ego

Predictability is a boon

Boon to the one who predicts

Or he who is gullible?

A mystery unfolds as the time passes by

With a glimpse into each other’s psyche

That only spreads wider with time

Persona becomes easy to intercept

And guess the next move.

Awake here, Oh soul!

For you might reveal wishful secrets

Unintended though might cast

A negligible crack;

A crack that is a thin line

And grows larger with time;

Behold the next words of mine

Just to not wither away the perception

That my thoughts aren’t bare for you;
Not for you; Nor for anyone.

ರಾಜರಥ : ರಾಜಸ - ಸತ್ವ ಮತ್ತು ತಾಮಸ

★★★

ರಾಜರಥ - ಭಾಷೆಯಿರುವ ಮನಸ್ಸಿರುವ ಬಸ್ಸೊಂದು ನೋಡುವ ಮಂದಿ ಎದ್ದು ಶಿಳ್ಳೆ ಹೊಡೆಯಬೇಕೆನ್ನುವ ಹಾಗಿರುವ ಹೀರೋ ಎಂಟ್ರಿಗಾಗಿ ಕಾಯುತ್ತಿದೆ. ಈ ಬಸ್ಸಿನಲ್ಲಿ ಸಿಕ್ಕವರೆಲ್ಲಾ ಬೇರೆಲ್ಲೋ ಜೀವನದಲ್ಲಿ ಕಂಡವರೇ. ಒಬ್ಬೊಬ್ಬರು ಒಂದೊಂದು ಥರದವರು. ಗಡುಸೊಬ್ಬರಾದರೆ ಮತ್ಯಾರೋ ತಾಯಂಥಾ ಮನಸ್ಸಿನವರು. ಒಬ್ಬರು ಹೊಗಳುಬಾಕರಾದರೆ ಮತ್ತೊಬ್ಬರು ಸುಳ್ಳುಕೋರರು. ಇವರೆಲ್ಲರ ಮಧ್ಯೆ ಅಭಿ ಮತ್ತು ಮೇಘಾಳ ಪ್ರೇಮಕಥೆ. ನಾಲ್ಕು ವರ್ಷ ಒಟ್ಟಿಗೇ ಓದಿದರೂ ಹೇಳಿಕೊಳ್ಳಲಾಗದ ಅಭಿಯ ಪ್ರೀತಿ. 

ನವಿರು ಹಾಸ್ಯ - ಮುಚ್ಚಿಟ್ಟ ಪ್ರೀತಿಯ ಮಧ್ಯೆ ತೂಗಾಡುತ್ತ ಸಾಗುವ ಲೈಟ್ ಕಥೆಯ ಮಧ್ಯೆ ಮತ್ತೊಂದು ರಾಜಕೀಯ ಕಥೆಯ ಎಳೆ. ರಾಜಕೀಯದಲ್ಲಿ ಎಲ್ಲರೂ ದಾಳಗಳೇ. ಉರುಳಿಸಿದಂತೆ ಉರುಳುತ್ತಿಲ್ಲವೆಂದು ಅಂದುಕೊಳ್ಳುತ್ತಲೇ ರಾಜಕೀಯ ಚೌಕಾಬಾರದಲ್ಲಿ ಕಾಯಿಗಳು ನಡೆಯುತ್ತಲೇ ಹೋಗುವಂತೆ ಎಲ್ಲವೂ ಅಡವು ಇಲ್ಲಿ; ಕಾಲಕಾಲಕ್ಕೆ ಎಲ್ಲರೂ ತೊಡರು ಇಲ್ಲಿ. ರಜಸ್ಸು - ತಮಸ್ಸಿನ ರಾಜಕೀಯದ ನಡೆಯ ಮಧ್ಯೆ ಜನಜೀವನಕ್ಕಿರುವ ನಂಟು? ಎರಡೂ ಕಥೆಗಳಿಗಿರೋ ಬೆಸುಗೆ? ಅದು ತಿಳಿಯಲು ನೀವು ರಾಜರಥ ಹತ್ತಲೇಬೇಕು. ರಾಜರಥದಲ್ಲಿ ಬರುವ ಸಿನಿಕ್ಕು ಅಭಿಯ ಕಥೆಯಲ್ಲಿಲ್ಲ, ರಾಜಕಾರಣದ ತಿರುವುಗಳಲ್ಲಿದೆ. ಈ ಕುರಿತು ಏನೇ ಹೆಚ್ಚು ಹೇಳಲು ಹೋದರೂ it will be a spoiler. ನಿರೂಪನ ಕಥೆಗಿಂತಾ, ಆರ್ಯನ ಕಥೆಗಾಗಿಯೇ ರಾಜರಥ ಹತ್ತಬೇಕಿದೆ. 

ಹೊಸತಾದ ನಿರೂಪಣೆ, ಗಂಡಕ ಮಂಡೂಕ - ಹಾಡಿನಲ್ಲಿ ಅಷ್ಟಾಗಿ ಬಳಸದ ಕನ್ನಡ ಪದಗಳ ಬಳಕೆ ಯಾವ ಭಾಷೆಯ ಹಾಡೆಂದು ಪ್ರೇಕ್ಷಕನಿಗೆ ತಿಳಿಯುವಷ್ಟರಲ್ಲಿ ಹಾಡು ಮುಗಿದಿರುತ್ತದೆ ಅನ್ನುವುದೊಂದು ಬಿಟ್ಟರೆ, ಸಿನಿಮಾ ಮನೋರಂಜನೆಗೆ ಎಲ್ಲಿಯೂ ಕಡಿಮೆ ಮಾಡಿಲ್ಲ. ವಿನೂತನ ನಿರೂಪಣೆಯಿಂದಲೇ ಮನಸೆಳೆಯುವ ಚಿತ್ರ ಇದು. ವಿಶ್ವನಾಗಿ ಆರ್ಯ ನೆಗೆಟಿವ್ ಶೇಡ್ ನಲ್ಲಿ ಮಾಡಿರುವ ಅಭಿನಯ ಎಲ್ಲರಿಗಿಂತಲೂ ಹೆಚ್ಚು ಅಚ್ಚೋತ್ತುತ್ತದೆ. ಇನ್ನು ಭೋಜರಾಜ ಪಿಳಿಕುಳ ನ ಹಾಸ್ಯ, ವಿನಯಾ ಪ್ರಸಾದರ ಕೊಬ್ಬರಿ ಮಿಠಾಯಿ, ನೇಂದ್ರ ಬಾಳೆ ಪಚ್ಚಬಾಳೆ ಹಾಡು ನೆನಪಿನಲ್ಲುಳಿಯುತ್ತವೆ. ಅಂಕಲ್ ರವಿಶಂಕರ್ ಹಾಸ್ಯ, ಮಗದೊಂದು ಟ್ವಿಸ್ಟ್ ಗಾಗಿಯೇ ತುರುಕಲ್ಪಟ್ಟಿದ್ದಾರೆ ಅನ್ನಿಸದೆ ಇರದು. 

ಮೆಸ್ಸೇಜ್ ಇರುವ ಚಿತ್ರಗಳೆಲ್ಲಾ ಸೀರಿಯಸ್ ಸಿನಿಮಾಗಳೆಂದು ಬ್ರಾಂಡ್ ಆಗಬಾರದೆನ್ನುವ ಪ್ರಯತ್ನದಂತಿರುವ ಈ ಚಿತ್ರ ಮನೆಮಂದಿಯೆಲ್ಲಾ ಕೂತು ನೋಡಬಹುದಾದದ್ದು. ಕನ್ನಡದಲ್ಲಿ ಹಿಟ್ ಅನ್ನಿಸಿಕೊಳ್ಳುವುದಕ್ಕಿಂತಾ ತೆಲುಗಲ್ಲಿ ಹಿಟ್ ಆಗುತ್ತದೆನ್ನುವ instinct ಇದೆ. ಕಾದು ನೋಡೋಣ. A good watch.

Padmaavat: An Onscreen Epos

★★★1/2

For a movie that received a lot of one and a half stars from big media houses, I had given up the thought of watching the movie. All the commotion that followed the controversy that had to be solved by judiciary intervention might also have been an abetment terming it a publicity stunt.

Watching the video song of Ek dil ek jaan, I finally decided to watch the movie. Even if the movie would bore me, sets and music could come to my rescue, or so I knew. We went to watch morning show and there were hardly 12 people in the theater for it.

Yes it is a slow movie. It does take time and effort to get the feel of Rajputana and Khilji dynasties. And each scene is twined carefully to create the required impact. It is a movie that appeals for only audience who have patience to read a book. Poetic freedom is the essence of any epic that is woven on the historic events. Since history does not tell us word by word of what has actually happened, each interpretation between the lines can be different. Also when the history has been created majorly by the winning side of the story, one can't take history for fact. I wish the Karni Sena could have watched the movie before pulling all the stunts that it did. 

It looks like Bansali has focused most on grooming the character of Sultan Alauddin Khilji than the others in the movie. His costumes, lighting moderation and each frame that Ranveer Singh is in, is solely focused on bringing out his character and Ranveer Singh has scored a full on ten for his performance. Jim Sarbh as Malik Kafur has performed very well as an able sidekick and a blind supporter of each weird move of Sultan. Deepika Padukone as Padmaavati has shone during the introduction and an effective climax. Shahid Kapoor as Chittor's Maharaja leaves his impact in the chemistry with Rani Padmaavati and in the final battle with Sultan. 

Dialogues by Prakash Kapadia is a highlight of the movie too. "सर धर से अलग होजाये तब भी हाथ में तलवार चलताराहे, वो है राजपूत" kind of dialogues are not easy to fade away from the viewer's memory. Music and timely songs that blend with the movie are a plus.

Bottom-line is, it takes a relaxed mood and an open mind to enjoy this movie. There's lots to absorb and the movie is deliberately been made a slow one. Having said that, the movie doesn't bore you if you have the patience to have watched a full fledged dance performance or read good novels. 

P.S: Of course do not expect a cabaret or dramatic turns to an already known history. 

(For all those who could not understand the meaning of seemingly small word epos, I couldn't find a better exact translate of mahakavya (ಮಹಾಕಾವ್ಯ) to express what I wanted to convey. This throws me into one of the hollow of English language in which I occasionally find myself at loss of words to convey thoughts)